Riopelle is overrated, and why I love the abstract paintings of John Kissick

We all know Art is subjective, and each person has their own taste when it comes to the art they appreciate. However, some artists have gained a reputation that goes beyond their actual merit. One such artist in my mind is Jean-Paul Riopelle. Although he is considered a master of abstract art, I believe that his paintings are overrated. In contrast, John Kissick’s abstract paintings are stronger and more deserving of attention. Overrated Art: Riopelle vs. Kissick in this post, I will quantify my opinion on both artists and explain why I think Kissick is a better abstract painter than Riopelle.

Overrated Art: The Riopelle painting itself felt like a giant shadow hovering

I remember the first time I experienced a Jean-Paul Riopelle painting up close. It was when I walked into the home of an art collector of my work, only to be greeted by an immense Riopelle on the entry wall. The size was impressive, though the painting itself felt like a giant shadow hovering over me, it was not a welcoming experience. Further into their home, an entire room dedicated to small works by Riopelle, while less daunting, certainly not something that stirred my soul. Riopelle was a Canadian artist who became famous in the mid-20th century. He was part of the Automatistes movement, which was a group of artists who aimed to create art that was free from rational thought and conventional techniques. Riopelle’s paintings were characterized by large, bold strokes of color, often applied with a palette knife or trowel. His style was influential in the abstract expressionism movement, and he is considered one of Canada’s most important artists. However, despite his reputation, I believe that his paintings are overrated, compositions muddy and depressing.

Forestine, 1954 by Jean-Paul Riopelle

Riopelle’s paintings are flat and lack the layering and texture that can make abstract art truly engaging. While his works are visually striking, they do not offer much in terms of emotional or intellectual engagement. Riopelle’s paintings are often compared to landscapes, and while they do have a sense of space and movement, they lack the complexity and depth of a true landscape. Another reason why I think Riopelle’s paintings are overrated is that they lack originality. While he was part of a movement that aimed to break free from conventional techniques, Riopelle’s paintings feel formulaic. They are all variations on a theme, with the same bold strokes of color applied in the same way. There is no sense of experimentation or risk-taking in his work. Riopelle’s paintings feel safe and predictable, which is not what you would expect from an artist who was part of a movement that aimed to push boundaries.

Pavane 1954, by Jean-Paul Riopelle

With Kissick my heart and mind were set ablaze.

I remember the first time I encountered the paintings of John Kissick. I attended the solo exhibition of his works at the Kelowna Art Gallery in 2011, the show titled, ‘A Nervous Decade’. I remember walking into the room and for the first time really connecting to an abstract painting. There was depth, dimension, colour, and movement in these pieces. I was feeling a range of emotions, and my heart and mind were set ablaze. In contrast, John Kissick’s abstract paintings are stronger and more deserving of attention. Kissick is a contemporary Canadian artist who has been working in the field of abstract art for over 30 years. His paintings are characterized by a sense of movement and depth, with layers of color and texture that draw the viewer in. Kissick’s work is original and experimental, with each painting offering something new and unexpected.

A Nervous Decade, John Kissick, Kelowna Art Gallery 2011

One reason why Kissick’s paintings are stronger than Riopelle’s is that they offer more depth and complexity. Kissick’s paintings are not just visually striking, but they also offer an emotional and intellectual engagement. Kissick’s paintings are not just about the surface; they invite the viewer to explore the layers beneath. Another reason why Kissick’s paintings are stronger than Riopelle’s is that they are more original. While Kissick’s work is rooted in the tradition of abstract art, he takes risks and experiments with new techniques and approaches. His paintings are not formulaic; each one is unique and offers something new. Kissick’s work is unpredictable and surprising, which is what you would expect from an artist who is pushing the boundaries of the genre.

John Kissick: Groovefucker, MAR 25, 2011 – MAY 05, 2011 Berlin, Germany

In conclusion, while Jean-Paul Riopelle is considered a master of abstract art, I believe that his paintings are overrated. They lack depth and originality, and while they are visually striking, they do not offer much in terms of emotional or intellectual engagement. On the other hand, John Kissick’s abstract paintings are stronger and more deserving of attention. As a Canadian artist, I recognize the importance of both artists work to the genre of abstract painting and putting Canadian Art on the International Art scene. For my art collection, I would put my art investment dollars into an original John Kissick painting. I want to dive into his paintings and swim around for a while, that’s how much they move me.

The benefits of investing in original Canadian art.

A Day in The Life of An Artist: documenting the creative process

An artists diary – inside the studio of Brandy Saturley

At the end of the work day, I take whatever paint I have left on my palette and I use it to make a small abstract painting on a torn out page of high-gloss magazine paper. I think I began this ritual about five years ago and it shows a day in the life of an Artist. I found that it gave me a time at the end of the day to break concentration and freely create something loose and immediate, a mental stretch of sorts to end a day of highly concentrated painting. Instead of scraping the paint off my palette and saving it, something that is very hard to do with acrylic paints, the leftover paint was helping to birth a new creation. Each page has come to represent a ‘day in the life’ of a painting, a painting diary of sorts. These 8×10 abstract paintings were forming a diary and a dialogue about working as a painter. Over the years I have saved thousands of these pages, most survived, not all as some became stuck to one another and i was unable to save them, and some I cut into shapes that I am certain will be used in future paintings, perhaps paintings with collage elements worked into the composition. A painting diary is a wonderful thing, it offers a record of my palette over the past few years, painting swatches if you will, a journal of colours.

From Vincent Van Gogh to Georgia O’ Keeffe, keeping a diary, or journal, has always been a crucial part of the artist’s life. For some, it helps formulate a better conceptual understanding of works created through sometimes intuitive processes. For others, it can be a reference for future art making. Whether a detailed written journal like that of Van Gogh, or a more visual diary of sketches, studies and even colour swatches, journals are a necessary part of the creative process and provide fuel for future discovery.

I recently gathered most of my ‘abstract palette pages’ and arranged them for a photo shoot in my studio. I spread the pages from floor to ceiling, running up my studio walls, integrating them with paintings in progress, the result is a vivid and energetic environment. How I imagine the inside of my mind looks at any given time. These photos show a glimpse inside my creative process, which heavily relies on intuition these days. A peek inside the artists’ process.