Jeff Overlie - Block Theory

JEFF OVERLIE BLOCK THEORY

WILLIAM TURNER GALLERY

WILLIAM TURNER GALLERY

JEFF OVERLIE BLOCK THEORY

JEFF OVERLIE Santa Monica, California - William Turner Gallery is pleased to introduce an exciting debut exhibition by Jeff Overlie, Block Theory. The exhibition will run from July 13th - August 31st, 2024.

Jeff Overlie presents paintings that at first appear to adhere to the tenets of formal, hard-edged abstraction. Yet upon closer examination, one begins to see how his work challenges and often breaks with these assumptions, bringing a subtle sculptural sensibility to the work, where shape and proportion provide the structural armature for color and upend expected formalities.

He has established himself as a prominent figure in contemporary art, drawing inspiration from the realms of science, geometry, and mathematics. Influenced profoundly by his grandfather, a scientist, Overlie’s artistic evolution began against the backdrop of his early studies in marine biology, later transitioning into a dedicated exploration of visual arts.

Overlie’s creative process is deeply rooted in his predominant work in sculpture, where spatial form, meticulous precision and technical proficiency are paramount.

Overlie approaches these canvases as a sculptor would, intricately molding straight lines, shapes, into a balance of spatial relationships. This then beckons Joseph Albers’ Color Theory, reflecting a profound engagement with the underlying

BLOCK THEORY

principles of form and color to Albers, and a radical rejection of the principles of Color Theory for which Albers is so well known. These paintings are, in a sense, polemical responses to the confining rules of color theory, wherein the artist purposely chooses color combinations that are radically wrong, in theory. And yet these paintings are charged with harmonic energy and emotional pull.

The work represents a convergence of scientific inquiry and artistic expression His ability to fuse mathematical rigor with artistic intuition results in compositions that resonate with both intellectual depth and visual allure, utilizing scale and proportion in nuanced dialogue with his prismatic blocks of color.

In addition to his geometric explorations, Overlie occasionally incorporates color overlays within his canvases, further enriching the visual narrative and challenging perceptions of depth and dimensionality. Each piece serves as a testament to his ongoing dialogue between art and science, capturing the essence of geometric purity while inviting interpretations that are both contemplative and visually stimulating.

Jeff Overlie’s artworks have garnered acclaim for their unique blend of technical sophistication and aesthetic elegance, making significant contributions to the discourse on contemporary abstraction and the intersections between art and science.

(RACT) Rectilinear Geometry, Absence of Color Theory The rejection of color theory in paintings involves deviating from traditional principles of color relationships, harmony, and contrast. In a series that rejects color theory, you might observe: 1. **Unconventional Color Combinations:** The use of colors that traditionally clash or violate color harmony principles.

2. **Absence of Color Schemes:** Ignoring established color schemes like complementary or analogous, leading to a lack of predictable color relationships.

3. **Intentional Disharmony:** Purposeful creation of discordant color compositions to challenge conventional aesthetic expectations.

4. **Minimalism or Monochromatic Choices:** Opting for a limited color palette or even a monochromatic scheme to eliminate the complexity associated with color theory.

5. **Emphasis on Form and Shape:** Placing more emphasis on rectilinear geometry and form, downplaying the role of color in conveying meaning or emotion.

6. **Use of Juxtaposition:** Placing colors side by side without adherence to typical color contrasts, creating visual tension and surprise.

7. **Symbolic Color Choices:** Using colors symbolically rather than for their traditional aesthetic appeal, conveying conceptual or narrative meanings.

Overall, the rejection of color theory allows artists to challenge established norms, evoke specific emotions, or communicate unique perspectives through unconventional and deliberate use of color.

RACT Series 1-9 2024 Acrylic and enamel on canvas 40” x 30” (each)

Block Theory Series- 1 2024 Acrylic and enamel on canvas 60” x 48”

Block Theory Series- 2 2024 Acrylic and enamel on canvas 60” x 48”

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Block Theory Series- 3 2024 Acrylic and enamel on canvas 60” x 48”

Block Series 11 & 12, 2024, Acrylic and enamel on canvas, 36” x 36”

For me, spontaneity is an act or impulse that overrides preconditioned responses to my everyday circumstances and behavioral conditioning, due to a moment of consciousness or awareness.

Block Theory Series- 4 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 5 2024 Acrylic and enamel on canvas 60” x 48”

Block Theory Series- 6 2024 Acrylic and enamel on canvas 60” x 48”

Cellulae Series Jeff Overlie’s work is inspired by the exquisite forms that exist in science and nature, at levels often invisible to the human eye. Over twenty years ago, Overlie created pieces based on pollen slides prepared by his grandfather, botanist Dr. Wendell Bragonier. Today, he collects digital images taken by powerful electron microscopes. In them, he finds forms and archetypal shapes which he interprets into sculpture.

