Kurosu Painting

Evan Hill interviews his grandfather, Larry Hill. EH: The past year has been a tough one, a tragic period of time for many people. What would you like to say to your followers? LH: It looks like we finally have a chance of beating the pandemic now. I’ve been extremely fortunate to stay in good health. Things did slow down for a while, and I found myself in a funk, preferring to catch up on some writing instead of spending long hours in my studio. Now, after receiving my booster vaccination for Covid 19 last month, I’ve begun a new series of paintings. EH: Well, maybe it’s time for a newsletter. LH: (Laughs) Yeah. It’s been over two years since my first one went out after I‘d participated in The Other Art Fair with Saatchi Art in Santa Monica. My last major individual exhibit was sponsored by Valley Public Network, Fresno, California, 2019. The possibilities of showing my work don’t look so bleak now that people—God willing—should be gathering to enjoy art in public venues again. EH: One thing I’ve noticed, each time you get ready for a show you seem to warm up with some small pieces, then, bam, go straight to the big canvases. Can you talk about your most recent paintings? LH: Hard to put it into words, but lately I tend to lean toward the lyrical rather than the point blank as I approach a new piece. I still strive for action because, at heart, I’m an action painter, but the importance of nuance seems to be more evident in my work as time goes by. As far as size goes—there is nothing like the challenge a huge canvas brings to the game. EH: Who, among the contemporary painters out there impress you? LH: I enjoy watching the progress of painters both here and abroad. In France, Claire Mérigeau continues to turn out some of the most provocative and exciting works. She, along with other European artists like Plamen Bibeschkov, Miriana Savova, and Albert Hakobyan have certainly made their mark in what’s still considered abstract expressionism. EH: Anything you wish to mention about the pricing of your work? LH: Pricing artwork has always been an enigma for me. I want to keep my pricing down to make my work more affordable, but at the same time, I hope my catalog of work proves to become worthy of investment. I’ve always been open to work with terms if it means gaining a larger list of collectors. One group of people I’d really like to hear from are my followers. A dialogue between people who appreciate my work or have purchased paintings from me in the past, adds to my creative stimulation and is especially important to me. EH: I’d like to ask you about a few of your new paintings. Laguna Seca is one that stood out to me. It seems to have a new look. LH: I think this painting still has the punch that’s contained in most of my work. But, yeah, perhaps this one moves in a more sensitive, more lyrical way than most of my efforts. EH: Spanish Harlem is also one that caught my eye. LH: In Spanish Harlem, I tried to use positive vs. negative space. Sometimes what you don’t paint is more than what you do paint. EH: I notice you still like to work to music. LH: It’s hard to put into words how my titles come from the music and a sense of nostalgia. Memories of times and places seem to pop into my mind as I work. In both of these paintings, I swear I heard a mix of Flamenco and the blues. EH: Anything you would care to add to this quick interview? LH: Only that I’m grateful to be back fulltime in my studio again. It’s been over seventy years since I tried my first “picture in oils.” I have a feeling this time won’t be my last.