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View In My Room
Canvas
16 x 20 in ($140)
White Canvas
White ($160)
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“Stormcoming” Oil paint on Arches Oil paper. My works on Arches Oil paper proceed in parallel with larger works on canvas. They are free-form improvisations and, in time, the action of painting yields a direction, a theme, and usually a title. “Stormcoming” has strong elements of both J. M. W. Turner and Chaim Soutine, which is one way of saying it has strong expressionistic suggestions of both landscape, weather, and psychology. My other inspirations for this series of works are Picasso (for his restless devotion to experimentation), DeKooning, Paul Klee, Ellsworth Kelly, Cézanne, and many other painters from throughout the history of art. The work was photographed with a Nikon D800 (full-frame sensor) and high CRI 3000k Soraa LED bulbs. Arches Oil Paper (Arches Huile) is a fairly new product by the legendary manufacturer of highest quality artist papers. The wonderful thing about this paper is that priming is not necessary, and therefore the media interacts directly with the paper, just like with watercolor. This affords an exciting opportunity for spontaneity and experimentation. : it is “made on a cylinder mould, 100% cotton….and requires no prior preparation”.
2018
Giclee on Canvas
16 W x 20 H x 1.25 D in
17.75 W x 21.75 H x 1.25 D in
White
White Canvas
Yes
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I am an abstract painter who also does life studies and photography for both research and enjoyment. In my abstract work I strive for a contrapuntal, layered, structured denial of perceptual logic that allows the attentive viewer to achieve a Zen state, a floating dream condition that sidesteps rational thought and connects consciousness with the subconscious. Painting celebrates the prize of evolution: awakening. I was born in Lancaster, PA in 1971, and now live in Woodside, Queens. Among my influences are those I’ve studied with, including John Walker, Robert Birmelin, Robert Andriulli, Jenny Snyder, Cynthia Carlson, Jeri Robinson, Don Kimes, and Arthur Cohen. Artist Statement I always have many paintings in progress—large and small. Many works going consecutively allow for a succession of incremental changes. Large or small, the works may continue for years. Until the painting is resolved, what I see in the work is the springboard for reaction. As Georges Braque says: “the painting is finished when it has effaced the idea.” The works in progress are seen over time by my own shifting selves as I am shaped and influenced by others’ work, including literature, music, and film; and the changing light and seasons and the inflection of experience. The hours work in aggregate, and the information flowing out of the painting is stored by the collector’s subconscious to be consciously apprehended over time. I am also an art collector. Perhaps akin to the varied production of a novelist or filmmaker, my artistic production is varied and reflects different facets of my life and personality. I work on several parallel bodies of work that I can describe thusly: Painting as a poetic language The sculptural manifestation of painting as a process Love of film and portraiture Love of and inspiration by the female form, as a reflection of what that means historically and now. The interplay of light and structure --Dean Radinovsky Influences I haven't studied with: Sassetta, Monet, Balthus, Morandi, Cezanne, Braque, Marden; Dostoyevsky, Bolano, Flaubert; Robert Bresson, Jean Renoir, Jean Vigo, Antonioni, Ozu and many, many more.
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