For thousands of years, wax has had a venerable place in human history. The inherent qualities of wax make it an ideal material for painting because it binds pigment, adheres to a variety of surfaces, builds up layers and textures and is impermeable to moisture and the elements. In addition, wax’s translucent property allows light to enter the layers of the painting, move about and reemerge from the surface transformed giving off an almost luminance to the image.
I was introduced to the cold wax/oil paint technique by my long-time dear friend, Orazio Salati. His landscapes and abstractions have been inspirational to me. In my recent correspondence with Rebecca Crowell and Jerry McLaughlin, co-authors of the book, Cold Wax Medium: Techniques, Concepts & Conversations, I have found support and encouragement. Within the past two and half years, I’ve learned how to use glazes, brayers, palette knives, squeegees, brushes and even fingers to achieve various effects in my work through the use of the cold wax technique. What I most enjoy is scraping, scratching and gouging the layers of color. A dry or semi-dry surface offers resistance so scratching and scraping and therefore produces edges and shapes that are jagged and uneven. This is very conducive for a primarily expressionistic style of painting and abstract expressionism is a comfortable and familiar place for me.
I’ve always had a deep interest in archaeology. Essentially, archaeologists dig to uncover the past and learn how the past affects society today. And that’s what I like to think I’m doing in my paintings. Just like the archaeologist, I dig down into layers of color and texture to reveal new expressive forms that affect the power of the painting that will, in turn, communicate an idea or theme involving human experience. I’ve always believed that making art is an attempt to explore what it means to be human just like archaeology is an attempt to figure out what it means to be human through the “dig”. For me, there is a quality of timelessness to both endeavors. In my opinion, the activity of the painter and the activity of the archaeologist both emphasize the contingency of human experience and conceptual thought on the interaction with physical materials or elements in their respective disciplines.
I love the intuitive and improvisational aspects of abstraction. Most of my paintings are nostalgia-based meaning that they are derived from personal sensory memories. I focus on trying to capture a moment lost, a season or an hour glimpsed or the after image of a brief encounter. I hope that my paintings will preserve these moments for interpretation and discovery by the viewer.
The Washington Print Foundation presents the
2017 National Small Works Exhibition
August 3 - 27
Please join us for the Reception and Award Ceremony
Saturday, August 12, 1-4
The Washington Print Foundation is pleased to present 32 outstanding prints by artists from across the United States in its 2017 National Small Works Exhibition from August 3 through 27. This annual juried exhibition, now in its twentieth year, has attracted an exciting range of entries in both traditional and experimental printmaking including intaglio, relief, woodcut, linocut, Solarplate, serigraph, digital and photographic prints, plus three dimensional works with print components. The juror for this year's exhibition is Scott Hutchison, Assistant Professor, Department of Art and Art History, Georgetown University.
Washington Printmakers Gallery
1641 Wisconsin Avenue NW
Washington, DC 20007
Hours: Thurs - Sat 11 - 6 pm, Sun 12 - 5 pm or by appointment
Washington.firstname.lastname@example.org | www.washingtonprintmakers.com
14 West Carver Street Huntington, NY
In June of 2016 fotofoto gallery welcomed Long Island’s emerging photographers to participate in a month-long pin-up show called Your Best Shot. The unjuried, unframed exhibition highlighted some of Long Island’s most exciting new talent.
The Gallery's first International Juried Exhibition featuring photographic based Solarplate etchings created from 48 artists. Juried by master printmaker, Dan Welden.