"My work is a never-ending puzzle of form, space, and color, and each painting is one chapter of that puzzle."
– Trey Egan
Immersion can be defined as deep mental involvement, or an experience that commands the senses. This practice occurs when Egan creates his work and also when the viewer engages with the diverse paint applications, heavy textures, and unique color schemes composed by the artist. Becoming immersed within the complexity of Egan's abstract language has the effect of an optical venture which reveals new elements over time.
n the studio, Egan builds his artwork with an entirely intuitive painting process. When he begins a piece, no specific planning takes place, instead only directly spontaneous choices are utilized. Egan believes this method encourages the assembly of inherent forms and color selections, resulting in the purest form of his natural aesthetic. During this process of instinctive art production, Egan adjusts and ponders, focusing on the most immediate creative decisions. This requires the faith and commitment to "let go and just make," as he puts it.
This system relies on Egan's certitude for innate responses on the canvas, above meticulous planning, or more clinically analytical approaches to artmaking. Interestingly, this method also results in the same hue rarely being used more than once in a painting.
Egan starts with large areas of soft gradients and builds upon it layer by layer, finishing with thick impasto textures in select areas across the surface. "My work never reveals the composition until the painting is complete."
Trey Egan b. 1979 - With paintings that channel rich saturation Egan intermingles the vibrancy of color with indefinite organic forms. His lush and abstract use of oil exemplifies the beauty of pure paint, and are made through the artist tapping into his subconscious, without the purpose of depicting specific visual imagery. Part of Egan's artistic process is rhythmically informed by listening to electronic music in his studio. The layering of electronic sound generates specific energy into his works and educates the physical layering of paint on the canvas. This experience, called synesthesia, is the simultaneous perception of two or more stimuli as one gestalt experience. In this way, the artist's non-objective visual language deals with the relationship between the subconscious and physical space, and allows the viewer to navigate each composition through his or her own memories and experiences.
Trey Egan received a Master of Fine Art in the spring of 2013 at the University of North Texas College of Visual Art and Design. Early in his career, he was part of many group exhibitions including some juried by: Peter Doroshenko (Executive Director of the Dallas Contemporary), Toby Kamps (director of external projects at London's White Cube gallery), Clint Willour (curator at the Galveston Arts Center) and artists Annette Lawrence, Vincent Falsetta, and Erick Swenson among others.