WRITINGS ON STROMMEN MASTERWORKS

I am going to make a bold attempt to present and discuss five of Jay Strommen’s masterworks, both singularly and simultaneously, with a discussion of the relationships they share. This will focus on the metamorphosis they demonstrate and represent in the development of his career. The pieces will be referred to as "A" through "E" with the images labeled appropriately.

As gallery pieces, they are all for sale as single pieces and not as a group, unless an appropriate bid is offered for the entire collection.

Piece "A" is simply an example of one of hundreds of work that define his razor sharp abilities as a minimalist. This specific piece was produced simply as a model for a final work, and he is frankly resentful that I am even using it as a piece for access for a potential buyer. However, it stands out, as the images project, as a work of its own quality and stature.

The towering dimensions are 24” by 8”. There are incisions, particularly on the top and sides that demonstrate his virtuosity. This piece serves as a precursor for his output of a similar work in a mid- to small-range. Many of them develop into ‘capsule-like’ pieces that are included in his future work. 

I have included Piece "B" for some rather eccentric reasons, as it must be pointed out that it really does not fit into the obvious development of the other three pieces and their apparent metamorphosis.

The work is an upside down ‘bowl’, that to the layman's eye would for a moment appear to be an aircraft from another planet. It is full of totally square indentations, setbacks, projections, etc. The rather generous opening in the top gives one the opportunity to peer inside to discover an entirely independent ‘environment’ that for all intents and purposes does not relate to the body of the piece. The incredibly random placement of the ‘spikes’ gives one pause for any kind of interpretation, or as in my case, no interpretation, simply an organic feeling to the environment. It presents a completely contrasting environment to the exterior of the piece. The one thing I ask is, of course, to remember its form as you will see a similarity to pieces from later in his development. This piece is in a world of its own. The glazing is stunning and completely spontaneously applied. The absence of glazing reveals gray rough clay.

Piece "C" is a tour de force. It shares the tall stature of ‘A’, with the exception that the outside environment is totally abstract in expression, with two meticulously crafted minimalist ‘capsules’ inside. They are independent works of art in their own right that are shrouded by the cocoon. Mr. Strommen has given the viewer the opportunity to see this complete combination  with a large ‘split’ in the front, well captured by the image, as is the rest of the work. There are beautiful expressionist ‘holes’ in the tower through which one can peer inside and enter the interior environment. The capsules are inextricably linked to entire concept of the piece. I can sit for hours at a time contemplating the beauty of the wood firing and the crude fragments on the lower section of the outer work. In complete contrast, one of Strommen’s trademarks is his use of a diamond polisher in discreet parts of the work, found among crags, in canyons, etc. These are almost always found by touch, which is a slick sensation. All of his work is equally for the hands as for the eye. 

Piece "D" is simple in concept and complex in construction. It appears to be a perfect example of abstract work. The bottom half is a huge bowl that was found completely disassembled and roughly put into its shape. The appearance is reminiscent of pieces from 2000 BC.  This piece is wood fired as are the other pieces, and share the deep rich mahogany of all pieces here, with the exception of Piece ‘B’ The images speak for this piece. It is definitely one of his free-form expressionistic works. It is similar to so many of Voulkos' works, but here Strommen takes the process a step further.

Piece "E" is the coda of this collection. Its bottom half is completely free form and is violently composed in the function and assemblage of a stand. The crown of the work is once again an inverted ‘bowl’ form, minimalist in every respect, an enormous surprise as it is large with great sophisticated minimalist detail. Razor-like lines form geometric patterns on the top and side. Only a photograph can do this work its credit, and it does. It is a compilation of all of these pieces in the series, put together in the most imaginative way.

You have seen 3 previous pieces in the gallery, and can trace the development of the series.  The “Bottle Rocket” series was an excellent precursor of all of this work. 

Can one predict the development of his style? I have never come close to it. He is always working on another series. Frequently he will use the same language, but the end result is always a fresh living and breathing being. Mine pieces are family members. You will come to this place, and enjoy them for an infinite period of time.

CODES #STR - A B C D & E