As readers may already know, I recently moved into a studio at the Elizabeth Foundation for the Arts in NYC. For the new series of paintings I’m working on, I’m using the geometric vocabulary I’ve developed over the past few years, but I’ve switched from oil on stretched canvas to acrylic on wrinkled, unprimed canvas. I’ve also decided to spend no longer than three hours on each piece, which makes the paintings about the choices made in truncating the painting process. Stopping after three hours is incredibly difficult. Do I quickly cover the whole canvas with paint or concentrate finely on a small section and leave the rest untouched? Whatever the strategy, I find the incompleteness of the paintings compelling–but I wish they photographed better.
Untitled 1, 2011, acrylic and pencil on canvas, 72 x 60.” Should I stretch this or leave it unstretched? I can’t decide.
Untitled I, detail.
Untitled 2, 2011, acrylic and pencil on canvas, 72 x 60″
Untitled 2, detail.
Untitled(Purple), 2011, acrylic on canvas, 16 x 12″
Untitled (Dean’s Mill) 2011, acrylic on linen, 10 x 12″
In the June issue of The Brooklyn Rail, look for my latest essay on new abstraction; composing it was a little like writing a statement about my own work.
More on my interest in incompleteness at Studio Critical