Alene, 2011, 6061T Aluminium, 20” x 10” x 10” Basidia, 2011, 6061T Aluminum, 20”x 6”x 6” Elodea, 2011, 6061T Aluminum, 20” x 8” x 6” Genesis, 2011, 6061T Aluminum, 20” x 10” x 10”

Auxin, 2011, 6061T, Aluminum, 20” x 8” x 8” Ocums Razor, 2011, 6061T Aluminum, 20” x 11” x 8” Merchansine, 2011, 6061T Aluminum, 20” x 7” x 7” Datura, 2011, 6061T Aluminum, 20” x 8” x 6”

Cellulae Series Continued...

After dimensional conceptualization, Overlie creates engineered studies that allow him to qualify the works for large-scale 2D and 3D forms. From there, he utilizes years of experience in production and art fabrication to paint or sculpt in stainless steel, aluminum or carbon steel, wielded into the final realization. Appealing to a wide audience, the sculptures invite interaction as fun and fascinating objects first, and as symbols of the beauty and wonder of science and nature second. Sensitive to sustainability and conservation issues, the works contain 70-80 percent recycled materials.

Block Theory Series- 7 2024 Acrylic and enamel on canvas 48” x 48”

Overall the rejection of color theory allows artists to challenge established norms, evoke specific emotions, or communicate unique perspectives through unconventional practices.

Block Theory Series- 8 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 9 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 10 2024 Acrylic and enamel on canvas 60” x 48”

Ignoring established color schemes like complementary or analogous, leads to a lack of predictable color relationships.

Block Theory Series- 13 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 14 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 15 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 16 2024 Acrylic and enamel on canvas 60” x 48”

Block Theory Series- 17 2024 Acrylic and enamel on canvas 60” x 48”

My emphasis is on form and shape, placing more emphasis on rectilinear geometry and form, downplaying the role of color in conveying meaning or emotion.

Block Theory Series- 18 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 19 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 20 2024 Acrylic and enamel on canvas 48” x 48”

The Anchor, 2023, Acrylic and mixed material on canvas, 56 x 48 inches

Block Theory Series- 21 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 22 2024 Acrylic and enamel on canvas 48” x 48”

Block Theory Series- 23 2024 Acrylic and enamel on canvas 48” x 48”

JEFF OVERLIE

Jeff Overlie was born in Fort Collins, Colorado in 1968. Overlie’s work has been shown internationally at galleries and museums such as the Riva Yares Gallery, in Santa Fe, NM; the Museum of Contemporary Art in Laguna Beach, California; and the Contemporary Arts Forum in Santa Barbara, California. His work has been featured in publications such as ARTnews, Western Interiors, Sunset Magazine, The Santa Fean, Santa Barbara Magazine, Trend, and the Albuquerque Journal, and Santa Barbara News Press among others. He received a National Endowment for the Arts grant in 1995 and completed fellowships with Beverly Pepper and Japanese master carver Takio Ogai at The Carving Studio in Vermont. He lives and works in Southern California.

WILLIAM TURNER GALLERY

JEFF OVERLIE SELECTED CV b. 1968 Lives and works in Los Angeles, California SELECT SOLO EXHIBITIONS 2011 Maximum Minimalism, Riva Yares Gallery, Santa Fe, NM 2009 Cellulae, Riva Yares Gallery, Santa Fe, NM Cellulae, Riva Yares Gallery, Scottsdale, AZ 1994 Museum of Contemporary Art, Laguna Beach, CA 1993 Museum of Contemporary Art, Laguna Beach, CA Incision Series, Eye Grind Gallery, Los Olivos, CA SELECTED GROUP EXHIBITIONS 2020 The Art Show at The Park Avenue Armory, Art Basel, Miami, FL 2018 Art Silicon Valley, Contemporary Artifact Gallery, San Francisco CA Palm Springs Fine Art Fair, Contemporary Artifact Gallery, Palm Springs CA 2017 Palm Springs Fine Art Fair, Yares Arts Gallery Artists, Yares Art Projects, Palm Springs, CA 2016 Palm Springs Fine Art Fair, Yares Art Gallery, Palm Spring, CA Gallery Artists, Yares Art, Santa Fe, NM 2015 Art Silicon Valley, Yares Art Projects Art, San Francisco, CA Aspen, Yares Art, Aspen, CO Gallery Artists, Yares Art, Santa Fe, NM 2014 Art Silicon Valley, San Francisco, CA 50 Years 50 Artists, Yares Art Projects/Riva Yares Gallery, Santa Fe, NM Palm Springs Fine Art Fair, Palm Springs, CA 2013 Palm Springs Fine Art Fair, Palm Springs, CA Gallery Artists, Riva Yares Gallery, Santa Fe, NM 2012 Palm Springs Fine Art Fair, Palm Springs, CA 2010 Modern Masters, Riva Yares Gallery, Santa Fe, NM The Amory Show, New York City, NY 1995 The Language of Form, Channing Peake Gallery, Santa Barbara, CA 1994 Eye Grind Gallery, Los Olivos, CA Contemporary Arts Forum, Santa Barbara, CA Peter Blake Gallery, Laguna Beach, CA 1991 Bianca Art Consultants, Santa Barbara, CA Santa Barbara Earth Day Invitational Sculpture Garden, Santa Barbara, CA 1990 Arpel Gallery, Santa Barbara, CA Functional Forms, Artworks Gallery, Santa Barbara, CA Sculpture of Santa Barbara, Sculptors’ Guild, Santa Barbara, CA Contemporary Arts Forum, Santa Barbara, CA Santa Barbara Arts Festival Invitational Sculpture Garden, Santa Barbara, CA 1989 Dianne Stevenitt Gallery, Los Olivos, CA Faulkner Gallery, Santa Barbara, CA Garden Gallery, Los Olivos, CA Atkinson Gallery, Santa Barbara, CA Contemporary Arts Forum, Santa Barbara, CA Art Corner Gallery, Santa Barbara, CA Gary Paul, Inc., Window Space Installation Le Cumbre Plaza Sculpture Garden

