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| Graham Anderson | February 9 - March 31, 2007 |
| images | opening Friday February 9, 7pm |
| press release |
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GRAHAM ANDERSON Who is the figure in the robe? The figure in the robe is totally anonymous. What about the food paintings? The two food paintings are more like introductory pieces. Their direct presentation, stillness, and absence of narrative are elements that are fundamental to all the other pieces. There is a mixture of control and freedom in how you handle paint. The brushwork is both energetic and controlled. It has to be controlled to preserve what I initially found in the things being depicted. Maybe it’s that I’m more interested in these things than in what I can do with them. But the energetic quality is to acknowledge the fact that I am involved. I am selecting them. I am representing them and I have no pretension of being mechanical. The level of painterliness is there to acknowledge that this is a painting. Evidences of accident in paint or the layers of change of gesture don’t convey when the real discovery of the thing depicted occurred. It is a process of finding a physical truth, but one that existed pre-painting. Why these objects, these interiors? Of course a subtext always develops, but that’s personal. I try to give the space as much presence as the objects it surrounds to make it clear these are not just product shots. The mirror for example is a vehicle for delivering a sense that a lot of objects are in transition, and if the mirror looks like it doesn’t work, that’s all the better. All of this stuff is made up. Painting allows a physical relationship to exist, it becomes a real thing, because it is a real thing. Cartoons and smudges of paint, shapes that exist tensely in the picture
plane, surfaces
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