…I felt I’d gotten the light I wanted. It looked and felt like water at night. The layering and pale pink over dark purple created the effect of light bouncing off a surface and I recognized a kind of transparent glow that had happened in the course of painting the barges… Katherine Bradford, “Night Divers.” […]

The degree to which the painter is transformed by their process is the degree by which the viewer can be transformed by, or enabled to “enter,” the painting. It’s not a finite record or exchange, but in the face of that genuine and meaningful articulation of transformation, the viewer does feel it, does “know it.” […]

Each of us will have a unique compilation of remembered sensations and it is how this material shapes our work that will distinguish my paintings from those of the next painter. We really don’t have all that much control over what we produce when we work from within. What unfolds on the canvas evolves slowly. […]

The more art I see—and I think in 41 years in the art environment in New York I have seen quite a bit of art—enigma is that aspect of an artist’s work that holds me the longest and the thing that separates one artist from the rest. But enigma does not necessarily make you very […]

Thoughts and ideas move around without any gravitational pull as if weightless. Painting earth’s experience; it grounds it in the real. The day to day can find its way into the work, a certain experience or event can be referenced, perhaps seemingly very minor and insignificant, and I wonder what is it doing showing up […]

Over the years, beginning in the 1990’s during those extended painting campaigns on the northwest Irish coast where the corrosive impact of weather drastically revised my own expectations of form, I’ve become much more interested in what places feel like rather than with making transcriptions of conventional appearance. Stuart Shils, “The Last Days of Summer.” […]

The title came to mind while I was painting. I envisioned North Truro on lower Cape Cod, wandered to Mykonos, followed by thoughts of Matisse’s Morocco paintings which led me to recall Paul Bowles’ The Sheltering Sky, soon I was hearing Dylan’s Tangled Up in Blue… Emilia Dubicki ‘White Curtains @ the Blue Motel’ 2013. […]

A limited palette lends itself to the method of working from inside out: from the center of a color scale towards its poles. A painting starts within a narrow range of color-values and expands outwards, as I grope to overcome the limitation of the resources and broaden the range of tones, temperatures and color sensations. […]

Different from his anyway knock-out show at Pace’s uptown gallery in 2010, Robert Ryman: Recent Paintings at Pace on 25th Street is all the more knock-out because daylight is let in. And this being Ryman, light–its kind and quality–is the whole shebang. Here, natural light makes the six small oil on cotton canvas paintings (2010-’11) […]