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I may put an idea on the back burner and another idea will appear that works with the initial idea to make something different. I can be working on a painting and I’ll come across something that will send it in a different direction. Sometimes,” he continues, “in the process of formal

PR E V I E W

the physical elements of a composition to find his or her own story. He says, “I want my paintings to be neutral enough, open enough, that others can have an interpretation.” He explains that he doesn’t always “have a concept. It comes to me piece by piece.

problem-solving I may decide the painting needs an added element compositionally and the story will change again.” His painting Bunker brings to mind the paintings of the 19th-century English Pre-Raphaelite painters known for their scientific veracity and abundance of fine detail. The occasion of the painting was his discovery of World War II bunkers in northern Italy, now poignantly overgrown with vegetation. The figure, exposed and vulnerable atop the bunker, is threatened by a lowering sky, which he describes as having “an oppressive weight.” He recalls a conversation with F. Scott Hess who advised him that a merely “clever” painting isn’t going to hold anyone’s interest for long. Multiple layers reveal themselves over time. He says, “I began to think of paintings as an expression of the unconscious, or that they can be objects of meditation, speculation and much more.” His paintings can be “the lighting of a fire.”

Profile for Design magazines

Tạp chí mỹ thuật nước ngoài 2017  

Tạp chí mỹ thuật nước ngoài 2017

Tạp chí mỹ thuật nước ngoài 2017  

Tạp chí mỹ thuật nước ngoài 2017

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