Wayne Charles Roth

21ST CENTURY PAINTING

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This is a very exciting time for artists who are using the new technologies available today. Every week a new piece of software or hardware changes the landscape and alters what is possible. While these new tools are giving artists additional ways to express their vision, it is also creating a myriad of questions around the art.

Curators, gallery owners, critics and collectors are all trying to understand the technology and keep up with how artists are adapting these new tools. It is evolving so quickly and in many different areas, that it is becoming increasingly difficult to categorize the art.

The overlap between photography, video, design, fashion, and CGI is breaking down traditional barriers that stood for years. This confusion is similar to what the art world experienced in the early 20th century when photography began to emerge as an art form. It took a generation before photographic images were fully accepted as legitimate art.

The larger question becomes how are you to evaluate digital art and it’s place in today’s art world?

Even if the tools used are new and different the viewer still has the capacity to react on an intellectual and emotional level. Does the art create a new reality for the viewer? Does it change how you look at the world? Is it compelling and powerful? Is it beautiful? Are you moved?

In this new catalog of my digital painting I will try take away some of the confusion that surrounds digital art. I hope that you enjoy the work and develop an appreciation for the craftsmanship, complex process and technological expertise that is needed to create my art in the 21st century.

WCR

Cover: Immersion 2013

DIGITAL ART IN THE 21st CENTURY

Right: One Night 2013

A NEW KIND OF PAINTING FOR THE 21ST CENTURY

A critique by Virginia Fabbri Butera, Ph.D.

Butera Art Consulting LLC

Wayne Roth’s works are elaborately composed digital images which take hundreds of hours to

conceptualize, design and create. Weaving layer upon layer of colors, individually drawn planes and/or

entwining lines, sometimes words, phrases, and sentences and sometimes the photograph of a person or

a place, Roth paints and collages his figurative images and abstract compositions on the computer with

expert skill. Preserving and transferring them to specialized large scale archival materials, paper and inks,

Roth then has them professionally mounted on an aluminum backing for hanging and preservation. For those

who feel that art requires craftsmanship, Roth has been drawing and painting on the computer since 1993.

For those who want art to match our times, no one is more highly skilled than Roth who employs technology

to reveal his ideas about the conceptual underpinnings of our complex, multi-tasking lives and personalities.

For those who desire the ambiguity and universal nature of speed and multi-dimensional space, Roth

captures unseen places that also feel like the emotions within. He is, in short, reinventing painting for the

21st century.

Roth masterfully manipulates colors, lines and forms to question and undercut the identity and idealized

beauty of both women and men. The woman in Mira’s Garden, an ironic twin to Botticelli’s figure of

Primavera, exemplifies Roth’s ability to paint the portrait of a skeptical, complicated being with shavings of

swirling lines as she tries to hide her nudity in addition to her inner self, signaled only as an eye peeking out

from her chest cavity between the thumb and forefinger of her left hand. Faithless, glances at us through

sharp edged curves with a poignant awkward veil of suspicion. Roth adds multi-colored tattoos across the

face and arm of Rose Remixed. He highlights in blue-grey, the eyebrows, eyes, nose and lips of the woman

in Love Hides whose hair he splashes with contrasting pools of red and yellow, perhaps to express the

degrees to which we will go to be different, alluring, ourselves. More Than Words, the portrait of a man as

a mélange of every phrase he has heard, felt and thought, peels back the notion of skin deep. Combining

bits,pieces and snaking lines rendered in cool blues of hurt and deep reds and maroons of blood, Roth

makes our nerves erupt in excruciating sympathetic feeling in his seven by four foot piece entitled Pain, a

partner to Munch’s 1893 existential and psychological image of “The Scream.” Shifting from organic line

to sharp shattering forms in Stereo Head, Roth gives us an acute visualization of the mind-blasting and

rearranging experience of piercing contemporary music. As he notes in one of his “sotto voce” phrases

strewn across the image, “so sweet…my head hurts…” No classical adagio represented here!

If Roth sees deeply into who, and how, we are, he also penetrates how we process nature, time and space.

Is Red Sea the crash of water, waves of passion, or deep intergalactic space with exploding super novas

and intermittent black holes re-imagined in digital paint? Does So Deep represent an abstract portrait of

literal or figurative scuba-diving into the ocean deep or deep emotions with their myriad colors, currents, and

dangers? Could Red Rush be a metaphor for the traffic in front of us as we physically commute and mentally

dodge roadblocks, plow through emails and a bombarding information stream and confront our ever changing

reality? Do the beiges, grays and softened reds of the cavorting curls in Interlude offer us an animated but

visual and harmonic rest? For me, Nerve Ending says it all. Here is the magnificent roller-coaster ride in our

post-modern life, filled with overlapping planes of colors and possibilities, the expected ups and downs, the

sharp edges of sound and opportunities, and the rush as we climb back up on top of the reds, greens and

blues of multi-dimensional facets of experience. Roth’s large stunning pieces are unique, powerful, digitally

painted syntheses. He combines intricately complex shapes, unusual compositions and a rich bold mix of

colors to create smoldering and exuberant visual and emotional statements. His works, possible only through

his unique creative painterly computer skills, are taking painting in a superb new direction--an art for our

contemporary times.

