excerpts of critiques
THE PAINTINGS REVEALED
BOLD, ADVENTUROUS, AND SPIRITED SPONTANEOUS USE OF COLOR, SHAPE, AND
LINE. THERE WERE NO LABORIOUS ATTEMPTS AT TECHNIQUE OR TRADITIONAL IMAGERY.
IT WAS OBVIOUS THAT HE HAD ASSESSED THE MAELSTROM AND LEGACY OF CONTEMPORARY
ART, LEAPING HEADLONG INTO A PROLIFIC PRODUCTIVITY.
-RALPH WHITE 1921-2004
PROFESSOR EMERITUS UNIVERSITY OF TEXAS, AUSTIN 8/95
(Gordon and David Parks)
A GREAT SHOW-
INSPIRATIONAL AND ENDURING! STAY WITH IT! THE WORLD OF ART NEEDS YOU!
-GORDON PARKS 1912-2006
WHEN I FIRST ARRIVED
AT YOUR SHOW, I SAID TO MYSELF, WOW! I SAW PAINTINGS I REALLY FELT AND
COULD IDENTIFY WITH...
-HERBERT GENTRY 1919-2003
11/30/95 NYC/ FRANCE
the paintings of Jack Nichols are icons of energy - the energy of the
man himself, and by inference, the pervasive energy of the universe.
Early on, Nichols - by nature bent, not by some cool rationality, found
himself in the crossroads and gale of abstract expressionism. He sensed
a resonance with the works of Pollock to Franz Kline, and others of the
New York School and was moved to find ways to give visual form to his
own aesthetic experience.
The result, to date, has been rich and various - an extensive number of
small and large paintings, mostly in acrylic of arresting quality. How
to characterize these is no simple task. Still, there are some things
this writer can risk saying about them:
They reflect the freedom of the
They document the direction of post-modern art; They exist as statements
of a gifted man finding his ways to exude the energy of his personal
quest…and they are beautiful records of that quest.
-Donald L. Weismann 1914-2007
Past Member, National Council For
(Appointment by President Johnson)
NO TIMID STROKES
HERE. WHIMSICAL IMAGINATIVE, EVEN MYSTERIOUS, HIS WORK EVOKES CURIOSITY
IN THE VIEWER TO LOOK BEYOND AND SEEK INNER MEANING, AND THE ENERGY
OF EXPLORATION TURNED INWARD CAN BE PERSONALLY REVEALING OF BOTH ARTIST
AND VIEWER. COLOR SELECTIONS ARE OUT OF THE ORDINARY, IMAGINATIVE AND
CHALLENGING, SOMETIMES SOOTHING, USUALLY PROVOCATIVE. HIS STROKES ARE
STRONG AND PUSHED WITH CONFIDENCE, FRENETIC, YET THE UNDERLYING FEEL
IS THAT THE ARTIST KNOWS WHERE HE IS GOING. BOLD AND CHALLENGING, YET
THE TEMPTATION TO DIVE IN AND GO EXPLORING IS ALWAYS THERE.
GREER 1991 ART CRITIC/ GALLERY OWNER
YOU SELDOM FIND COMPLEXITY AND CLARITY IN THE SAME IMAGE...
-RC ISRAEL 1938-2015
ART GURU TAOS NM
"TURN OF THE CENTURY ARTIST" 1984 - 2015
there is a point where you are no
longer observing an image of some thing, ”the painting becomes “the thing itself"
Knowing even in chaos, and the frenetic release of energy can have a sublime balance at certain
moments.... as elements of abstraction, fractals, & the collage
layering impact of unrecognized images occur as random, yet
ever-changing to light and distance of the viewer....
PART OF THE
UNIQUENESS OF THESE WORKS HAS GROWN OUT OF EXPERIMENTING WITH A SERIES
OF NEW APPLICATION TECHNIQUES... Painting
with both hands simultaneously & using brushes that are not rigid, allow colours to merge, giving more freedom to create with the visual impact
generated by the rule of “simultaneous contrast.”
there is the apparent change in colour, As placed against different coloured backgrounds...
is based on the fact that the eye automatically yearns for the
complementary color of any given color and ‘creates it,’ if it is not
Partsch 1991 / Re: Paul Klee 1879-1940.]
Now, with thirty-two years as a contemporary artist, original works
only, hang in New York, London,
Rome, Los Angeles,
Washington DC, Houston, The Hamptons, Canada, Denver, Mexico City, Taos,
and in collections of Dr. Paul Greengard, the 2000 Nobel Prize
winner in Medicine, to Ron Brownstein, Dan Balz, Stanley Hirsch , and Ron Rettner collections
in Washington DC & New York.
Since arriving in Taos, New Mexico (2007), it’s been a nonstop experience and experiment of channeling the
energies of nature and sometimes the super-nature. Like a collaboration of the raw and powerful
elements (spirits) that make up the history of this high-altitude
location. The transformation has been exciting, yielding unique and
sometimes glorious new results.
Continually influenced by the phenomenal energies of Taos, and moved by the
peaceful assurance these works are going to touch and hopefully inspire the
viewer... certainly lightens the burden of performance and leaves all possibility
and potential as unseen.
(a conduit to the surface)
To the best of my knowledge, neither Pollock, DeKooning, Rothko, or any artist of the New York
School ever painted using the techniques I work with.
The methods I use did not exist when they were alive.
The closer you look the better. The paintings are not cropped
left to right, top to bottom, deckled edges, one hundred percent of the image is
what you see.
(the same with the canvases)
My hope is the viewer will
see these works as energy generators...
an eclectic collaboration of techniques, energies past
Jack Nichols has been
painting for thirty years. His
technique can be described as nothing short of revolutionary and
"To the best of my knowledge, no one has ever
applied the techniques I use," Nichols explains. "When you alter the
ambient lighting in the room, the way the painting is viewed actually
Nichols describes himself as a synergist, combining the intrinsic beauty
of color pigments with the fluidity and spontaneity of movement to
create tremendous depths of field. "The paintings are not a
picture of a thing, they are the thing itself." Nichols says, "You
look at them collectively and wholly.
Many years ago I was told
that most of my audience had not even been born yet.
these paintings into the future."
Jan 26, 2010