| |
Artist's Statement of Work Since 2003
"I have moreover retained a lasting and a
reasoned admiration for that strange statuary art which, with its
lustrous neatness, its blinding flashes of colour, its violence in
gesture and decision of contour, represents so well childhood's
ideas about beauty. There is an extraordinary gaiety in a great
toyshop which makes it preferable to a fine bourgeois apartment. Is
not the whole of life to be found there in miniature - and far more
highly coloured, sparkling and polished than real life?"
- Charles Baudelaire, "A Philosophy
of Toys"
Matter matters. My task as a visual artist is to transform tangible matter. We live in a world of matter that informs all of our senses, evokes our most primordial emotions and roots us to the universe. Therefore, I have learned that the key to making miraculous art is less likely to be held in the artist’s mind than in her hands. Refuting the notion that his work manifested a philosophy of transcendence, the modern abstract painter, Marc Rothko insisted that he was giving us a material experience, the sensuousness of the world in all its richness. According to him, his work was “about” as well as “of” this world. This is why I hold a deep respect for the matter I manipulate and the ensuing enmeshment of material and ideas that occurs in my creative process. This enmeshment in representational painting often occurs when the material and the motif become one. When realism is evoked through the plasticity of the paint medium itself and the canvas becomes more than a mere illusionist picture. This is the heavy weight of Morandi’s paint turning into wet clay when he paints his still life objects as if he were painting gravity itself. Or the oily sea of Turner’s pictures when they submerge, churn and float in unison with his palette. Or Van Gogh’s “Potato Eaters” that he expressed to his brother, Theo, is an attempt to make the paint as the dirt that the “eaters” ate on their potatoes.
The artist William DeKooning once said that oil painting was invented to depict flesh. So, I ask, why was acrylic paint invented? I had always snubbed the medium as inferior to the great tradition of oil painting. That was, until I started to paint plastic toys and then my sixteenth century painting material failed miserably to depict a mid-twentieth century substance. For all its modeling and illusionism, somewhere in my pictures of plastic toys it had to flatten out like melted plastic stuck to canvas. Only with acrylic paint, (plastic virtually painting plastic), could I produce that magically place where the material and the motif fused into one.
Beyond the material, the motifs in my paintings struggle. The events of 9/11 profoundly shook my illusions of a safe and secure world. So the armies of cartoon characters and salvage store superheroes that make up my piles of plastic toys have become a personal metaphor for the varying factions of external forces rallying to destroy or save us. In addition, abstractionism and realism struggle to co-exist on the picture plane and the antithetical applications of loose expressionism and focused control scuffle to find resolution. I paint the toys from observation and I fight to find visual clarity as I fall into vertigo over the extreme colors and mass consumer objects. Still, it’s the depiction of plastic that I feel makes my work truly contemporary and where it can best make a contribution to the history of painting. What is this matter that we have surrounded ourselves with in increasing amounts since the 1960’s and how do I make humans aware of its omnipresence in their lives?
|
|