Right now as I type this, I have a hair dryer blowing hot air on a painting that's face-up on the floor. I poured some alkyd house paint that skinned over quickly which makes it difficult for the wet paint underneath to dry, so I'm just trying to help that process along. It also has some old T-shirts of mine attached to the surface which are embedded in the poured paint. I basically have 2 series of paintings going now: one group that maintains the integrity of the picture plane and is painted with paint rollers, spray paint, and oil stick, and another group of paintings that are painted similarly but also incorporate collage materials that come out of my day job: drop cloths, stir sticks, paint skeins, tapes, rags, roller sleeves, etc.
Sometimes the best thing you can do in your studio is just be with your work – it's not always important be doing something. Just BE with it and let it speak to you. But when I am working I think it's important to bring a quality of emotion to the work – I love that Matisse talks about going to ride a horse if you're not ready to be in the studio. Get energized! Generally I work fast and things happen quickly. But there are also times when the path is not clear, so I slow down a bit with lots of time between moves. So it varies. Hence, no real routine.
I'm very lucky to have a nice, big studio which I've had since 1985. In addition to the sense of continuity the studio has provided, this is the studio where I learned how to make a big painting. The large size also allows me to work on a bunch of things at once. Also, I live and work in the same loft, so going to the studio is not an event or an action that requires a decision, as such. I can wander in any time of the day or night with a cup of coffee or a beer in hand and just look. The nice thing about living and working in the same space is it allows a more relaxed relationship with one's work - you can see things more unselfconsciously and hopefully, more clearly. It's all about breaking down the illusions we all tell ourselves about our work. I love my studio!
In the past couple of years, I've done a number of paintings where I've intentionally wrinkled the canvas surface during the "stretching" process. Figuring out how to negotiate these surfaces has been very tricky and it took me a long time to resolve these canvases. But I did resolve them and that's very satisfying. I love that kind of challenge and risk. It's what I'm painting for. It's the inquiry, the investigation that intrigues me.
Yes AND yes, I don't see these as mutually exclusive. I've always believed that we all need parameters, both so we know what we're doing but also so the viewer knows what variables are in play. That said, rules are made to be broken and it's important to push ones boundaries all the time. But if you are just doing anything at all, all the time, you'll surely end up with nothing. That's not freedom. When I reviewed Dona Nelson's show, I realized just how much rigor goes into the making of her work - she's not just having a good time making things up. If you look closely at her work, you'll see slight changes from piece to piece, in other words, parameters! But that's not what one thinks of when one thinks of her work. Most of us think of that wonderful freedom she has. Well, it's a hard-earned freedom accomplished within the parameters of her own personal working history.
Yes, I'd like to invite you, Valerie, to come to my studio. My website hasn't been updated in a while and besides, I don't think the computer screen is a very good medium by which to view painting – so much is lost. Thanks for the interview! See ya soon!