 |  |  |  |
Bel-Jon painted with light. His paint brush was a handful of steel wool and his palette was refracted light. The illusion of form and motion was achieved in
his murals by the refraction and diffusion of light from the many and varied angles of buffed and burnished metal surfaces. As one moves past the murals,
the color and design of the work seem to change because of the many angles of reflectivity. What makes his work spectacular are the specially arranged
lighting systems that give the murals a sparkling iridescence in ever changing color tones. These lights, reflecting from the facets of countless “scratches”,
vividly project his murals’ figures. When the lights are turned off, the murals take on a silvery-white appearance with grey to black shadows.
His works encompassed murals, decorative structural applications, dividers, doors screens, windows, tables and other appointments - - in brushed
design on sheet metals; mosaics of metals; relief mosaics with reinforced plastic; gilded bas relief, free form murals with custom colored aluminum; and
translucent mosaics with metals, plastic and colored glass. His style ranged from representational works to abstract forms.
Bel-Jon’s innovative art was commissioned by everyone from Fortune 500 companies to private individuals and ranged in size from four square feet to
over five hundred square feet. His work was chronicled in major publications like the American Artist, San Francisco Chronicle, Architectural Record, New
York Mirror, Popular Mechanics and numerous industry periodicals. Unfortunately, many of the companies who commissioned Bel-Jon are no longer in
existence. Bel-Jon’s daughters are trying to trace the current locations of many of his works. If you know where any of this artwork might be, please contact
the family at info@bel-jonstudios.com .
 |
| | | |
 |  |  |  |  |
| | | | |
| 1950 - 1959 |
| 1960 - 1966 |