BH: Deceptively simple, singularly shaped and formed, canvases bloom from the wall each in a different color. Hung together they suggest a word, a string of them, arranged to convey the written form, though any attempt to decipher or push this further only adds umbrage. Instead, when the syntactic muscle relaxes, the color forms open to the … Continue reading
Visual: You know I’ve always loved the idea of making a white painting, a monochrome, a square, white, monochrome painting. And a lot of my colleagues have had that love too. And I think we’ve all tried our hand at it. I remember when we got close, when we thought it was time, we could … Continue reading
Brent: At some level an artwork needs to quench the desire – the need to know what something is. But also, it shouldn’t stop there. In your case what is ‘known’ is a shape. You generally use the square and it is often imbued with the hues around white. Robert Ryman used a square because … Continue reading
Brent: Finding. You come out of a bit of a painting history; gesture; hints of constructive; a kind of record keeping; painting that pays attention to relationship more than heroics, though the mark and scale suggests that’s where you were initially coming from? Richard: Yes, I do feel that what I do comes out of, … Continue reading
