Many collectors, writers, curators and supporters of my work have asked about the relationship between “oblque” images and the larger body of my work.
I have long been intrigued by oblique images in general/ wherever i might find them and they are everywhere. I find fascination for example in the paving and repaving of a country road or city street, the way that the concrete is lighter in one section / darker in another section or smoother or rougher. The way that one section may bump into another creating a certain drama that no one is paying attention to, certainly not the sreet paver who cares little for such aesthtetic juxtapositions.
The side or back of a truck that has been splattered with mud and salt and paint may come very close to the abstract paintings of italians during the ‘art povera ‘ movment in post wwII Italy, who worked with common materials like mud and sand and wood, in part because they were very inexpensive if not free, and for the pure simplicity of the materials which encouraged a poetic use of those materials. Stone steps we find in the bahamas that were put together years ago and compliled of stone and cement and fixed with more stone and cement, then exposed to the tropical rains and the hot tropical sun, take on a terriric beauty for their “patina,” their strength, their irregulariites of surface, height and width – yet still functioning as well.
Finally one sees faces everyewhere that are “oblique” in trees and sides of houses, whether large or small /new or old.
I have a tree on my country property that is right out of a cartoon by Dr. Seuss, with its bulbous protuding shapes and various eyes and noses thru which squirrels run and hide and scamper thru the day. The bark of trees so often resembles the dry rough abraded skin of an elephant, and these trees provice a wealth of oblique visual information to this post painterly abstract painter.
Komarin Studio is proud to announce that the Museo de Arte Moderno de Bogota, MAMBO, has acquired a work by Gary Komarin for its permanent collection. The piece is entitled A Suite of Blue Sea Lucinda, 2016.
Established in 1963, the MAMBO is a preeminent museum of Contemporary Art in Colombia. The museum was designed by modern architect Rogelio Salmona.
Previous exhibitions have explored the different perspectives of the modern and contemporary world. These included retrospectives by Colombian, Latin American and international masters . Komarin joins renowned artists at MAMBO including:
Alexander Calder, Jean Dubuffet, Louise Nevelson, Jesús Soto, Alberto Giacometti, Richard Smith, Bernard Venet, Niki de Saint Phalle, Paul Klee, Joan Miró, Marc Chagall, Wilhelm de Kooning, Francis Bacon, Karel Appel, Julius Bissier, Wifredo Lam, Roberto Matta, Francisco Toledo, Joaquín Sorolla, Rufino Tamayo, Diego Rivera and Pablo Picasso.
Waking up this morning in country Connecticut. A torrential heavy, heavy downpour, cats and dogs do not apply here. This was tropical, Shakespearean, nearly biblical, in its thrust and manner. The rain so heavy and steady kept the puppies sleeping and me awake. The internet is down, the TV is down, the iPhone does not work. Luckily the coffee machine does and did, and the lights most important.
What to do now I thought? I grabbed an umbrella and marched up the green slope of a hill to my studio where, no matter what the wreckage of the night has been, dreams tossing pillows all over the bed, I could find my sanctuary, my place of calm and contemplation. So I began without much ado to put together a checkerboard like cake painting on paper. Stacked cakes I have been calling them. This one a pale yellow in some quadrants and a creme white in others, alternating pale yellow with creme, back and forth and back and forth, curiously the pale yellow was very close in color to the Alfa Romeo that I own, as the story ties together a trade we made for a painting with a collector on the lake who loved my work.
The stacked cake painting, yellow and creme with white, now waits for me, not me for it, but it for me. Up in the studio as the rain finishes what it does, what it is meant to do and the TV still sleeps as do the puppies. Shortly I will get up, grab my coffee and march up the hill and paint this stacked cake, pale yellow and creme with white. Come hell or high water, the work goes on.
