Monday, November 15, 2010

YHBHS:



I was recently interviewed on the fantastic LA- based blog 
You Have Been Here Sometime
To read the full text, 

Go here.


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An excerpt:
Your work blurs the line between sculpture and painting. The work you so graciously donated to the LACE auction could be viewed from the front and back. I found myself wanting others to see it from both sides. Do you work both sides of the canvas and supports on purpose, or is this a byproduct of the design? Have you ever considered showing your works so that your audience can see both sides?


Since I deal with the real space of painting, people seem to wonder about the relationship to sculpture. Sometimes I do allow the both sides of the painting to be seen in some way. Like in the paintings 153 (c & a), or 163 (d & g), the painting is paired with another part that, in a way, shows what is hidden, or almost shows it. But it remains about painting, not sculpture.

For me it all comes out of the given aspects of painting as a tradition, as a medium and as a set of conventions. Paintings are generally, normally considered one-sided, visual, they have parts meant to be seen (the colored paint, seen from the front) and parts not meant to be seen (the back of the linen or canvas, the staples, the wood stretchers, etc.) Things I’m doing seem to work in relation to that. It’s not that I want to emphasize the idea of the importance of painting, or celebrate the tradition (I find that boring). It’s more that it’s just this medium and set of conventions I’m intimate with. I’ve looked at paintings and made paintings for a while now, and I can use that familiarity to create kind of suspended or unresolved situations. Seeing the back of a painting or being denied access to an image or part of an image in a painting is one thing. If I was making sculpture it wouldn’t be the same since we know that all sides of sculpture are usually intended to be seen, and there are always parts of it that can’t be seen from a particular view. I think my paintings would be boring as sculptures; the element of wrongness would be taken away.



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