Ejay Weiss' unique perspective structures a parallel universe to reveal a visual matrix of organic evolution, has been captivating collectors for over forty years. He began exhibiting while a student of architecture & painting at Pratt Institute in the mid-1960's. By 1969 he had four solo shows in NY galleries, and reviews in magazines, such as ArtNews, among his 23 solo shows to date.
Weiss' paintings rotate the picture plane to provide an arena not unlike the inspiring 1969 photograph of the earthrise, taken by the Apollo astronauts from the moon. His paintings focus in and out simultaneously, as a fluid macro & microcosm,to express the space/time continuum through the medium of paint. The viewer often feels pulled in, as with his recent Seascapes & AQUARIUM paintings, which seem buoyanced by the tides as well..
From 1992 to 2009,serving as artist-in-residence of the Cabrini Hospice NY, he coordinated a 1999 design renovation of the 45 bed,16000 sq.foot hospice inpatient unit,& curated a hospice art collection of 200 donated artworks. In 2003 he received a Pollock-Krasner Foundation grant in painting. From 2005-10 Ejay Weiss was the first artist invited to conduct a colloquium at Rutgers University Division of Global Affairs & create a course for their Graduate department of Political Science,entitled
"Art & Globalization: An Artist's Perspective"
A 2011 exhibition of paintings, the 9-11 ELEGIES, 2001-2011 at Saint Peter's Church Narthex Gallery at Citicorp Plaza, NYC, commemorating the 10th Anniversary of the 2001 WTC attacks, received worldwide media attention. The curators of the National Sept.11 Memorial Museum, at "Ground Zero" plan to exhibit all twelve canvases of Ejay Weiss' 50 foot long 9-11 Elegy Series after the museum opens in 2014. He lives & works at his Chelsea, Manhattan studio.
The organic synthesis you see in my work expresses a lifetime of observing natural processes, which I structure as an evolving paradigm from the bottom-up (or topologically from the inside-out) as a process in paint. For me, painting reveals a paradox that is always inherent in the ephemeral: namely timelessness or being in the moment. A native New Yorker, I’ve been influenced by the abstract expressionist painters, who dominated the art scene here when I was a teenager.. Ultimately all painting is abstract, occupying a dimension that is ideal and doesn’t actually exist in nature. We usually view the 2nd dimension in its entirety all at once. In this way a painting may recapitulate a unified field, occupying space… but as a moment in-or out of-time.
To some degree I see my work as a microcosm of a geological process. What evolves through the paint medium, which accrues in layers as it flows and later dries on the canvas, is a journey that expresses its adapting to every application and stroke of paint in each work. Here, a vista opens from within the painting itself and generates outward to the surface. What also emerges is the interior space of the painting, be it a still-life bowl of fruit, a complex field of threaded paint, or even a seascape, so that each painting attains its own maximum entropy (its own fullness), as a bounded yet infinite expression of the world.