Exhibitions Artists Events Shop Information Blue Cross, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 72 x 72 inches, framed, $ 4,200 Contact us to purchase Joseph Beuys Goes to New Mexico, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 64 x 64 inches, framed, $ 4,000 Contact us to purchase Blue Bottle, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 70 x 54 inches, $ 4,000 Contact us to purchase Blue Cubes, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 70 x 54 inches, framed, $ 4,000 Contact us to purchase Red Triangle, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 72 x 72 iinches, framed, $ 4,200 Contact us to purchase Orange Shot, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 70 x 54 inches, framed, $ 4,000 Contact us to purchase Pump, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 56 x 47.5 inches, framed, $ 3,800 Contact us to purchase Yellow Bucket, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 64 x 64 inches, framed, $ 4,000 Contact us for purchase Red Flags, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 45 x 37 inches, framed, $ 3,800 Contact us to purchase Yellow Capsule, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 54 x 42 inches, framed, $ 3,800 Contact us to purchase Christopher Columbus Goes to Jail, shellac, acrylic, oil pastel, oil stick and conté crayon on canvas, 54.5 x 84 inches, $ 4,200 Contact us to purchase These paintings were made in the time of covid and the uncomfortable confrontations with racism and climate change we are experiencing. Themes of impermanence and the associated anxiety stemming from displacement and the looming threats of extinction and erasure continue to haunt me and push my work conceptually. Bright colors and large shapes exist in conflict with the edges of the picture plane. The compositions are slightly off balance. Crowded and overlapping focal points fight for attention. But my surfaces, made possible because of the beauty of paint as a material, are intentionally luscious and worn. Because of the scale of this work, the surfaces can exist as distinct spaces and shapes compounding the compositional complexities of the images. I am trying to create something that is both beautiful and chaotic. My work is both highly decorative and deeply expressive. The physicality of painting and drawing is a huge part of my interest in the practice. Scaling up my imagery is a formal challenge (my ideas begin in standard sketch books). Drawing at this scale results in life-size gestures which changes the way I work and the way the work reads. I’m drawn to work as diverse as medieval art, expressionist painting, conceptual wordplay, graphic design, illustration, and utilitarian work like mending. Japanese peasant farmers created and repaired textiles using a technique called boro. They would patch pieces of fabric or clothing together to add bulk for warmth or simply mend something repeatedly, like a rag or a diaper, out of necessity. The results were often strikingly beautiful - objects salvaged through constant repair, a performance of worn background, woven line, cancellations, and replacements. I think of boro often as a practice and a metaphor, an archeological record. That’s what painting is for me. Aimee Joyaux received her MFA in photography in 1995 and her BA in art in 1985 where she concentrated on drawing and painting. Her work has been exhibited in The National Museum of Women in the Arts, the Center for Book and Paper at Columbia College, The Art Institute of Chicago, The Indianapolis Museum of Art, the Center for Book Arts (NY), and Nexus Press in Atlanta. Examples of her work are held in the collections of The Museum of Fine Arts Houston, The Center for Book and Paper at Columbia College, Indiana University East, Penland School of Crafts, and locally at Dominion, Capital One, Altria, The Quirk Hotel, The Valentine, Candela Books and Gallery, and Try-Me. Joyaux has received funding support for her work in book arts and drawing from Culture Works, the VMFA, the Illinois Arts Council, and the Indiana Arts Commission. She is currently a full-time studio artist living and working in a renovated cotton warehouse in Petersburg with her husband Alain and hound dog Oliver. © 2021 Quirk Gallery