I have an inherent need to communicate and express something. I am constantly looking for a new way to read the world to understand the physicality of forms. I see my practice as an exercise of being a painter/curator of moments of our lives; reclaiming a more agreeable melody, restoring, reordering and decluttering to focus on what is truly important.
By focusing on the space and the possibilities of structure and composition, I hope to emphasise the beauty and harmony from the chaos in the city, to invoke a new reading of its noise, movement and pattern. By revealing things through a slow open process, my work uncovers the importance of the positive and negative space. Where rhythm, colour and form play off each other, and each shape takes it configuration and meaning from the next, as a metaphor for the qualities of a seductive poem or an intriguing piece of music.
There is truth in the paintings as I try to deal with the present tense and how these ephemeral junctures were for me. A situation and context where discoveries and revelations happen. There is a layered time as I grapple with evidence of awkward moments, aspects of failure and changes of direction. Leaving the physical traces of responding to mistakes, that relate to intrinsic qualities of being human.
Through painterly questions of scale, content, colour and form I’m interested in expressing physical and emotional vigour of the human body in the city. I often work with and against the silhouette of the figure in the city. I capture the ephemeral with assertive gestures inspired by poetry and music. My process draws attention to the edge of things, to what is already there. I look to create a visual poetry with energy and motion arrested in space by simultaneously hiding and revealing our world to us and focusing on the void in between the things.
Josef Albers is known for his Homage to the Square. He uses a series of variations of the square that illustrated how colours affect each other. His book titled, ‘The Interaction of the Colour,’ is a studio course for teaching and studying what happens between colours. Josef Albers was born in Bottrop in Germany in 1888 and died in New Haven, USA in 1976. He taught at the Bauhaus and at Yale. I came to the exhibition of Josef Albers’s work at David Zwirner in London and was looking forward to seeing more of his work and hoping to develop a further understanding of Albers basis modernist theory of colour.
The show spread across 2 floors, contains just over 30 artworks. The title of the show ‘Sunny Side Up’ gives you positive expectations of an uplifting experience. There is plenty of space to view each small artwork, and they are certainly is uplifting especially because, on the day I went, there was a protest march against Donald Trump going at the end of the street on the drab wintry day.
I was surprised to find lines that were clearly crafted by hand and sometimes the areas of colour show the marks from the palette knife that was used to create them. The paintings are studies which show that perfectionism is not significant to Albers. The little colour swatches on card, with writing on them, show Alber’s thought processes like a sketchbook of ideas where he worked out what he was thinking.
I expected the flat plains of colour in the artwork to feel empty. However, the squares are like little doors into another world, the world of the sublime. I felt I was being pulled into the squares and into a deep abyss of sunshine.
This exhibition acknowledges the importance of Josef Albers and the contribution he has made to the timeline of art and colour education. The man-made squares of different sizes of yellow, orange and gold make you think more deeply about colour and help develop a deeper appreciation of abstract art. My experience with the show was stronger because of the gloomy weather outside and contributed to increasing my enthusiasm to continue learning about the uses of colour in my work. There are is so many variables that can affect the impact of the square of colour and Albers is clearly the master, as Albers says, “If one says ‘red’ and there are 50 people listening it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different.”
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Eric Fischl was born in 1948 in New York City, his suburban upbringing and career as an internationally acclaimed American artist is presented in his book ‘Bad Boy’.
Fischl shares his deep wounds when discussing his personal relationships, especially with his depressed and alcoholic mother. These troubling experiences made their way into his artwork creating a dialogue about his personal wounds and ironically they ultimately lead to him getting into trouble.
The death of Fischl’s mother inspired the work he became famous for. It is interesting that after his first solo show in New York at the Edward Thorp Gallery in 1979 and the following success lead to him ‘going off the rails’ as the book title suggests and he enjoyed success a little too much.
Fischl’s book is informative and helpful to other artists. There are interesting advice and tips on how to deal with the process of being a successful artist and he discusses the issues and ideas in his work.
Eric Fischl says in the book,
“Painting is a process that guides me back through complex experiences that I didn’t have words to describe or understand. It relieves feelings and memories and brings them forward with clarity and resolution. Each one of my paintings is like a journey, a process to excavate nuggets of emotion, artefacts of memory, the treasures buried in my unconscious. My imagery evokes feelings that were once too painful to ephemeral or too embarrassing to articulate or even to remember.”
Eric Fischl’s ideas are well developed and considered as you would expect from someone who has had international success as an artist. He uses clear, convincing and honest language. I think the book is a good read and has lots of information and advice about dealing with life an artist. I enjoyed reading it and strongly recommend it.