Brent: Lines have been your thing from when I can first remember – and probably before that too. And for you, the lines and their infinite variety is the motivating bee in your bonnet, with a focus that is almost too obsessive, but it is what is for you – mostly. There is a … Continue reading
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
Brent: I think we live in a funny color world: I mean the hills and trees, they are green, rust, brown, hay, and they are soothing. The bay, well that has every personality under the sun, and the moon… and I think of your work, and I think of the light that is much less … Continue reading
Brent: In a recent body of work where you employ, as you are known to do, grids, colors, and lines, the horizontal predominates. The vertical is there, like an armature, or is seen through the stacking of horizontals, but it is the long flat bars or lines of color that activate and play the paintings’ … Continue reading
Brent: Here we are in the realm of architecture, painting, sculpture, photography, and digital imaging. You are an artist, curator, and an agent provocateur, among other things. Where do we start? Guido: Agent provocateur? Brent: Maybe a better label would be DIY. If an opportunity is not there you organize, find a place, and do … Continue reading
Brent: At first glance what appears formal, color oriented, geared towards the minimal, turns out to be more than the sum of the economy of a painting’s means. What serendipitously moves towards the ‘anything goes’ is in fact facilitated by a number of very considered alterations and decisions. While the surface does not necessarily show … Continue reading
Brent: Color is the thing that drives the narrative in your work: it is there, upfront, unabashedly. It clashes! And if music were the closest partner to its poetry then I would wonder about its cymbal. With ‘Amplitude’ color droops down to ooze behind the eyeballs to form the central glue of the tale. It … Continue reading
Brent: In “Treble II” you have an envelope-proportioned structure that has a fold but not like an envelope. There is a corner missing from one side: And a corner protruding from the other. The whole thing is one sheet of color, and of two forms… how did that come about? Connie: In the “Treble” pieces … Continue reading
Brent: A drawing dated 1978, Untitled, chalk on paper, has a pair of identical penciled or conté grids which you use to make a series of what appear to be perfect arcs; there are finger marks or smudges; some arcs are taken out. The arcs appear to form some shape, allude to volume, but never … 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
Brent: Pop, peek-a-boo, poking around, of color that is not of this world, though worldly set in architectural places that can eat up the logic of their interior. Indeed you have for lunch many of the preconceptions of the formal. Your sense of order of space and how you color it physical is full of … Continue reading
Brent: If color were a stamp then yours would be green. Though recently not all things have come up this way: You have moved into orange and apricot, banana yellow and powder blue, just for starters. Alan: I have been watching colors besides greens for years as I mixed or ground different pigments to achieve … Continue reading
Brent: One of the things that intrigue me about your work is how very immediate it feels. But then, also, there is this fine sense of order; a tension that just reads so. There are often layers, sometime layers upon layers, some almost obliterated, or covered over. There is this sense of frenzy at work, … Continue reading
Brent: Out of location, a thing found – wonders in ways that form a new thing, in a different location – this is generally how I sense your various projects working. Patricia: It is my experience of a location or an object in a place that is important to me. I think that I’ve been … Continue reading
Brent: Color scales, gray scales, drums, unwrapped columns, the feel of folds, all different measures of light that sometimes manifest as light ‘actually’, though all together register as interest in how things unfold, expose, and fold back – that draw attention to form while somewhat masquerading with it – Linda, what is the common thread … Continue reading
Visual Discrepancies 