Heroic perspectives of the clty. ainting in
expressionist stvle. Francis Livingston completes large. close-up images ol br-rildings. sroretionrs. fire escapes and roofiops found amongst the vernacular architecrure oi \es- \ork Ciry's SoHo. "People reallr- har-e been enior-ing
my largc rrork. and rhc imrg.rr is r continuarion of rhe SoHo Series
been doing. Bur ri-irh the paintinqs
in mY upcoming exhibition
nrrating on rhings more up close," sats Livingston. "Facades of buiidings, rooftc.p shors-up hieh, Iooking downsma11 qroupinqs of buildings, maybe just a tbcus on nr'o specif-ic buildings next to each other insread oi a ri'ho1e street. That conce
sort oi rhinq."
And, u'hile Liringston has
shied ar,var. fiom including figures in his rvork, he is still someu'har inf'luenced bv
key figurative painters. "I've always been interested Are
a Expressionism like
Diebenkorn," says Livingston. "I love the way he put together shapes and
's a rectangle, here's a triangle, here's a shadow. And, rvhar I like about these city scenes is that it's it's like
you move ten feet, look the other way and you have an entirelr. endless,
"l lived for a long time in San Marin county in the
cit1,." says Livingston. 'And when I was there, I couldnt care 1ess. I didnt wanr ro paint buildings but did beach and boardwalk scenes. It wasnt until I moved away that I really started to concenrrare on these ciry scenes." But ever since, it has been almost the only thing he has been able to think about. "My interest gets renewed ail the time, everyday," says Livingston. "You
have a whoie different thing going on depending on the time of day, the effects
of that and the light, the weather conditions. It's all about shapes and when you stand back you want the painting to retain its solidity." "
Buildings have a massiveness ro says Livingston. "They are nor
totally flat so you get many
shapes and that lends perfectly to m,v way of painting. I'm not a detail painter. instead, I choose to lay on color, and
then another color until
Besides the color, the buildings also
allow Livingston to experiment rvith another, equally important aspect of his paintings.
to me it's all about "If I have a
balance," says Livingston.
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Two ToNrs, oIL oN
water tower on the left,
I need to klorv how you balance that with one in the center. Does it feel right in terms of
progressivelr'thicker and thicker and the paint itself is becoming more and more important," savs Livingston. "It's not
color and feeling? Some images are also
realiy that different, just expanding."
more expansive, more focused and I'11 do
of the works, have always been collectors Livingston's of color. to his use drawn "It's really interesting across the board," says Livingston. "People refer to the work as colorful but I use color more as an accent. I enjoy using muted colors Iike grays and less pure color. There is a lot of color but it's not really bright as I'm trying to capture a specific mood." o
of a spotlight effect on several buildings and have them in focus with intense color and light and more texture so you have the feeling of an almost more
Livingston has seen texture become
paintings as well.
"The brushstrokes are
linb to the exhibiting gallery go to
For a direct
Besides these elements