Joseph E. Kinnebrew is a graduate of Syracuse University, Syracuse, New York. He has been working in metal for many years and has taken part in several exhibition across the United States.
The surreal aspect of â€œFusionâ€ is an intentional suspension of logic which invites creative alternatives and a â€œfilling inâ€ of the spaces by the viewer. Surrealism does this to us. The symbols are multi-leveled in that they are easily dealt with initially and will unfold to reveal their content for those who know more about them from a poetic, psychological and historical point of view. The size is large enough to enter on a human scale. I am reminded of Alice through the looking glass. And finally, the subject is directed point-blank at the viewers who have come to this place to consider their future and the role this institution may play in it. The devices of extreme perspective, centered composition and empty places waiting to be filled all contribute to this. The greatest measure of success will be that the image, combined with each viewer's purpose, stays with the person, in the mind's eye, to focus upon the opportunity and task.
The painting "Fusion" is a surrealistic piece of which some characteristic traits are owed to the acceptance of the early theories of psychoanalysis, an interest in the non-rational, unconscious domain of the mind and a distrust of knowledge gained from what generally could be called "the sciences". Dominating the center of the painting is a blank canvas mounted on an easel. This is meant to allude to a favorite theme of the Surrealists, namely "tabula rasa", literally meaning "blank slate". After witnessing the carnage of the First World War, the Surrealists maintained that continuing culture or civilization as it had been would only lead to another disaster. They adopted the concept of tabula rasa as a signal of their desire to begin again the culture from a pure, uncorrupted state of thinking.