LandEscape Art Review Special Issue - Page 128


Land scape
Nora Maccoby
and begin to experience beyond that small “ I ”. You can begin to travel and grow compassion , which comes from empathy of others stuck in their small “ I ”. The true self is so great , so awesome , and here we are shrouded in our small identifications of ridiculousness . So those are my thoughts on PERSPECTIVE .
Your work seems to address the subjective experience of forms made by natural forces and we can recognize a successful attempt to provide images marked out with abstract intangible qualities with s tactile feature , and it ' s really captivating . How do you view the concepts of the real and the imagined playing out within your works ? In particular , is important for you that the viewers attempt to recognize traces of reality and the previous life of the materials you combine ?
I find is that there are multiple perspectives that appear - not even intentional - and the painting experience becomes a detective game where there is this relationship with the picture itself speaking back to me . This happened with The End of Time . When you turn it sideways , it ’ s a close up frame of the center of the painting . I didn ’ t do that on purpose and it freaked me out when I realized it . I started doing dyptichs and tryptichs because the paintings were telling me to connect them and it was again this two way communication collaboration .
I love Escher , Francis Bacon , Turner and the idea of hidden images and shifting perspective . I don ’ t want to overstate , I want the viewer to find the Seekers who are in all the paintings , the adventurers of space and time , and their journeys like the Little Prince .
It is always a fine line of over-thinking , and of devolving into telling rather than embodying . Between traces of accepted reality with the freedom that comes with abstract expression , I aim for the marriage of the 2 and it ’ s that fine line that actually defines for me whether the painting is finished or not . but am not always successful in this because it ’ s really hard and once you go over the line of over painting - which is over thinking something - then you may be stuck with a painting for 20 years trying to find what it is you are looking for .
Your approach is hallmarked with an hybrid combination between abstraction and explicit reminders to everyday life : as you have remarked in your artist ' s statement , you use to make tracings and rubbings of surfaces , to record the residue of growth , change , and decay in ceilings , walls , and floors . This aspect of your approach reminds us of the ideas behind Thomas Demand ' s works , when he stated that " nowadays art can no longer rely much on symbolic strategies and has to probe psychological narrative elements within the medium instead ". While conceiving Art could be considered an abstract activity , there is always a way of giving it a permanence that goes beyond the intrinsic ephemeral nature of the concepts you explore . So we would take this occasion to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process . Do you think that a creative process could be disconnected from direct experience ?
Well , you can have a DIRECT experience through imagination . But if there is no DIRECT EMOTION of Experience in the painting or the piece of art , then it is dead .
You allow an open reading , a great multiplicity of meanings : associative possibilities seems to play a crucial role in your pieces . How important is this degree of openness ?
Self government is democracy . I don ’ t want to tell people what to think . I like that we are free to think what we want . It must be our choice to not act on the destructive parts and that ’ s what defines someone as a sentient being . But the Rorshak thing - I learn a lot from the feedback of others and am always interested to hear what they SEE because I learn from that . But I certainly do not paint to please anyone but myself . If I have a commission , I work with the collector on an idea or concept so the painting becomes a collaboration of mission and intention .
Your works have on the surface , a seductive beauty : at the same time they challenge the viewers ' perceptual parameters suggesting the unseen , establishing a channel of communication between the conscious level and the subconscious sphere : artists are always interested in probing to see what is beneath the surface : maybe one of the roles of an artist could be to reveal unexpected sides of Nature , especially of our inner Nature ... what ' s your view