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Q: Who/what is your biggest influence or inspiration right now?
A: My biggest inspiration is always the images/visions I see in my head- the colors, light, and shapes that are the beginnings of the paintings. After that the paintings unfold organically. In other words, I feel like the painting itself dictates the direction in which it should go, and the only way I know that it is working is when nothing about it feels wrong in comparison to the image in my mind (which is not so much a lucid image, but more a thing of emotion translated into color and light). I try to bring this to the canvas in a way that is as true as possible. Because the work deals with the dichotomy of our realities (our inner life in comparison to the life we see, hear, smell, and feel around us) the work tends to have a sense of place. This is the place in between our inner and outer worlds- where our worlds collide. Other than that, I am always inspired by music, and by literature (usually Nineteenth Century novels, or historical fiction). Recently, I have been re-reading a great book that my very first painting teacher gave me (when I was doing my first still-life studies in oil at the age of 17) called Art and the Creative Consciousness by Graham Collier, 1972. It is a very inspiring book about the creative process. Something else I find fascinating is the idea of the Duende. In particular I find Frederico Garcia Lorca’s essay about the Duende to be powerfully moving and inspiring. You can read the essay online here
Q: What is the first thing that comes to mind after an opening?
A: Now I can get back to my painting. Openings are very stressful for me. I want the work to be seen, of course. I want it to have that chance for connection and dialog with the viewer. The more people who can see my work in person, and spend some time with it, the happier I will be. So, Museums are the ultimate goal for my work because of that. However, I find it very hard to chat with people about my work. I am not very good at small talk in general, and if I actually get going talking about my work and what I am trying to say with my paintings and what my work means to me, I am always afraid I will come off sounding like an idiot or some crazy new-age freak. I don’t feel particularly well-versed in art history or art theory, or even what is going on in the current art world. I follow my vision and that is really all I can manage. But, without my painting I don’t think I could survive. I need that outlet, I need to communicate these images, these feelings, these thoughts, and I constantly fear I will run out of the time in my life to get them all out onto the canvas. They just keep coming. So, when I am kept away from my studio, even by something as wonderful as an Opening, I am relieved to be able to get back to work.
Q: Why do you work in this medium?
A: The very first time I walked into an art studio and smelled the turpentine, and the oil paints, I felt such a huge sense of déjà vu that I got chills. I never even considered working in any other medium after that. This is what I am meant to be doing.
Q: What is one of your favorite past exhibitions?
A: The last Turner show at the Met was one of my all-time favorite exhibitions. The work was just astonishing. He was so far ahead of his time. It was so inspiring.
Q: Do you collect anything?
A: Music, and books. Although I had to stop buying books because I ran out of room in my tiny apartment. So, now I make use of the amazing NYC Public Library system. I love being able to request books online and pick them up at my local branch.
Q: What are you currently working on?
A: The millionth attempt to capture the most elusive of things.
http://
Q: Who/what is your biggest influence or inspiration right now?
A: My biggest inspiration is always the images/visions I see in my head- the colors, light, and shapes that are the beginnings of the paintings. After that the paintings unfold organically. In other words, I feel like the painting itself dictates the direction in which it should go, and the only way I know that it is working is when nothing about it feels wrong in comparison to the image in my mind (which is not so much a lucid image, but more a thing of emotion translated into color and light). I try to bring this to the canvas in a way that is as true as possible. Because the work deals with the dichotomy of our realities (our inner life in comparison to the life we see, hear, smell, and feel around us) the work tends to have a sense of place. This is the place in between our inner and outer worlds- where our worlds collide. Other than that, I am always inspired by music, and by literature (usually Nineteenth Century novels, or historical fiction). Recently, I have been re-reading a great book that my very first painting teacher gave me (when I was doing my first still-life studies in oil at the age of 17) called Art and the Creative Consciousness by Graham Collier, 1972. It is a very inspiring book about the creative process. Something else I find fascinating is the idea of the Duende. In particular I find Frederico Garcia Lorca’s essay about the Duende to be powerfully moving and inspiring. You can read the essay online here
Q: What is the first thing that comes to mind after an opening?
A: Now I can get back to my painting. Openings are very stressful for me. I want the work to be seen, of course. I want it to have that chance for connection and dialog with the viewer. The more people who can see my work in person, and spend some time with it, the happier I will be. So, Museums are the ultimate goal for my work because of that. However, I find it very hard to chat with people about my work. I am not very good at small talk in general, and if I actually get going talking about my work and what I am trying to say with my paintings and what my work means to me, I am always afraid I will come off sounding like an idiot or some crazy new-age freak. I don’t feel particularly well-versed in art history or art theory, or even what is going on in the current art world. I follow my vision and that is really all I can manage. But, without my painting I don’t think I could survive. I need that outlet, I need to communicate these images, these feelings, these thoughts, and I constantly fear I will run out of the time in my life to get them all out onto the canvas. They just keep coming. So, when I am kept away from my studio, even by something as wonderful as an Opening, I am relieved to be able to get back to work.
Q: Why do you work in this medium?
A: The very first time I walked into an art studio and smelled the turpentine, and the oil paints, I felt such a huge sense of déjà vu that I got chills. I never even considered working in any other medium after that. This is what I am meant to be doing.
Q: What is one of your favorite past exhibitions?
A: The last Turner show at the Met was one of my all-time favorite exhibitions. The work was just astonishing. He was so far ahead of his time. It was so inspiring.
Q: Do you collect anything?
A: Music, and books. Although I had to stop buying books because I ran out of room in my tiny apartment. So, now I make use of the amazing NYC Public Library system. I love being able to request books online and pick them up at my local branch.
Q: What are you currently working on?
A: The millionth attempt to capture the most elusive of things.
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