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