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Painting, Oil on Canvas
Size: 52 W x 46 H x 1 D in
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248 Views
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The progress of my paintings is what keeps me passionate about painting. One painting begets new visual ideas through how I handle the oil paint, new color combinations that find new composition, locating a deeper expression of how color moves and creates space. I am a third generation abstract expressionist painter who has taken the ideas from the 60's and transmuted them into my own inner voice. My paintings are like landscapes that bring the outdoors inside. The paintings become windows that peer deeply into space beyond their four edges. My color combinations come directly from landscape and season. The physicality of oil paint lends itself to well to my applying paint both thinly and thickly, scraping and reapplying paint. The surfaces of my paintings resemble ancient walls, like the walls of Pompeii, in that there is a sense of history alive in them, through the repetition of the "placement and replacement" of paint many times over. (I try to convince my students that they can’t expect to get it right the first hundred times, that it is necessary to go through the search process, by being still inside for long periods of time). I feel like I am at a construction site breathing life onto the canvas through a simultaneous building up and a tearing down of color. I love to see open, breathing, moving space create entry way inside the picture plane of the flat surface of linen. It is the act of breathing life onto the canvas that enables the painting’s surface to be like windows or mirrors into which to look. It is the architectural construction of a painting that moves me. A painting gets born when it has a specific presence that comes alive in it, that seems, for me, to come together only at the very end through the last accoutrements that come along so naturally and pleasurably, and fine-tune all that is already compositionally holding together, rhythmically tied.
2015
Oil on Canvas
One-of-a-kind Artwork
52 W x 46 H x 1 D in
Gold
Not applicable
Ships in a Crate
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
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My painting project began when I was a child drawing. One day I realized I painted because each painting got better. My love of oil paint, of perception, of ideas, deepens. I love painting the changes in the landscape, the changing light during the day and the changing seasons. My paintings are expressive of wind, birdsongs, snowfall, rain. Getting closer to what I am after keeps me searching for more, I want more. As a child I studied ballet and later, modern jazz, West African dance, Capoeira and Flamenco. Different cultures taught my body how to be in the space around me, even while waiting in a line at the store. Painting is so physical for me. When I have had a good day painting, I have run 100 miles, from country to country. from the painting table back to the canvas, and back and forth like that all day long. My body knows when the painting is going well by how it moves, from my own core strength, just like the tree branch reaches out into the space around it with such grace. My Mother enrolled me in art museum classes when I was six all the way through high school. While waiting for her to pick me up, I met Monet, Joan Mitchell, Matisse, Cezanne and Pissarro. She knew where to find me. My Mother was a role model for me of discipline and becoming brilliant at a craft; she was a performing classical concert pianist all my growing up years. Eventually while I was studying flute for 30 years, we dueted together. I attended Pratt Institute just out of high school, working with the master painters Gabriel Laderman, the sculptor Erlebacher, painters Ernie Briggs and James Gahagan. I took classes with Lennart Anderson at the Art Students League to make certain moving into pure abstract painting was not a mistake. But I was being pulled that way so strongly. I attended receptions at the premiere abstract expressionist gallery in NYC at the Anita Shapolsky Gallery when I was 18. After Pratt I lived all over the country, e.g., graduate school at Cranbrook Academy of Art in Michigan where I continued painting but also welding steel and casting in iron and bronze. Every ten years I sent Anita Shapolsky slides of my paintings, which she would return with a note, “keep painting.” Five years ago she liked what she saw and put six of my paintings in a group show, and again this past year she included my work, and accepted one of my paintings into the AS Foundation in PA.
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