A View Askew
by Veron Ennis

Marcus Jansen has the uncanny ability to show us the follies of today’s cultures and societies by way of Urban Expressionism—his technique successfully combines action painting with objective subject matter. A task deemed impossible by Ad Reinhart sixty-some years ago, Jansen now accomplishes brilliantly.

Jansen’s powerful depictions of issue-charged environments include a cast of symbolic imagery that works in harmony to engage our innate concern for humanity’s well-being. Faceless figures embody entire genres of people, from the demons of society, to the poverty-stricken forgotten victims of natural and economic disasters. Tires strewn about the composition, abandoned or actively flying out of plane, call to mind the unfortunate tendency to waste resources and carelessly cast away material, deemed disposable - now a slowly decaying toxic mass. Spotted toy balls whimsically alleviate the weight of the darker subject matter, alluding to childhood: They give a glimpse of innocence, an invitation to look at life through a child’s eyes.

Dripped and washed oil-based enamel is applied in grand, lively gestures, creating loosely defined structures. Jansen’s technique communicates immediacy, as if the painting were a quick sketch; however, the composition remains incredibly controlled with no sign of carelessness. Color is masterfully combined within brush strokes as well as through layered washes. Deep elongated shadows coupled with highlights of classic street sign tonality are cast with careful discretion, illuminating key elements in the composition, beautifying what in reality would be otherwise overlooked urban debris.

Jansen’s urban landscapes are mysteriously navigable. Intriguing shadowed corners, lighted overpasses, and clouded window panes instigate detailed exploration of the canvas, resulting in intimate interaction between painting and viewer.

2012 brings an exciting deviation from Jansen’s current series. Diving into the sculptural arena, Jansen readdresses the idea of an expressive environment by composing a three- dimensional landscape, quite literally. Sculpted, carved, poured, pulled, and propped; elements of the Table Top series are akin to what is found in Jansen’s paintings, now taking on new life, stacked and scattered, on horizontal plane. The loaded compositions engage the viewer without mercy, demanding a detailed scouring of every minute detail. Get ready to get lost.