There are new mixed media sculptures in your blue acid show. They combine 3D elements with 2D painted planes that are almost billboard-like presentations that blend together in a novel way. How do you deal with something like this?
One of the great things about making art is finding something seems to be nowhere to go. In retrospect, it seems logical, but it is an epiphany at the moment, and it is exciting to explore it all of a sudden. My studio is across the street from across the street from the creative woodworkers, they have a box, they put broken wood for anyone who wants it, which is irresistible to me, and there are a lot of weird shapes with multiple aspects, so I painted their paintings on it, they realize which side of the different themes can coexist, depending on which side, and added sculptural elements and a new horizon on the basis, and added me a new horizon.
You have been doing art for a long time. Are you always carving as part of the process?
Like most artists, we are forced to do things. When I was a cub scout, we were doing the Northwest, I made the swamp with frogs and turtles, and for me I could hardly fall asleep because I was imagining it, and until today, the sculpture had an impact on me. I restrain myself and keep the complement of the paintings I have worked hard to excel in throughout my life, but sculptures always whisper to me.
There are new mixed media sculptures in your blue acid show. They combine 3D elements with 2D painted planes that are almost billboard-like presentations that blend together in a novel way. How do you deal with something like this?
One of the great things about making art is finding something seems to be nowhere to go. In retrospect, it seems logical, but it is an epiphany at the moment, and it is exciting to explore it all of a sudden. My studio is across the street from across the street from the creative woodworkers, they have a box, they put broken wood for anyone who wants it, which is irresistible to me, and there are a lot of weird shapes with multiple aspects, so I painted their paintings on it, they realize which side of the different themes can coexist, depending on which side, and added sculptural elements and a new horizon on the basis, and added me a new horizon.
One of the great things about making art is finding something seems to be nowhere to go.
You have been doing art for a long time. Are you always carving as part of the process?
Like most artists, we are forced to do things. When I was a cub scout, we were doing the Northwest, I made the swamp with frogs and turtles, and for me I could hardly fall asleep because I was imagining it, and until today, the sculpture had an impact on me. I restrain myself and keep the complement of the paintings I have worked hard to excel in throughout my life, but sculptures always whisper to me.
Will these new sculptures inform or change the way you approach oil and acrylic paintings?
It’s very easy to get stuck in ruts and copy what works, I found the shaking process necessary, and in my case my large solo performance Blue Acid was some sculpture I decided to do, which my wife thought was a questionable time management idea. But when I’m under stress, I get more creative, suddenly think of my dreams, and when I wake up, excitement generates energy and enthusiasm, and my paintings get better.
Although there are always many realistic details in your work, the “artist’s hand” is evident in your painting brushstrokes. Due to this approach, many of your paintings feel a little blurry or “movement” about them, just like the frozen frame of the movie…
I’ve never been a fan of surrealism because it doesn’t include audiences who need room to explain. Sometimes some strokes may mean bricks rather than rendering each brush, so blurring can also help, and there is also a concept that has a rest in the painting where the audience can pause before they resume their journey in the painting, thinking anyway how long it will take without our imaginations.
