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rapidity, and in its attempt to almost vibrate

are a lot of things that are just on the cusp

on the same level as other things.

of being, but they’re not solidified.

Each

painting is almost like a frame in a neverD.P. How quickly do you do these?

ending film, which is all about transformation and change, which is what I feel our

L.G. These paintings are done in…about 20

world is about. So it’s about trying to cap-

minutes…

ture that…that fleeting moment and make it solid for a second, and then to make it an

D.P. Wow! (laughter)

object of contemplation.

Another one of

the foundational thoughts is the idea of the L.G. When they’re done they’re done. I just

brushstroke as a kind of pixel, or building

step away and never touch them again. I

block, of all painting. And then, trying to

think basically the thing is resolved inside

re-imagine a world where that brushstroke

before it’s put out there, and obviously

is set free to do what it wishes to do. Not in

I can’t work that way all the time, I have

the service of describing something, neces-

months when I’m able to access that and I

sarily, but just being unleashed to become

have months, or even years, when I’m not

almost like an actor on its own stage…fly-

able to access it. For me paintings happen

ing through the space, stopping,

in little moments. I’m not about to punch

ing structures, dismantling structures, this

the clock in my own studio…

whole notion was very important to me.

build-

I wanted this world I was imagining to be G.S. Luke paints in series…and my observa-

a very illusionist one also, not the two-di-

tion is that there’s always been this build-up

mensional space of Greenberg’s New York

of energy, which releases itself in a series

School. I still believe that illusionism is The

of paintings, then Luke may not paint for

Holy Grail of painting, and always will be.

a long time.

He doesn’t paint again until

something builds up again and it releases,

D.P.

and he’s very very tough on himself about

What kind of a dialogue did you have with

Luke, we’re both sons of painters.

that. He’s not one of those guys who comes

your Dad about painting?

into the studio every day and has to paint. It’s much more of an intuitive, mysterious

L.G. We actually didn’t talk so much about

process, and sometimes a deeply disturbing

painting in general, although we were very

process…you’ve gone through long periods

supportive of each other. I think an artist of

where you haven’t been able to paint.

our generation has to me more self-aware. An artist of my Dad’s generation was able

L.G. Basically Daniel, what I’m trying to do

to just dissolve themselves into their work,

in these paintings is create extremely asso-

but we have to straddle both sides of the

ciative spaces that every viewer will bring

line between the conscious and the uncon-

their own history to, they’re own vision to,

scious because we’re post-modern. It’s a

it’s all about a world in flux, a world that is

completely different relationship to paint-

mutating and isn’t static in any way. There

ing. What was required of my generation

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Luke Gray "Deep Skin & Strokeworld Paintings"  

Deep Skin & Strokeworld Paintings a solo exhibition of new and recent paintings by Luke Gray

Luke Gray "Deep Skin & Strokeworld Paintings"  

Deep Skin & Strokeworld Paintings a solo exhibition of new and recent paintings by Luke Gray