Travis Ivey’s aesthetic exists at the crossroads where industrial manufacture meets with different modalities of impressionism. Tape, vinyl, and the kind of scored surfaces that require a quick cut of incised color allow Ivey to make the punch of a pin-stripping aesthetic function like a modern-day shadow box of pixels and pentimenti. High key chromatic landscapes appear from within his geometric arrangements like so many synthetic futures coming in and out of focus at different distances for viewing. And the way that Ivey has used re-appropriated and discarded material to create representational imagery gives his work a biting edge of social commentary around the realms of environmentalism and the politics of reclamation.
Ivey is a polymath of course, in that he is both a representational painter and someone who occasionally works in the abstract, but more importantly, he is also able to blend these two disparate perspectives seamlessly. A rare gift in the age of codified styles and marketable artistic identities, Ivey is likely to continue to surprise his fans and patrons alike by always evolving his aesthetic to include more of what’s possible and less of what’s already been done.
The design elements of his big mural projects, the manifestation of his material explorations, and the maximalist tendencies that encompass the growing vocabulary of Ivey's oeuvre, mean that his visual repertoire is always expanding, mutating and transforming as an artist. Yet, it is the deployment of these qualities in just the right measure that has allowed Ivey's works to be widely recognized in the Valley today, and not just as a leading talent, but as someone whose pieces are sought after by some of the most influential collectors in the Arizona artworld and beyond. And that is because his work is an incisive contribution to rethinking the boundaries of the “New Geometricism” and its relation to the world around us.
Bio: Travis Ivey, born 1978, currently lives and works in Phoenix, AZ. Under his alter ego “HANK,” Travis creates paintings of the vast western landscape with an emphasis on human ecology and the impacts of development. “Many of the paintings I’ve created since moving to Arizona are inspired by the encroachment of urban space into the desert ecosystem, and the massive infrastructure that enables this growth. I’m also intrigued by the ‘palm versus saguaro’ scenario, and how that juxtaposition is emblematic of the Valley’s history and our desire to control - and at the same time preserve - divergent cultural identities.”