I don’t know what my fascination with Conrad Jon Godly’s paintings are. Could it be because I haven’t touched snow in over a decade? Could it be because I want to take a butter knife and dab that paint on my morning bagel? Whatever it may be, it takes a second to really value the extraordinary technique behind what appears to be such a simple utilization of paint. Close up the mountains look to be a heavy, thick, random mix of blue, white and black, the result oils combined with turpentine to produce a thick impasto that Godly frequently puts dripping from the canvas. Move several steps back and you might as well be looking at a photograph of the Swiss Alps. It’s a visual technique that Godly has mastered in both small and large-scale paintings throughout the last few years.
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