Mark Wethli

Brunswick, Maine, USA

I try to paint geometry the way that Morandi painted bottles—using something as humble and familiar as the rectangle, for instance, to explore its aesthetic potential in relation to the forms and spaces around it while also giving it a vernacular, singular, and idiosyncratic identity.

Adjusting the gestures and visual pressures generated by each contour, shape, and proportion, activating positive and negative spaces equally, and determining the inherent color and surface quality that seem most appropriate to each is the process out of which the paintings emerge.

There’s an intuitive rigor and certitude to these decisions, but not the kind of rigor usually associated with geometry per se. I’m more interested in a burnished, threadbare, lived in kind of geometry; shapes, forms and surfaces that inhabit the gap between perfection and imperfection, life and art.

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