Donald Sultan
Donald Sultan (b. 1951 Asheville, NC) is an artist who rose to prominence in the late 1970s as part of the \u201cNew Image\u201d movement. Sultan has challenged the boundaries between painting and sculpture throughout his career. Using industrial materials such as roofing tar, aluminum, linoleum and enamel, Sultan layers, gouges, sands and constructs his paintings\u2014sumptuous, richly textured compositions often made of the same materials as the rooms in which they are displayed. Intrigued by contrasts, he explores dichotomies of beauty and roughness, nature and artificiality, and realism and abstraction. Weighty and structured, Sultan\u2019s works are simultaneously abstract and representational: his imagery is immediately recognizable\u2014 flowers, daily objects, idle factories\u2014but ultimately reduced to simple geometric and organic shapes. As Sultan says, \u201cI try to pare down the images to their essence, and capture the fleeting aspect of reality by pitting the gesture against the geometric\u2014the gesture being the fluidity of the human against the geometry of the object.\u201d\xa0\nSultan\u2019s early experiences building theatre sets at school, working in his father\u2019s tire company in Asheville, and later in construction as a young artist in New York had a profound influence on his artistic development. These various lines of work led to an interest in industrial reproduction, heavy materials, and a practice of painting on floors and walls, \xe0 la Jackson Pollock. Sultan\u2019s works, constructed horizontally, denote a purposely flat quality that borrows the synthetic flatness of stage sets while also utilizing the monumental weightiness of industrial materials\u2014 which harkens back to Asheville\u2019s strong roots in manufacturing.\xa0\nInterested in the artifice of nature as it is sold and packaged within a consumerist society, a major theme within Sultan\u2019s work is studying the representation of an object or idea\u2014how a flower, a factory, or a fruit is consumed in the Zeitgeist of the twentieth and twenty-first centuries. In the 1980s, Sultan began depicting lemons in the style of traditional still lives. The blinding brightness of the yellow against the pitch black hue of the roofing tar he used as background make Sultan\u2019s interpretations of these fruits hard to look at, while deferring monumental dignity to the common household good. The contrast of these natural organic shapes against the industrial materials and grid format has led Sultan to describe these works as pieces with \u201cheavy structure, holding fragile meaning.\u201d Playing with the dichotomy of meaning and material, perception and reality, the Lemon works began Sultan\u2019s longstanding interest in depicting how an object is looked at, rather than the object itself.\xa0\nHis 1990s series on dominos and dice continue this reflection on the still life\u2014the ultimate, slow, and concentrated gaze upon an object. A style entrenched in repetition and tradition, the repertoire of this style is ultimately limited, but the combinations endless. In his compositions of back dots and mathematically endless arrangements of dominoes, Sultan creates a visual metaphor for the limitations and possibilities of the still life tradition, and the liberties allowed within its set parameter.\xa0\nThe artist\u2019s heavy use of industrial materials in the late twentieth century naturally led to his famous series of \u201ccatastrophic\u201d paintings in the 1980s and 1990s. These industrial landscapes, titled the Disaster Paintings, illustrate the fragility of robust man-made structures, such as industrial plants and train cars, when faced with catastrophic events. This series was exhibited across the United States in a traveling exhibition in 2016 through 2018. The exhibition originated at the Lowe Art Museum at University of Miami and then traveled to the Museum\xa0\nof Modern Art, Fort Worth; Smithsonian American Art Museum, Washington, DC; North Carolina Museum of Art, Raleigh; and Sheldon Museum of Art, Lincoln.\xa0\nIn recent years,