"Having a model in my studio is intense and demanding, so when I'm working on my large paintings, I prefer to be alone. I have to sit with myself and manage the internal voices, listen to them, become impartial. I have to weather the tantrums, listen to the moments when I rise up and say: Enough."
"My large idea paintings require for me to create my own space and reality. I have to spend time with the painting and let it evolve. It isn't a 'look-and-put' situation."
"All my paintings are triggered by real-life experiences. A painting has to work on many levels. It has to talk to the paintings in history that have gone before. It has to contribute, and challenge known meaning in some way. The painting has to be self-aware."
The artist prefers working alone on large paintings to manage internal creative voices and allow work to evolve naturally over time. Working from photographs differs fundamentally from life drawing, representing separate artistic practices with different results. The artist views life drawing as a distinct genre less central to their primary work. When creative processes stall, the artist sits with unresolved ideas, identifying problems and clichés before finding solutions. Some paintings take years to resolve. All paintings originate from real-life experiences and must function on multiple levels—engaging with art history, challenging established meaning, maintaining self-awareness, and creating visual interest beyond obvious aesthetics.
#artistic-process #solitude-and-creativity #painting-technique #autobiographical-art #creative-evolution
Read at Hi-Fructose Magazine - The New Contemporary Art Magazine
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