This painting depicts a crouching outfielder as he squinting into a yellow and pink sun, his hands cupped near the ball. The figure's facial features and expression are inscrutable, suggesting an ambiguous relationship between the player and the game. Light is allegorical in this painting; the mellow atmospherics of the background are punctuated by the strong shadows in the player's uniform. The artist approaches painting as a medium of constant transformation and transition. Chan's palette, drawing influence from post-impressionism, pairs muted tones with gesture-like applications of symbolic bright colors.
This work is part of a series by the artist that draws its subject matter from early baseball cards. The poses of the baseball players are meditations, representations completely outside any relevance to the game or even team sports in general. These works, exploring figure painting and the possibilities of composition, frequently depict baseball players bent over; when the sportsmen are catching ground balls, the objects are near the bottom of the frame. Chan draws comparison between the effort in the players' postures and other physical aspects of painting and representation. In particular, the works explore the role of the hand in the circulation of images: from the original baseball cards, to the players’ gestures, to the painter’s hand which gently directs the viewers' attention.
② Represented by:
Jamie Chan’s paintings depict mundane marginalia like early baseball cards as well as excerpts of Dutch renaissance paintings. The artist’s palette draws from post-impressionist works, pairing muted tones with gesture-like applications of symbolic color. Chan approaches painting as a medium of constant transformation and transition—frequently exploring the hand’s role in the creation, circulation and acquisition of images.