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Wayne Charles Roth was born in 1951 in Rochester, New York and

now lives and works in Mountain Lakes, New Jersey. After earning

his MFA from The Rochester Institute of Technology, he moved to New

York City and began his design career working at top design firms

and agencies in the city. In the early 80’s he cofounded Roth Group

LLP and produced branding and marketing campaigns for some of the

most prestigious companies in the world for over 20 years. He was

also a cofounder of Chiselvision, one of the first digital imaging firms

in the United States, and deeply influenced this important medium.

In the mid 90’s he also launched 2face, a hybrid digital creative firm.

2face conceived and produced digital art and photography for major

clients such as Adobe, Ford, Sony, Time-Warner and Mercedes-Benz,

to name a few. Over the last four years, Wayne’s digital art work has

been exhibited in numerous galleries in the United States and Europe.

His unusual portraits and abstract compositions have been sought

after and purchased by art collectors, galleries and museums .

WAYNE CHARLES ROTH

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I am working against what some consider the conventional concept of painting. I am not creating art with brushes and oil paints; I am creating art with pixels. Just as my predecessors used the tools of their time, I use the tools of my time. Daring artists in the past adapted the latest innovations to their art such as, the invention of perspective or the use of new, brighter pigments. Those advances were incorporated just as today’s artists are embracing technology.

My tools incorporate the latest technology, computers, software, digital cameras and large-scale printers. Although I am a classically trained artist, who learned by mastering charcoal and oils, I find that using today’s technology allows me to create art that is more in touch with our life and times.

I grew up with and have been influenced by print media, television, movies and music. The visual assault on our senses is absolutely overwhelming at times. As a society we have occasionally become numb to visual and audio stimulation. My art strives to break through the visual haze of our everyday existence, surprising the viewer with images of powerful energy and unusual composition. Like the old masters, my work is carefully planned and executed with intent and purpose. Each element is designed and placed to help communicate the emotion or place I am trying to convey to the contemporary audience of today.

My work reflects the complex and messy world we live in. I am creating the “new painting” of today.

ARTIST STATEMENT FLUIDITY

Vapor, fluid, liquid, gas, changeable, evaporate, illusion, volatile, illuminate,

flow, opalescent, iridescent, watery, smoke, fluency, glide, stream, splash,

elapse, abound, fall, wave, flicker, oscillate, agitate, flux, movement, cascade,

unpredictable, random, chance, serendipity...Fluidity

This work was inspired by the unpredictable nature of liquid, spilled, falling,

standing, iridescent and reflective. Liquid is such a large part of our life cycle.

It captures the imagination and focuses the mind. It is uncontrollable and

completely random yet beautiful and necessary to sustain our lives. How light

and objects reflect off the surface creates a kaleidoscope of variations and

emotions. This series reflects my interpretation of the power, color and random

nature of fluid and vapor.

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Immersion 2013

This very large addition to the Fluidity series, brings together the strong characteristics of the other pieces. Soaring energy, imbedded with hard edged technological elements create a powerful and complex statement.

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Shallow Fragments 2012

A new idea appeared that was both hard-edged and fluid. I liked the juxtaposing concepts and began to experiment with compositions that were more organic and fluid. This is the beginning of the Fluidity series that inspired the other works.

Hello 2012

Red hot and full of raw energy this piece was created as a study for another composition. As work continued this work became stronger and more complex. I returned to it 6 months later and completed the composition. This study became the master work

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Artery 2012

This raw composition, arc’s across the page creating a powerful direction and energy. The main element breaks and explodes into different areas of color and detail. I intentionally left three quarters of the composition simple to contrast with the rich detail of the main element.

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Flicker 2013

Like a flame dancing across a shape, this unique work moves and evolves while you are looking at it. The inspiration of the image was the characteristics of a flame and how it darts, disappears, to reappear again. This hypnotic image captures the power and fleeting nature of a flame.

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Washed Away 2012

Hard metal with red geometric shapes twirling around the axis. Dark shapes playing in the shadows below the composition gives this piece power and emotion filled with raw energy. There is a serenity to this piece where you feel you can get lost in the art.

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Bleed 2012

Exploding shapes and textures played off against raw yellows create tension and power in this unusual composition. Part of the Fluidity Series, this pear shaped form is like an exploding heart on the page.

> Nerve Ending 2010

One of my most ambitious and complex pieces. The swirl is built with 3-D elements all moving in unison. The colors are intentionally raw, playing off against a simple lined graphic background. The energy that radiates from this work is amazing and powerful to the viewer.

