(Text from Venice Biennale catalogue 1995
for Art Laguna Exhibit)

At once, the many split moments extend
and expand the imagery of the present
time into a pure sense of motion.

At once, the active bodies in the ordinary
experience of motion are separated
and reconstructed in a spatial sequence.

At once, the literal photographic impressions
are submerged and re-emerged in
transformational painting aesthetics.

These terms of the metaphysical, the
constructional and the transcendental
are to premeditative fields in the art
of Herbert Migdoll.

The exactness of incrementally regulated
shutters of the fixed positioned camera
fragments time into spatial components of motion, allowing the known to be metaphysically
cognized through its structured secrets.

In his The Swimming Dancer, the water's fluidity, waves and transparency and the swimmer's buoyancy, actions and motions set the stage for directing the events into a multi-layered imagery.

Herbert Migdollís multi-layered technique
begins under the surface of the canvas
where the photographic image pushes it-
self into the fibers' weaving, and it's built
upwardly the addition of thick interactive
fluid mixtures, the flow regulated according
to the artist's controlling sense of concealing
and revealing, to achieve his artistic signature.

Gamal El-Zoghby May 16, 1995

Swimming Dancer
oil, enamel, and acrylic on canvas
40" x 480"


Black Gondola
oil, enamel, and acrylic on canvas
30" x 192"





Fountain Head
acrylic and polyurethane
study for large installation wall piece
approx. 10' x 10'
(size is variable)



©2003 Herbert Migdoll