The concept vernacular suggests the absence of formal constraints or convention, whether in language or architecture. Yet, vernaculars develop not so much as a reaction against approved structure, but in their absence. There is freedom from recognised oversight or approval.
Formulated more positively, vernacular could be described as organic or authentic (a word I hesitate to think never mind use, since it has been co-opted by “corporationthink”, as Ursula K. Le Guin might have put it). Perhaps, as-is, everyday and ordinary serve as appropriate synonyms: for example, language as it is spoken, the building as built, ordinarily by anonymous. In other words: suchness, on the local or domestic scale.
This is one of those titles that came to me long after the paintings were done. Thus the words, the titles, the story follow the pictures: much like with any vernacular. Hence (in part) the title.
“In part” since the series embodies vernacular, rather than saying anything “about” it. Each work was created in abandoning constraints. Thus, it sets out not to say anything about loss of control, but is a loss of control. Each work developed organically and was left to remain as-is.
The accompanying images are a selection from the Vernacular series.
All paintings:
Oil and acrylic on gessoed panel
62 x 41 cm