Badly Broken 2012

Another in the fluidity series, this piece became full of anger and hot energy. The more it evolved the more the opposite elements rubbed against each other. From a viewing distance this piece is very beautiful but up close the energy is very hot and uncomfortable.

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Irresistible Flow 2012

This piece is part of the fluidity series that combines hard-edged elements with fluid or organic elements in the same composi-tion. These pieces create an odd tension and are both serene and disarming at the same time.

Untitled Red 67 2012

Inspired by “High Note” I created a second piece in this series to act as a bookend to the first. I wanted this to convey heat and power in contrast to its sister. I loved the movement and power of this piece. It feels like two enormous piles of space junk smashing into each other, generating energy and heat.

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Blue Kiss 2013

Soothing shapes and forms dance across the oval shape, smashing and breaking like waves on a beach. This effloresce work pushes the Fluidity series into more complex and detailed form. The complex shards and pieces reflect light and energy throughout the work.

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Resolution 2012

I wanted to create a smooth and unified splash of color and elements. This work is part of the fluidity series but brings in symmetry from earlier compositions. I wanted to keep the palate simple and the elements complex. This is a harmonious work that conveys smooth energy.

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Undertow 2013

Twisting, turning, crashing elements create a powerful composition in this complex work. This work submerges and pulls the viewer in an “Undertow” of color and shape. It becomes impossible to not become involved with this wonderful entrancing work.

I am currently producing my finished art in two ways. The first is a digital chromogenic color print on a special metallic paper. This process is similar to traditional color printing that Eastman Kodak specialized in for years but has become technologically advanced. The final digital file that I have created is expose to light-sensitive material to produce a latent image that is then developed using conventional silver based photographic chemicals. After I have approved the colors and checked the print for any flaws it is mounted to the back of clear acrylic. After that is completed it is mounted to an archival acid free board. It is then joined to an acrylic framing system to complete the art. The printing process, metallic paper and polished acrylic provides the final art with depth and a backlit appearance that is very compelling. The output process can take up to 3 weeks depending on the size and scale of the work. Additionally the final piece can be laser cut to create circles, ovals and other complex shapes for a distinctive look.

The second way I produce my art is with a custom LED backlit gasket frame system. This works very well with large pieces (10 feet or more) and is custom built for each piece. The LED temperature can be controlled and if desired can also be installed with a light sensing mechanism that darkens or lightens the art depending on the time of day or light in the room. The art itself is produced on a new synthetic material that lets light pass through it while retaining the dense appearance of canvas. It is a beautiful effect and shows off the power and detail in my work. This technique needs to be custom installed and can be flush mounted into a wall. It can take up to 4 weeks to produce one piece.

Each technique is beautiful and creates a lasting and unique art statement. As software and technology advance, I will continue to integrate the latest developments into my work.

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My ProcessI am a classically trained artist with advanced degrees in Fine Art. In the past I used traditional painting and drawing tools to create my art. Choosing todays technology to express my artistic vision is a deliberate decision on my part. I felt that using the technological tools available today, allows me to make a truer statement about the society we live in. Every element I use in my work is drawn and created by hand. I use a tablet and stylus instead of pen and paper. Each composition can take 150 to 300 hours to complete and it only resides on my hard drive.

I find there is a huge trade-off working digitally vs. traditional methods. The biggest difference is when I complete a piece I am weeks from being finished. Now I must begin the quest to release the image from my computer and create a final representation of the art that matches my vision, emotion and color sensibilities. Additionally, it must be archival and ready to withstand hundreds of years of viewing and handling.

Producing the final artAfter completing the piece on the computer I meet with my NYC lab to discuss the final production of the artwork. We have worked together for years and they understand that they are an extension of my creative process.

CREATING DIGITAL ART

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Paradoxically, the work of the artist Wayne Roth sends me simultaneously back in time and forward to the future. When I discovered this artist’s work, I was struck by the attention to detail and complexity in his compositions. The formal structure, delicate shapes and impressions are a common motif in his work. He always pushes the viewer to observe and sometimes get lost in multiple viewing levels. I have studied the paintings of the old masters for years. I immediately compared Roth’s approach to the Flemish painter Jan van Eyck. The latter ”invented” oil painting in the fifteenth century. His work in oils led to the pictorial expression of profound new effects of light, depth and color in his art. This technique allowed the painter to render a scene more precisely and with greater realism. I see a strong link and comparison between the artists. Both strive to be on the leading edge of technology and innovation in their respective times. Whether it is Newton’s work on optics and light, the discoveries about the decomposition of the image or motion pictures, any time science and discovery have evolved, the art world has been impacted. In 2011, the latest software allows Roth to speak differently, in a resolutely current way. His work uses technology and the most modern media to address doubts, dreams, anguish and pain. His work is a reminder of our humanity and our place in a much larger universe.

Florian Porte LabordeArt Dealer

GenevaSwitzerland

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Wayne Charles Roth

Contact:Unix Fine Art Miami305-333-8607

andrea@unixfineart.com

unixfineart.com21st-centuryart.com

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