A week before the show, you start to bring out the little extra creativity and that means all kinds of last minute experiments can happen. It’s also an interesting time because people buy paintings pre-show…..and yesterday, one of the big diptyches sold. More interesting, the visceral reaction to paintings that helps me select which pieces will go into the show.
Being interviewed by Travis Hendrix the other day, I spoke about a smaller subset of paintings that I cannot evaluate. I kept this because my wife said she liked it. Now I can see it was worth keeping…
These are the paintings that currently inhabit my office. I would speculate and say people are either attracted to the abstraction of a white-out or the Face on the Wall.
It’s been a while since I’ve been here. Here is an update….the paintings of the last six months have been in diptych form and they all push the boundary of sculpturality. The surfaces are thick, rock-like and as usual, obsessed with an almost mono-chromatic exploration of blue and green. My white-outs continue, but mostly in diptych form.
From the world of psychiatry, the idea of changing one’s operating system has been recurring. Mentoring is really another word for this. The sculpture of a person emerges from a block of stone…
This is another one in my sculptural, tactile series of “White-Outs”. Meant to run your hand over the surface. It is moving into the most sculptured surface available to a non-installation artist or a non-sculptor. That’s the idea anyway. It is organicity rediscovered and revisited. It is the ancient cave paintings in the Kakadu.
A lot of my paintings are on the boundary line of sculpture. I use thick paste and paint to build up a surface that is three dimensional and is meant to have the hand run over it (just as much as the eye). Here are some examples.