Galleria Nazionale d’Arte Moderna in Rome Acquires Komarin for Permanent Collection

On receiving the news that one of my paintings has been acquired by this most respected museum in Rome, was needless to say quite exciting after painting these many years since I first showed my work with Maxwell Davidson in New York in the late 70’s. This museum in Rome has acquired a painting titled: ‘In Which the Baron Fallow’ 60 x 48”, which was first shown in a catalog exhibition by invitation with Robert Motherwell in Dublin.                       For a painter it is quite important to be recognized thru one’s career by significant museums and art institutions. The Galleria Nazionale d’Arte Moderna has a collection that is widely respected worldwide and includes works by Cezanne, Monet and van Gogh – as a highly respected collection of contemporary living artists. It was certainly a thrill to receive this good news and such good news keeps a painter alive and motivated and hungry to move forward with the ongoing thrust of one’s career.  ...

New Puppies, New Life, & the Road to Creativity

  Two new teeny puppies arrived at my doorstep ready to see, smell, and touch the world for the very first time. I have been watching and tending to both Henry and Juno for several days and have begun to see curiously interesting connections between the process of painting and my new companions. Our new puppies pounce, dart, and roll around much like an abstract painter approaches the canvas. Fresh, new dogs bring life to the surface of the canvas and to the creative process itself , giving freedom to the brush and letting energy flow. My painting is very much about being fully alive, present, and staying in the moment, and I find inspiration in the way our new puppies will run around the rolling hills of Roxbury. My new terriers prance about, appreciating every moment this world has to offer. When I approach the  canvas, I immerse myself in the world of my painting. I find myself observing new forms to explore and develop, very much like these two puppies who are ever so new to the world....

Exhibition in Seoul Korea Highlights the Nature of the Human Condition

A current exhibition in Seoul Korea of Komarin paintings is intriguing indeed. Korea is a nation deeply divided. Their history has been marked by war and an enormous amount of internal conflict. They are one people divided in half. Both halves are the same. They just don’t know it. My paintings speak to all peoples of all cultures and all languages. This is indeed a good thing. Tribal hostility in the historical development of Korea is due to geography The human condition is the human condition. Differences in political, religious and cultural affiliations are to a very great extent due to Korea’s geography, with these differences playing out over time. Tribes that evolved from the same genetic base but lived across high mountain peaks and deep wide rivers grew fearful of their tribal brothers, and when coming upon them, these tribes would nearly always attack and conquer. The losing tribal chief would often be beheaded. His head would be the precursor to the soccer ball as the winning tribe would kick it around the field for good measure. The antagonism of tribes was perpetuated as they reproduced and created new affiliations. How does the exhibition in Seoul Korea fit into the basic human condition? What is of interest to me is that my work appeals to collectors of a great many countries across this little blue planet we call Earth. Why? Because the human condition is the same, always has been, always will be. Humans enjoy the satisfaction of certain appetites; the love of visual beauty exists among all peoples throughout pre-recorded and recorded time. Cultures that could not...

Journey of a Painter: The Quantum Particle and Me

A quantum particle can exist in two places at the same time and move effortlessly from one dimension to another. Or at least this is what the Physicists tell us, and why not agree? The Poet and the Physicist meet at the top of the Mountain of Awareness. They see the big picture in all things; they simply climb that mountain in different fashion, wearing different gear. For me, I would delight in being a quantum particle as I could not only move from one location on Planet Earth to another effortlessly and leave the arduousness of jet travel behind, but also as a Painter I could move from one dimension to another … I could visit locations around the world in less than a snap of the fingers; in no time at all really — because I would already essentially be there. Journey of a painter as a quantum particle A Painter like me with a fast brush and a fast mind would profit much from being a quantum particle. I would enjoy visiting other artists around the world and around the universe and why not expand the range of travel and see what they are doing on this planet and others … and then zip back to my studio to share that energy and pull it into my paintings. A painting is always in movement.  What keeps the collector interested and intrigued by a painting is this continuous energy.  Whether looking at a painting from the time of Christ, the 18th century or the current age, all paintings are in movement! Whether a painting is being viewed by...

Why Are So Many Art Collectors Hungry For Pictures of Cakes?

  When collectors are seeking to purchase high quality, original works on paper, we are delighted to find that they often locate Komarin Cakes. Issues of content meet formal concerns. Collectors of Komarin Cakes are drawn to both the subject, i.e. cakes, and the way that those cakes are painted. Form and Content are always on the tightrope. How something is painted is as important as what that something is. In recent months, several of my dealers were contacted by individuals who had specific and quite personal motivations to purchase Cake paintings. One circumstance dealt with the celebration of wedded bliss. Several weeks later, another individual contacted one of my gallerists seeking a Cake to honor the loss of a loved one. We were — needless to say — touched by both requests. I began to paint Cakes and Stacked Cakes in the mid ‘90s in New York when I was first invited to show with Jean Michel Basquiat and Philip Guston. The Cakes were unplanned, as is the case with all my work, and happily arrived in my studio without  an appointment one spring morning in 1995. The pictures of cakes are a marriage of sorts between the domestic and the architectural. My father was an architect who trained in Prague and my mother a writer from Vienna who baked many cakes when we were growing up. Her baking skills were less about technique and perfection of form  and more about love and a certain deliciousness that was itself largely unplanned. Cakes are most often celebratory throughout world cultures East and West. Birthday and weddings come to mind...

Painting and Drawing in Contemporary Abstraction

The issue of when one draws or paints in contemporary abstraction is not a fixed matter. In the Renaissance and pre-Renaissance, an artist would typically do a series of drawings and studies to prepare for a larger, more finished painting. Drawing was preparatory and rarely valued in and of itself as a finished and complete work. A painting would begin with a drawing. Then, various thin layers of paint and glazes would be applied as gradually the drawing would disappear beneath the painted surface. Drawing created the armature and was not meant to be seen. In Contemporary Abstraction, these matters changed considerably. Picasso opened the door to a very alive interaction between drawing and painting. Painting and drawing moved back and forth and there was a free exchange of energy between both. Picasso would draw with charcoal and pencil or crayon, for example, but he would also draw with the brush. For me, there is very lively and desirable interaction between drawing and painting. I begin a painting by making a series of random marks in the white canvas.  These marks are sometimes made with my eyes closed, and at other times, something I might see out the window of my studio or some series of forms I have drawn before inspire me. At other times, I  will begin a painting by scribbling a series of words across the canvas, perhaps upside down and sideways all at the same time. When a painting is started and the paint is sloshed and brushed and dripped and scraped across the surface of the canvas, some of the drawing will be visible,...