It starts with the craft of making the supports—all of them wood panels (vertical grain fir) that are carefully constructed. Then preparing the grounds and the slow process of laying out the grids is like the ritual of practicing scales in music—it is physically repetitive, but also prepares you for a deeper connection to the music—or in my case, the act of painting. The grid then becomes a format to explore the color—or perhaps more the value—of the paint. I am always interested in the way the paintings change as the grids “fill up.” I’m interested in materials—the surface quality of the paint, from dull to shiny, and the interaction of the grounds and grids with the painted surfaces. When the paintings are successful, they often can expand and “hold” the wall.
contact & information
more information about the artist
George Lawson Gallery, San Francisco, California
(all images courtesy George Lawson Gallery and the artist)
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