A recurring theme in Price’s oeuvre is this relationship between the collective unconscious, the personal subconscious that feeds the imagination, and the existence of the soul? Price maintains that one should not be too concerned about the complexity of these issues – instead, one should appreciate the beauty and complexity of our existence free from imposed theologies. As a result, Price provides a labyrinth of choices as a solution to these existential dilemmas with images that are embedded in humor, that is the humor as the foundation of our humanity, the ability to laugh at our own follies.
To fully experience the paintings of Price one needs to see them in person, not a reproduction or on a computer screen. Price makes his own pigments from minerals, rocks and crystals just as the Renaissance artists did centuries ago. It all started at the end of the 1980's, when Price abandoned the modern synthetic tube oil paints after he made a life-changing discovery while collaborating with a conservation scientist at the Doerner Institut in Munich, Germany. The richness and depth of color from organic sources brings a further dimension to the act of painting. In addition, Price uses data complied over decades of studying X-ray and infrared images of masterpieces to unravel the Euclidean geometry of harmonic rectangles to build his own timeless compositions.
Birth of Adam, 2014, Gold leaf, natural and mineral pigments in caesin and oil on linen on panel, 55" x 43"