A few weeks ago, Kadar Brock and I exchanged studio visits. I alluded to the meaning inherent in how an object is made and how materials are used, and Kadar explained some of the ideas that infuse his work, like magic and Eastern philosophy.
“What I enjoyed most about the visits was a decided focus on our states as viewers with each other’s work, which pushed us to talk about effect and intention more than anything else,” Kadar wrote in an email after our visits. “So we talked about time, failure, states of contemplation and meditation, and the physical processes that prompted these mental-emotional responses….You use a language of mistreated basic techniques to open a subjective expression of the contemplative, while I use a rigorous, albeit open, ritual of erasure to the same end. Both have to do with a deconstruction of painting, … and both, I think, give the viewer something they can chill out and empathize with.”
After spending a couple hours together, it became clear that Kadar and I talk about our work differently. He’s more likely to talk head-on about what his work means, whereas I’d rather let viewers tease out the meaning on their own. Nonetheless, we found plenty of common ground in our approaches to painting itself.