John Dempcy (Painter)

John Dempcy is a Seattle based artist whose work has been exhibited nationally and, most recently, internationally.  His intensely colored paintings are process oriented with imagery influenced by his interest in the sciences.  Dempcy is  represented by several galleries including Augen Gallery in Portland, OR and Grover/Thurston Gallery in Seattle, WA.

John Dempcy in his studio.

LN: I notice that you received your BA from the University of Washington, but also received an Associate of Applied Arts from the Art Institute of Seattle.  What were your areas of study at each institution?
 
JD: I was interested in pottery when I started at the University of Washington. I studied with Robert Sperry and was drawn to his textural, painterly surfaces. That got me experimenting with drawing, and then I discovered painting. After four years at the UW I wanted to get out into the world and travel, so I left with a general art degree. Later, I went back to school and studied graphic design. More for practical and financial reasons than for artistic direction. Even so, I developed my artistic skills, and afterwards, working in the field, I gained an understanding of how to run a business and deal with clients. That has come in very handy as a fine artist.

LN: Your paintings resemble scientific experiments related to the study of molds or infectious diseases – enticing, but potentially hazardous.  The circular shaped, colorful, patterned ink splotches seem very process oriented.  In these paintings are you exploring conceptual concerns similar to those of the color field painters of the ’50s and ’60s? Is there a deeper meaning behind the surface beauty or is the illusive content left up to the viewer akin to a Rorschach inkblot test?
 
JD: Early on I responded to the work of Mark Rothko, Morris Louis, Clyfford Still and other painters of that period. I liked the color and minimalism behind their work. I don’t share the conceptual concern that abstraction be an end in itself. As you mention, my work has a scientific bent to it. I reference microbiology and genetics and strive for a feeling or look that points to that. I feel a sense of wonder when I contemplate the biological systems in nature that form such complex structures of function and design. It’s beautiful on the surface, but powerful in potential. I want to bring a sense of that to my painting.

I’m also interested in the implications of genetic engineering, chemistry, and pharmacology that hold the promise of a better life, but at the same time, with our growing, but limited understanding of the mechanisms of nature, hold the potential for unfavorable consequences. Think, “Better Living Through Chemistry.” On the one hand, it has been a boon to humanity. On the other hand, it has introduced factors that threaten our health and existence. Going further, I see this all as the process of human development. Live and learn. Which brings me back to painting. It’s a process. 

Defenders, acrylic on panel, 30"X30", 2009

   
 LN: Tell me about the origins of this painting series.  How have they developed over time?
 
JD: Years ago, I read a book on microbiology and became fascinated by the function and processes of cells. Looking at microscopic pictures of cells and bacteria, I saw a way to make paintings around it. I had been working with wax at that point, but I was not happy with the results. It was out of necessity that I had to simplify my painting process because I lost my studio space and started working in the kitchen. In retrospect, it was a fortunate development. I moved to acrylics on paper at that point, and soon found that by dripping paint I could make beautiful, round, organic forms that looked like they were from under a microscope. I chose to place them in a grid format referring to cell structures. Working on a clayboard panel, I have been able to achieve more vibrant colors and interesting effects as the paint spreads and flows.

Lately, I’ve been working on more complex arrangements based on genetics and the consequent building of cell structures to form organisms. The science is really secondary for me. I see a lot of possibilities with painting and art in understanding how this all works. I’m trying some new ideas and feel ready to embark on a new chapter of this particular direction.

LN:  Are there any contemporary artists whose works inspire you or influence your own?
 
JD: In a former artistic period, working on semi-metaphysical pieces with flowers and birds and bees, I discovered Darren Waterston whose work captured the essence of these ideas I had been working with, but in a more elegant and inventive way. Waterston’s work revealed how clumsy my attempt at figuration was and I decided then to move back to pure abstraction. He has moved more to abstraction also, and his work continues to inspire and inform me. After I started working in my current vein, with drops of paint on a grid, I discovered the work of Jaq Chartier. I love her work and the simplicity of the idea that leads to this beautiful complexity. There are similarities to our work in form and concept, but we chart a different course. Klari Reis works along the same lines as I do. She takes forms that she sees under the microscope and creates fantastic microscapes that are a joy to look at.

Interchange, acrylic on panel, 16"X12", 2009

LN: What do you struggle with in your work?
 
JD: I have a very interesting process and it’s easy to be taken in and led astray by the cool effects and beautiful colors. If I don’t keep my awareness I tend to create pretty pictures that are vacuous in the end. Beauty goes deeper. Another challenge is working with the paint. An integral aspect to my process is allowing the paint to flow and mix. I base my work on nature, and letting the nature of the paint do its work is crucial. My role is to define the idea and composition, paint with some skill, then allow the nature of the paint to do its thing. Failure comes when I don’t trust the process. 
 
LN: From Jan 7th-31st you’re having a solo exhibition in Sceaux, France at Galerie Pierrick Touchefeu.  Can you tell me what that experience has been like?  How is your art being received?
 
JD: This is my first show in Europe. I’ve learned a lot about shipping work through Customs. Have all your paper work in order! My wife is German so I travel in Europe, and I am comfortable dealing with the language and cultural differences. Fortunately, the gallery owner speaks some English and communication has not been a problem. The show seems to have been received well. I’m selling work, and a couple of French art bloggers have picked up on the show with positive reviews. 
  
LN: What projects are on the horizon?  When do you plan to show in Portland again?
 
JD:  This year my goal is to make bigger paintings. Double the size. I started very small because I had to learn to control the paint, or, really, understand how to let it go. With a larger size and some new forms I will be showing at the Seattle Art Museum’s TASTE Restaurant in March. In May I will have a solo show in Portland at the Augen Gallery. Hope to see you there.  
 
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