Jeff’s studio is located on the second floor of a single-family home in the northern part of the city’s University District. Visitors are encouraged to park on Summit Street and approach the house from the front. Inside guests will have a chance to see a selection of finished works as well as a number of works in progress. Additionally, (and because no art is made in a vacuum) visitors will have the opportunity to explore some of the inspirations behind the works on hand.
Jeff Regensburger is a painter, writer, and librarian currently working in Columbus, OH. He received a BFA in painting and drawing from The Ohio State University and an MLS from Kent State University. In addition to solo exhibitions at the Dayton Visual Arts Center, the Ohio Art League Gallery, and the Ohio State University Faculty Club Jeff’s work has also been included in numerous group shows and juried exhibitions. Jeff is a member of the Ohio Art League and the Roy G Biv Gallery. Additionally Mr Regensburger writes for Columbus Underground where he provides news and reviews of area exhibitions.
For me, painting tornadoes has always had a strong conceptual component. I was initially drawn to the juxtaposition inherent in depicting these large-scale, catastrophic events in small, subtle paintings. And while the paintings are technically landscapes, they’re obviously not the sort of works one paints from direct observation. Most are derived from photographs and videos. Many borrow different elements from different photos, so that sky, tornado and ground might be culled from two or three different sources. In that regard I suppose I’ve always felt there’s a kind weird dishonesty about them; nature at its most unbridled, painted from a photograph, in hopelessly small-scale. It’s the great plein air tradition turned on its head.
Yet, at the same time these works cling to a very real tradition of American landscape painting. While the process might begin with a photograph, the spirit of the paintings lie more with Albert Pinkham Ryder, Marsden Hartley, Ralph Albert Blakelock, and a host of other artists who saw both beauty and menace in the land they chose to paint.
Not surprisingly, these paintings are very much rooted in place. The 110-mile stretch of I-71 that connects Columbus and Cincinnati is one that is very familiar to me. So too is the Columbus Museum of Art’s wonderful collection of 19th and 20th Century American paintings. I’m not sure these paintings would exist without repeated exposure to both that particular road and that particular museum.
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My Work & Studio