down to have dinner. Socially it was hard, but
GALANTE: In 2012, I decided to try to paint
with the western light it would come in in these
more loosely. I’ve always been torn between
patches all day long and I couldn’t use it.
being a tight renderer and using more expressive
DUSOLD: Would you say that you began painting interiors more here? That’s where that part of your oeuvre developed? GALANTE: Yes.
brushwork. I decided the best way to be expressive was to do it fast. I had always done things that were looser and quicker on the side. I was afraid maybe that this looked inconsistent to people and that people weren’t sure exactly who I was. People seem to want to know you
DUSOLD: Was it the space you were inspired by
before they collect you. That doesn’t really suit
as well as the light? Your studio here is very large.
me because I want to do what I want to do, when
GALANTE: It was a big challenge. There’s a skylight over here, western light over there. Then I started to see these backlight situations and reflections. DUSOLD: Let’s talk about Orchids (2012). Tell me about that painting, or your memory of painting it.
I want to do it. To me it doesn’t matter if it’s tight or loose. It’s not like I’m planning that out. I just began to think that I liked the looser, more expressive brushwork that I was seeing around in galleries. I never liked perfectly crisp paintings or photo-realism. DUSOLD: One of the things I see that’s different
Left: Orchids, 2012, by Frances Galante (Courtesy of the estate of the artist) Right: Hanging Pheasant, 2012, by Frances Galante (Courtesy of the estate of the artist)
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WOODMERE ART MUSEUM