John J. O'Connor (artist)

John Jerome O’Connor (born 1972) is an American artist primarily known for his large-scale, labor-intensive, abstract works on paper. In his work, O'Connor transforms information through idiosyncratic processes, creating equally idiosyncratic abstract shapes, forms, and patterns.

John Jerome O’Connor
Born1972
Westfield, Massachusetts, United States
NationalityAmerican
EducationWestfield State College, Westfield, MA
Pratt Institute, Brooklyn, NY
Skowhegan School of Painting and Sculpture, Skowhegan, ME
Known forPainting, Drawing, Installation

Early work

Influenced by the art and music of John Cage while studying at Pratt Institute, O'Connor created abstractions based on chance operations. In 1998 he made a series of small drawings by dipping jazz brushes in ink before playing them directly on paper. Each drawing represented a specific beat per minute played for a specific duration. In the late 1990s, O'Connor begin to explore systematic approaches to art making through drawing. These works were diagrammatic and process based. Though the compositions were simpler in these and other experimental works made in this period, O'Connor was laying the basic groundwork for his future methods and defining his unique conceptual framework, which he expanded at the Skowhegan School of Painting and Sculpture in 2000.

Recent work

O'Connor's central works are large-scale drawings on paper made with colored pencil, and graphite. He also makes sculpture, photography, collage, and installation. O'Connor is also a member of the artist collective NonCoreProjector. Their project "Verbolect" is a multi-media work that explores the relationship between AI and human language, emotion, endurance, and computer-based introspection.

O'Connor's large-scale drawings often contain abstract forms made from multi-colored fields of text and patterns which are partly derived from combining simple logical processes (such as alphabet codes or...) and partly from intuitive reactions, described as his "trademark hallucinatory style".[1] These processes often force unlikely connections between seemingly disparate data often with humorous results. Information used in his work include conversations the artist has had with Cleverbot, charts on male pattern baldness, chess game patterns, sunspot fluctuations, temperature prediction and error, the prophesies of Nostradomus, census reports, etc. Patterns that emerge from linking these disparate data are often a structural conduit for his unique logic and subsequent aesthetic.

O'Connor's most recent series of 26 interconnected drawings are large, pictogram-like works that depict, through text and graphic images, the lifespan of a working class male as he encountered myriad obstacles, both real and imagined. These works reference Hollywood filmmaking, consumer drug effects, video game spaces, social class, popular music, dream imagery, theories of time perception, literary fiction, advertisement logos, etc. In a recent series of photographic collages, O'Connor fused close up NASA images of sunspots onto the surface of his face, creating, disturbing composite portraits that investigated the relationship between celestial patterns and those of the human being on Earth. Overall, many of O'Connor's recent works explore the moment when an individual's internal intentions and desires are affected, opposed, or concretely influenced by a more powerful external force.

gollark: Why would you LIKE interacting with users? Have you SEEN users?
gollark: > System administrator is the best tech job hands down. I love getting paid to install things.Does it involve dealing with users?
gollark: Isn't that *also* kind of bad? I mean, you're subject to departmental politics stuff probably, have "publish or perish" going on, etc.
gollark: "It's only real work if you do manual labour, because that was around longer and is thus evidently the only valid kind, and it looks more difficult to me."
gollark: Yes, that is silly people being silly.

References
  1. Nell McClister (August 20, 2010). "John J. O'Connor". Artforum. Retrieved 2016-02-18.
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