Dionisio Cimarelli has been discussing his sculpture and teaching at the Art Students League with several news outlets.
“Keep the layers thin, and you can have hundreds of them so you’re staring through multiple layers until they just go on to infinity, and disappear. That gives it a luminous, otherworldly feel.”
Do people still feel the need to own, to have present in one’s life, an artifact, a painting, made by somebody else?
A fascinating illustrated interview with Ellen Eagle, “The Observed Encounter” on the site Painting Perceptions.
I’m lucky in the sense that I am able to portray my feelings with a brush rather easily. I don’t know whether I can attribute this to slow accumulation over a lifetime—looking at so many paintings, the careful observation of everything.
There is no question that plein air painting is a class of painting unto itself, and we understood early on that it can be more akin to an extreme sport than a creative activity.
“My mind is an evocative jumble of myths, facts, and fictions. I view and articulate my world through narrative.”
Wendy Shalen discusses her recent exhibition Family Matters in a video interview with G.G. Kopilak.
You’re in a cave, it’s pitch dark, you’re holding a silk thread, and you move one inch at a time forward, because the secret you want is deep inside …
I’m against a culture that tells us that work in which people express their misery is not art but must be therapy, simply because it comes from personal involvement.