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I am often asked, “Why are you wandering about so much? or “What are you actually trying to say here?” Or I am told, “Don’t worry; you have plenty of time to find your style.” The why is always sneering at the what.
I privately think, “A painting with no overriding central motivation is what I want.” This declarative statement is almost a mantra for me, existing as an evergreen and deeply rooted whisper in the back of my mind.
Still another answer is that I love painting, or maybe more specifically, I love the history of paintings and their beleaguered painters, one that is replete with human foible and farce and fear and comedy. Trying to image the world is a deeply humanist project and, as such, is full of the tragic and the absurd.
The list is endless Van Gogh’s ear, El Greco’s dying penniless – leaving behind 147 unsold canvases – Soutine being badly beaten on account of a portrait painted of his village Rabi, Gentileschi’s trial by thumb screws, Renoir’s...More
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I am often asked, “Why are you wandering about so much? or “What are you actually trying to say here?” Or I am told, “Don’t worry; you have plenty of time to find your style.” The why is always sneering at the what.
I privately think, “A painting with no overriding central motivation is what I want.” This declarative statement is almost a mantra for me, existing as an evergreen and deeply rooted whisper in the back of my mind.
Still another answer is that I love painting, or maybe more specifically, I love the history of paintings and their beleaguered painters, one that is replete with human foible and farce and fear and comedy. Trying to image the world is a deeply humanist project and, as such, is full of the tragic and the absurd.
The list is endless Van Gogh’s ear, El Greco’s dying penniless – leaving behind 147 unsold canvases – Soutine being badly beaten on account of a portrait painted of his village Rabi, Gentileschi’s trial by thumb screws, Renoir’s...More
