Tonight is the night I shuffle the big pile of Long Series paintings in progress. If you’re curious the pile is 21 inches high. Some of the pieces have been in the pile since I started the project three years ago. Some are just paper with a few marks on them, and most are heavily worked up and many are nearly complete.
In many ways this is how I like to present the paintings best, as a big stack in a display case. Or in this case on my studio floor.
Adventures in Naples (y), 2013, acrylic on canvas, 14″ x 18″ inches
Introductions can be wonderful things. You can meet interesting people, and make new friends through an introduction. Sometimes you can be introduced to your new favorite food, television show, or artist. I’d like to introduce you to some of my favorite artists.
The artist I’d like to introduce is the painter Terry Greene.
Connected across two or more spans
Painting, Connected across two or more spans, 16″ x 20″, acrylic on canvas, 2012, Terry Greene
“I make small improvisatory paintings using acrylic paint on canvas (and occasionally on found boards).” Terry Greene
Talkin’ about it and bein’ it, that’s two different things
“I have stacks of (shop purchased) ready stretched canvases and in perhaps a critical act against my own intimidation (or reverence) for the “canvas” and its surface, I cut the primed cotton away from the stretcher. This has the added advantage of enabling me to work on both sides of the canvas until the moment one side wins out. I work across any number of bits of canvas littering the floor, adding and obscuring stains of colour and variously generated marks. My thinking at that point is, in part, that I’m engaged with drawing attention to the fact of the paint (or tape) on the loose plane of the canvas. Often tape is employed as little objects on the canvas while at the same time they are colour and light illuminating the ground. I’m particularly interested in exploring that moment between when the background and foreground don’t really meld or talk to one another and that split second that a real dialogue begins – however unrefined. Finally the canvas is re-attached to a stretcher in a rather provisional manner.” Excerpt from a Studio Critical interview.
If you liked this introduction maybe you’ll like my Previous Next.