I want the viewer to stand one or two feet away, to feel as if they are in the painting and explore the texture and the material almost touch it Â I want the viewer to read my paintings by standing very close and look across it sideways.
I was asked to create a flag for a group show in Bushwick, but I neglected to follow the format, thus the painting was to wide. I kept fighting the idea and the cliques of doing a flag and thought about the iconic image and the emotions it triggers. I wanted to destroy as much possible on the surface, at one point and after much frustration and being unable to sleep the idea of cutting up studio rags and drop cloth to college came to me. It added a rustic and worn feel. Â which was perfect. I sowed the stars and painted with different colors.
I’m in a very emotional state when I paint. I don’t always think and analyze what’s next, or when making a decision. Often it is spontaneous. I’ll grab different paints and materials and mix them at random. I depend on my experience and subconscious.
She is Dancing here, so often I’ve watched her dance, and this was very easy as its imprinted in my subconscious, I love the rhythm in this painting, I also like these blues and silver.
I love to put down hard at first, make strong marks. So what if this is a contradiction, its who I am.
I finished this series of figures. They come from drawings I made last winter with models. My goal was to paint with the same looseness and freedom I have when I draw. A relaxed and unconcerned effort. Iâ€™m just having fun, itâ€™s very easy. I am able speak in my own voice when I do this.
I heard a comedian talking last night and explaining how the set-up is important, how it builds momentum up to the delivery of the punch line. Working in the studio is similar in that the setup is important before the delivery of a painting. The emotional build up. The selection of a pallet which colors, the decision as to what surface to use, even the tables to work from arrangement and height.
Each space has its own energy which is connected to the community influencing the work created there. Each painting is a story and a story behind the story of the painting process or creation.
February 2017. In the most recent series of paintings Lorraine is the subject or figure, but the ideas of abstract painting and contemporary painting supersede the image. Color, texture, line, space, surface or plane. Line is used to create rhythm or movement sometimes to divide space. Color often creates form, texture creates color or another element across the surface which can be viewed from the side.
While explaining a painting in my Gallery I wanted to share how I solved the problem of rhythm in a piece. The painting was horizontal in shape and four years I had been painting vertical. Vertical compositions and movement came naturally, but as I had not been painting horizontal for a while I was challenged in getting the movement I wanted. I placed the painting flat on milk crates stacked two high. This allowed me to move around and move my marks through the painting in a fluid way. By raising the painting up I was still inside the painting and not outside or away from it.
While working on my last series of paintings. I returned to thinking of the use of black and white as color. I remembered reading a Matisse's essays where he spoke of using black as color. Currently while visiting the show (Inventing Downtown, Artist-Run Galleries In New York City 1952-1965) at the Grey Gallery with the book accompanying by Melissa Rachleff. I noticed and became interested in how much white paint was used as a color and how the Artist of this time where exploring Black and White as color. It all seemed to click as I painted the Lorraine series. It made sense and especially against the primary colors I was able to see and use both Black and white as colors rather than depth or light et..