Joshua Hogan works in a process of creation, self exploration, and artistic refinement. Paint and texture, free to inhibit their own meaning, lead him in the direction to follow. The essence of his artwork surrounds the presence of action and depth. The picture plane is not a place for him to simply set down a concrete image. Hogan's relationship to the artwork is much to intimate. His paintings intend to not only illustrate our world, but possess their own world, unlimited in dimensions.


Hogan's vision of this world began from a dream in which images materialized like desires slightly hidden in a fortress of mist. Each image possessed an individual story and significance, but the substance revolved around a fleeting moment, a feeling... sometimes a stumbling block, sometimes a driving force. The images appeared in bold color and texture, but hidden and layered with memories of the past. As Hogan wondered through each story, he looked for an ending or horizon just beyond the midst, but none were found. The lost horizon was beauty, as was the midst and stories of it.


Stemming from the painting "Absolutes Shattered: Beautiful Chaos," Hogan acknowledges the present state of society as impasse. There are no absolutes to find solace in or to fear. Fear remains the cloak of safety we grasp onto as our personal midst's rise. The uncertainties of the midst create chaos, but it is a beautiful chaos, for we are left with only with the true nuances of our essence. Hogan's paintings are meant to celebrate the acceptance of chaos and uncertainty by disrobing hidden layers of the past. In turn, he aims to embrace life, not the search for what may exist beyond it.


Hogan has tried to capture individual stories within his figurative work. Art is his security, his escape, his voice. Feelings he stumbles to say in words form within his hands and make their way onto the canvas. Beauty lies in his attempt. Bold color and texture, layered and hidden, dark and seductive... he just follows their lead.

All Rights Reserved © Joshua Hogan, 2013