Bio

Blake Flynn has been practicing art since the time he could first grasp a crayon; however, having an aversion to starving, he embarked on a long-term plan to first ply his design skills in the engineering field.  He graduated from the University of Washington in 1984 where he also studied Art, Art History and Architecture.  Further training included coursework in drawing at the Academy of Realist Art in Seattle.

At the end of 1999 he left a successful career in aerospace engineering to become a full-time artist.  Since that time he has had a number of solo and group exhibitions, been invited into a number of juried shows, won several awards, and has had his work featured in Amazing Stories magazine and on the cover of 48˚ North magazine.  His work is included in a number of local, national and international private collections.

Artist Statement

I work within the basic framework of realism, with recognizable subject matter and the fundamental goal of making a two-dimensional surface look three-dimensional in a convincing way.  But at the same time I transcend the limitations of realism, letting my imagination run rampant.  I bend physical laws.  I distort shapes and sizes.  I combine disparate elements.  I create improbable juxtapositions.  This gives me greater capacity to articulate a particular idea and to create the desired visual and emotional atmosphere.  

My work appears surrealistic however it is neither dream-based nor lacking in conscious control.  And although I concede the germ of the idea for a given painting might have a subconscious component, I’m actually quite analytical in the development and execution of the piece (no doubt symptomatic of my previous career as an engineer).  This reliance on my rational mind combined with the narrative quality of the work suggests the term “Magic Realism” would be a more accurate classification. 

Through my work I hope to offer perspective on an individual’s place within the greater society, our country’s/culture’s place within the geopolitical world, and our species’ place within the natural world.  In this way my work is meant to impart a sense of humility and, oftentimes, of lost opportunity.  I am also motivated by a more selfish goal: to experience the sheer joy of exercising one's imagination.

Technique

All my original paintings are done with oil, which I prefer for its depth, richness, and workability.  I paint on rigid panels with treated surfaces.  I start by developing a detailed sketch, often in conjunction with small-scale value and color studies.  After transferring the drawing to the panel, I apply the paint in thin layers with soft brushes, much like watercolor.  I usually start with a monochromatic underpainting and then add color with a series of translucent glazes.  My attention to detail stems from my belief in its importance to quality design and reflects my deep respect for craftsmanship.