SELECTED PUBLIC AND CORPORATE COMMISSIONS 2024 Art India, Featured Artist, Marc Straus Gallery, Delhi, India 2023 Intersect Aspen, Marc Straus Gallery, Aspen, CO 2018 Five Ranges, Homewise at Camino Crossing Development, Santa Fe, NM 2017 Prull and Associates, Santa Fe NM 2016 Flower of Life, Archaeo Architecture, Santa Fe, NM 2013 Santa Fe University of Arts and Design, Santa Fe, NM 2011 Lannon Foundation, Santa Fe, NM 2005 Plaza Entrada Corp., Santa Fe, NM Hvl Interiors, Santa Fe, NM Tierra Concepts Architecture, Santa Fe, NM French and French Inc., Santa Fe, NM Chord Architecture, Santa Fe, NM 2004 Gross/Kelly Warehouse, Barker Real Estate, Santa Fe, NM Moore Law Firm. Dallas, TX Dolce Salinas, Santa Fe, NM The Hogan Group inc., Santa Fe, NM Putnam Pritchard Interiors Ltd., Santa Fe, NM Lloyd and Associates, Santa Fe, NM Chord Architecture, Santa Fe, NM 2003 i.e., Designs, Santa Fe, NM Gross/Kelly Warehouse, Barker Real Estate, Santa Fe, NM The Hogan Group Inc., Santa Fe, NM Hurlocker Investment Inc., Santa Fe, NM Putnam Pritchard Interiors Ltd., Santa Fe, NM Chord Architecture, Santa Fe, NM Earth and Water Inc., Santa Fe, NM 2002 Site Santa Fe, Santa Fe, NM Museum of New Mexico Foundation, Santa Fe, NM Museum H ill Café, Santa Fe, NM Michael Bauer Architect, Santa Fe, NM Praxis Architects, Santa Fe, NM Putnam Pritchard Interiors Ltd, Santa Fe, NM Chord Architecture, Santa Fe, NM Earth and Water Inc., Santa Fe, NM 2001 Villa Hermosa Community Center, Santa Fe, NM San Ysidro Catholic Church, Santa Fe, NM Praxis Architects, Santa Fe, NM Chord Architecture, Santa Fe, NM Putnam Pritchard Interiors Ltd, Santa Fe, NM Earth and Water Inc., Santa Fe, NM Chord Architecture, Santa Fe, NM 1999 Law Office, Ornstein and Harris, New York, NY; Beverly Hills, CA; Santa Barbara, CA 1998 Rocks, Santa Barbara, CA Law Office, Ornstein and Harris, New York, NY; Beverly Hills, CA; Santa Barbara, CA 1994 Citti. Santa Barbara, CA El Patio. Taos, NM 1994 Museum of Contemporary Art, Laguna Beach, CA 1993 Museum of Contemporary Art, Laguna Beach, CA 1993-1994 San Buenaventura Police & Fire Administration Offices, Ventura, CA Pirrana, Santa Barbara, CA Law Office, Ornstein and Harris, New York, NY; Beverly Hills, CA; Santa Barbara, CA 1992 Law Office, Ornstein and Harris, New York, NY; Beverly Hills, CA; Santa Barbara, CA 1991 Seed, Mackall, Nida, and Cole Law Firm, Santa Barbara, CA UCLA Medical Research Facility, Los Angeles, CA Charlotte 507, Santa Barbara, CA 1990 Law Office, Ornstein and Harris, New York, NY; Beverly Hills, CA; Santa Barbara, CA

JEFF OVERLIE

BLOCK THEORY

WILLIAM TURNER GALLERY