Burnt Hills, 2012, 81 x 42.5",
polymers and dispersed pigment
What are you working on in your studio right now?
I
recently received a commission to make paintings for the lobby of a new
building in mid-town Manhattan by the Durst Organization. I am also
preparing for a solo show of my work that will be in the lobby of the
Conde Nast building at 4 West Times Square in New York from November
2013 to January 2014.
Can you describe your working routine?
I am usually in the studio between 8:30 and 9AM and work until around 7:30 PM. I work seven days a week. There is no set routine other than that. One day may be spent working on paintings, while the next day may be spent building shipping creates and ordering materials.
Can you describe your studio space and how, if at all, that affects your work?
I
have had many different kinds of spaces. The large works that were
exhibited last January at George Lawson Gallery, LA were all made on the
cement floor of a converted tobacco factory in Durham. That space was
extremely tight and challenging to move around in. I had a wonderful
large space in Philadelphia when I lived there. I could leave things up
on the wall to consider over a period of time. My current studio space
is the main part of the house. It consists of two large rooms, an
office and a workshop. The painting studio has an abundance of natural
light and big double doors to move large works in and out. In the
morning and evening hours I often see deer, eagles and owls. These
natural surroundings provide a stimulus for my work. I am certainly
affected and inspired by the movement, rhythm, time, changing light,
color, and mood.
Installation at George Lawson Gallery, 2012
Tell me about your process, where things begin, how they evolve etc.
My
process has evolved quite a bit. When I first considered the idea of
working freely with forms in my paintings, I tried to use epoxy resins. I
had experience working with fiberglass and resins from when I built
boats as a summer job while I was in school near Lake Michigan. But
the resins didn’t work. The paintings were prohibitively heavy and
brittle and I couldn’t control the color. Additionally, the materials
were hazardous. I nearly set my studio on fire once when I put too much
catalyst (MEK) into the mixture. In
terms of process, I draw and sketch all the time. I am constantly
experimenting with gestures and forms, relationships and color. I
usually make small paintings first. I think of them as finished
paintings but they also inform the larger works. My large paintings are a
huge investment in time, effort and materials. Some of them consist of
10 to15 gallons of paint. One part of my studio is set up much like an
arena. I paint on the floor walking around the work. I often make
brushes out of large floor mops or brooms. The act of painting is much
like a dance. While creating a large painting, I am stretched to the
limits of my physicality. The act of painting records my reach at a
specific time and place. I suppose one could say in this way that my
paintings are self-portraits.
Installation at Marlboro Gallery at Prince George Community College
What are you having the most trouble resolving?
I
would like to spend more time making paintings and less time dealing
with the business aspects of running a busy studio e.g., making
schedules, shipping, building boxes, ordering materials, etc.
Do you experiment with different materials a lot or do you prefer to work within certain parameters?
I
truly enjoy working with traditional oil painting methods but once my
concept or idea of what a painting could be changed, my materials had to
change too. I’ve spent several years talking with chemists all over
the world and am on a first name basis with virtually every art
materials manufacturer in trying to perfect my paint and process. I can
finally say that I am happy with the materials I am using now. They are
safe, odorless, water based, light-weight, and I can do just about
anything I want in terms of painting. Because I mix micro bubbles into
my paint I suppose one could say I am using nanotechnology in my
painting process.
What does the future hold for this work?
The
conceptual area I am working in opens up so many possibilities in
painting. I haven’t even scratched the surface. I have numerous
sketches and prototypes of new directions I am interested to explore.
Each direction could keep me busy for years.
Pigeon Lake, 2012, 83 x 45",
polymers and dispersed pigment
Interview by Valerie Brennan
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