Many people, whether collectors, curators, gallerist or appreciators of the visual arts, don’t fully realize or realize at all how much the ‘unexpected’ plays a part in painterly abstraction. For me, as I work without a prefigured plan of any kind, the painting leads me as much as I lead the painting. Allowing for wide sweeps of the brush, paint has a tendency, if you allow it, to create movement and drama with relatively little direction. In fact, if you control things and ‘lean’ on the painting, areas of great fluidity can go quite dead. Painters have long known this, but in earlier centuries, when figuration was a desired goal, the end point was to make an image that the viewer could read and understand, whether a barn, a cow, a road, a tree or Jesus on the cross. Mistakes, changes of heart, erasures of sorts, or whatever you choose to call them, were not desired.
Picasso and Matisse, amongst others, opened the door to the use of the accident and the unexpected in their work. While both these painters may have had an image in mind, whether a still life or a seated woman in front of a window with palm trees on the beach, they allowed for accidental movements, marks, and gestures to breathe unexpected life into their work. When Komarin paints a painting, he allows for the unexpected and even welcomes it.
The drip, the soft edge versus the hard edge, the overlapping planes of color, a tornado of color, a reduction in color — all of these are embraced rather than denied. The painter works with the unexpected and drives down the winding road, allowing for this or that turn, this or that acceleration or deceleration, until he arrives at a location filled with life, good energy and the unexpected.
I have been painting cakes in one format or another, on paper and canvas, tall and lean, square or rotund, light or dark since the mid-90’s when I was invited to show with jean Michel- Basquiat, Phillip Guston and Bill Traylor in New York. The question of drips or no drips in the cakes comes up quite often more often than you might suspect. The curious thing is that whether doing an abstraction of a cake, which in effect all of the Komarin cakes are large, small or lean and tall: some cakes have more drips, some have few and several have nearly none at all.
A drip can mean many things to many people and there is something odd or wonderful in human nature that some see a drip as positive, a good thing, and others the opposite. Not just cakes, but in real life or daily life, that drip that occurs when the icing is perhaps too thin or too hot when applied, but when you think about it, all liquids drips, whether water, blood, milk or wine. A drip can be watched or recorded nowadays as it moves along a flat plane of a painting or a woman’s dress as a glass of wine tumbles about at a boisterous dinner party or a rocky ship. Humans weep and those tears are drips and water flows over steep rocks and those are drips too. Are they beautiful, ugly or somewhere in between? Deliberate or not, they have energy, they move, and they are unpredictable.
A brand new Mercedes fresh from the factory does not want to have dripping paint on the side doors, of this we are quite sure. So the question becomes one of context and reference point. A Komarin cake painting can be beautiful with drips and beautiful without. Best nearly always when the drips occur ‘organically’ though sometimes they need a bit of help. A drip can be seen like someone sliding down a grassy slope. Too much, too fast, a bit dangerous. Just a little and no mean crash at the end entirely beautiful and wonderful the world drips and spins on its axis as the morning sun comes up.
A painter, whether abstract or not, makes marks on the surface of the canvas. The brush hits the weave of the cloth and leaves behind marks of some kind, whether broad or short or drippy or creamy or wide or narrow, thick or thin. But what happens, often in a quite magical way, is that a certain drama begins to unfold ‘under’ the surface, in that repeated layers of paint create a whirlwind of forms and energies and swaths of paint, that can speak to the viewer, collector, and admirer……in ways that are somehow even more poetic and oblique than what sits on the surface.
One thinks of a person, a human being who has an outer surface, a certain physicality, color, tone, texture, skin – smooth or rough , hair – long or short or in between brow furrowed or smooth, wrists thin or thick. There are nearly infinite possibilities. And yet under the surface, there are things seen but also ‘felt’ that have as well – a life of their own, and we as sensitive beings can feel and somehow know this under the surface world. It can be an angry person under a calm visage or a shy person under a rumpled outer layer…..or any number of combinations.
An abstract painterly painting can in fact, have yet more going on visually and emotionally ‘under’ the surface than on the surface the viewer must engage with the painting, breathe a bit or a bit more slow things down and come to know the under layers where “life” with all its attendant joys and sorrows plays out for all who have the patience to watch and feel and even listen.