John Ochs

Headless Theology

Headless Theology
Shellac on Panel, 40 x 36, $5400

Tagged, You're It

Tagged, You're It
Shellac on Panel, 40 x 36, $5400

Untitled I

Untitled I
Shellac on Panel, 12 x 14, $1800

Untitled II

Untitled II
Shellac on Panel, 14 x 12, $1800

Crooked

Crooked
Shellac on Panel, 48 x 48, $11,500

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22 each, $2500 each

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500

Untitled

Untitled
Shellac on Paper, 31 x 22, $2500 each

Under The Sun #9

  Under The Sun #9
Shellac on Panel, 48 x 60

Keeps on Going

  Keeps on Going
Shellac on Panel, 48 x 48

Untitled

  Untitled
Shellac on Paper, 31 x 22

Untitled

  Untitled
Shellac on Paper, 31 x 22

Immersion

  Immersion
Shellac on Panel, 56 x 48

Under the Sun #1

  Under the Sun #1
Shellac on Panel, 48 x 48

Under the Sun #2

  Under the Sun #2
Shellac on Panel, 48 x 48

Under the Sun #3

  Under the Sun #3
Shellac on Panel, 48 x 48

Hang Time

  Hang Time
Shellac on Panel, 48 x 60

L-Uh

  L-Uh
Shellac on Panel, 48 x 60

Revolution

  Revolution
Shellac on Panel, 60 x 48

The Coming One

  The Coming One
Shellac on Panel, 60 x 48

Boxed Heat

  Boxed Heat
Shellac on Panel, 60 x 48

Swift

  Swift
Shellac on Panel, 48 x 60

Cycle #4

  Cycle #4
Shellac on Panel, 48 x 48

Watchmen

  Watchmen
Shellac on Panel, 48 x 48

Untitled

  Untitled
Shellac on Paper , 31 x 22

Headless Theology thumbnail
Tagged, You're It thumbnail
Untitled I thumbnail
Untitled II thumbnail
Crooked thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Untitled thumbnail
Under The Sun #9 thumbnail
Keeps on Going thumbnail
Untitled thumbnail
Untitled thumbnail
Immersion thumbnail
Under the Sun #1 thumbnail
Under the Sun #2 thumbnail
Under the Sun #3 thumbnail
Hang Time thumbnail
L-Uh thumbnail
Revolution thumbnail
The Coming One thumbnail
Boxed Heat thumbnail
Swift thumbnail
Cycle #4 thumbnail
Watchmen thumbnail
Untitled thumbnail

Artist Statement

Three things motivate and shape my work: pure pleasure, challenge, and the attempt to engage in a visual and critical dialogue with other painters, past and present. The pure pleasure I derive from painting is just that: complete and utter expressive gratification, akin to faith in its steadfastness. The challenge comes in many forms, particularly in not knowing exactly where a work is going to go. My conceptual dialogue may best be understood in the context of a child who may be structured and guided by his parents when he is young, then follows his own path, independent of his parents but still shaped by them as he grows I was shaped and guided by those before me (Motherwell, Diebenkorn, and Pollock, among others), giving me a solid foundation—studying, copying, experimenting, then working more independently. As this relationship grows, it allows me to follow my own path, all the while enjoying their continuing influence through an evolving dialogue with them, as well as with my contemporaries working in the same bent. My work is an expression of this dialogue, a spontaneous intuitive reaction that is itself a sort of conversation with my medium. I agree with Jackson Pollock when he said, “I want to express my feelings rather than illustrate them.” My physical reaction comes from my intuition, both ordinary and esthetic. Clement Greenberg clarifies that distinction in his essay Intuition and The Esthetic Experience: “The intuition that gives you the color of the sky turns into an esthetic intuition when it stops telling you what the weather is like and becomes purely an experience of the color.” The work in this show challenges viewers to use their own intuition to experience the essence of these essays of a silent medium.