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J PAXTON

Works

J PAXTON, Torrey Pines Reserve 4778, digital photographic montage, 42 × 120 inches This work is an assemblage of the ocean view from the Torrey Pines Reserve in Del Mar California.
J PAXTON, Torrey Pines 4788, digital photographic montage, 48 × 72 inches
J PAXTON, Red Bucket 0151, digital photographic montage, 48 × 72 inches
J PAXTON, Torrey Pines 2077, digital photographic montage, 11 × 7 feet
J PAXTON, digital photographic montage
J PAXTON, NYC Night 4321, digital photographic montage, 48 × 108 inches
J PAXTON, Ocean Blue-Gold with Intersection, digital photographic montage, 48 × 84 inches
J PAXTON, Westridge-Canyonback 9099, digital photographic montage, 50 × 100 inches
J PAXTON, Horizon 6548, digital photographic montage, 32 × 50 inches
J PAXTON, Moonspin 8632, digital photographic montage, 40 × 60 inches
J PAXTON, Crestway Pines 3155, digital photographic montage, 40 × 84 inches
J PAXTON, San Elijo Lagoon, digital photographic montage, 24 × 40 inches
J PAXTON, Crestway Pines 3156, digital photographic montage, 4 × 8 feet
J PAXTON, Trail 5298, 48 × 48 inches
J PAXTON, Big Bear Lake 4020, digital photographic montage, 40 × 60 inches
J PAXTON, Vineyard 7803, digital photographic montage, 40 × 32 inches
J PAXTON, Eucalyptus 3641, digital photographic montage, 36 × 106 inches
J PAXTON, Big Bear 4175, digital photographic montage, 48 × 48 inches
J PAXTON, Big Bear, 4183, digital photographic montage, 40 × 84 inches
J PAXTON, Torrey Pines 4909, digital photographic montage, 44 × 96 inches
J PAXTON, Torrey Pines 4675, digital photographic montage, 40 × 96 inches
J PAXTON, Torrey Pines 726
J PAXTON, Star of India, digital photographic montage, 40 × 40 inches
J PAXTON, Coronado Bridge 2332, digital photographic montage, 40 × 60 inches
J PAXTON, Hotel del Coronado 1888, digital photographic montage, 40 × 60 inches
J PAXTON, Coronado Beach 8588, digital photographic montage, 40 × 60 inches
J PAXTON, Point Loma Lighthouse, digital photographic montage, 34 × 50 inches
J PAXTON, La Jolla Hills, digital photographic montage, 9 × 34 feet
J PAXTON, Guadalupe Dunes 50, digital photographic montage, 149 × 186 inches
J PAXTON, Canyon Crest 0168, digital photographic montage, 72 × 48 inches
J PAXTON, Canyon Crest 0390, digital photographic montage, 72 × 48 inches
J PAXTON, Westridge Canyon 9006, digital photographic montage, 72 × 48 inches
J PAXTON, Canyon Crest 0230, digital photographic montage, 72 × 48 inches
J PAXTON, Westridge-Canyonback 9319, digital photographic montage, 36 × 24 inches
J PAXTON, Westridge-Canyonback 9067, digital photographic montage, 36 × 24 inches
J PAXTON, Cardiff Spin 8661, digital photographic montage, 44 x 30 inches, 44 × 30 inches
J PAXTON, Ocean Blue 003, digital photographic montage, 35 × 26 inches
J PAXTON, Westridge-Canyonback 8967-v2, digital photographic montage, 48 × 30 inches
J PAXTON, Westridge-Canyonback 8920, digital photographic montage, 40 × 30 inches
J PAXTON, La Jolla Palms 2284, digital photographic montage, 40 × 60 inches
J PAXTON, San Diego Skyline Surf, digital photographic montage, 40 × 46 inches
J PAXTON, San Diego Skyline, digital photgraphic montage, 44 × 36 inches
J PAXTON, JDay 2012, digital photographic montage, 12 × 32 feet
J PAXTON, SF Bay Bridge 7107, digital photographic montage, 30 × 50 inches
J PAXTON, SF Skyline 7019, digital photographic montage, 30 × 50 inches
J PAXTON, SF White Bridge 6333, digital photographic montage, 30 × 50 inches
J PAXTON, T-Straight On - Orange, digital photographic montage, 44 × 44 inches
J PAXTON, Emerald Building, digital photographic montage, 44 × 44 inches
J PAXTON, LA Palm, digital photographic montage, 44 × 44 inches

About the artist

Anyone who’s ever driven down the coastal 101 Highway, or traversed the Coronado Bay Bridge when the light is just so, can appreciate the optic of J Paxton’s photographic repertoire. In the tradition of the masters of the California vernacular – Ruscha, Baldessari, Diebenkorn, and Hockney – Paxton has a knack for transforming the everyday site of palm trees, skyscrapers, and Pacific swells into a veritable epiphany.

Paxton’s kaleidoscopic spectrum can evoke the damp cool of twilight or the dry heat of Santa Ana winds like a thermochromic imprint of the found landscape. His digital layers are a reimagining of the automobile lacquers, resins, and synthetic pigments that first put California on the map with the chemical colors and licked textures of Finish Fetish.

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