I lived, as a youngster, for a while in Riverdale, but I have never encountered a $19 million dollar vintage, revamped Frank Lloyd Wright house or conceived of my paintings in the light of a modern gem out in the choice beachfront properties in the Hamptons. I stayed in a generic little bungalow for one weekend in around 1977 with Mel Juffe, a reporter for one of the rag papers like the Post and Ron Gorchov and I’ve been an au pair in Martha’s Vineyard for a short time in a pleasant modern ranch – never this. I heard about old places like Grey Gardens or palazzos in Europe, but, only remember fragments of Eames chairs or shocking pink and bright orange pillows, maybe a ride in an Alfa Romeo through the streets of Trastevere in the early ‘60’s, a plate of spagetti and that’s all, nothing new. I had enough knowledge of this kind of lifestyle though to be able to imagine it and to grasp it, and the key to envisioning it is of great interest to me as a barometer of some kind, how, I’m not sure, but this certainly transcends shock & awe. What amazes me is how the furnishings are just as ecclectic and lived in as where I live now, and so my only obstacle is envisioning inside on the same scale as one would outside in Washington Square Park. These kinds of edifices are thousands of square feet. At the same time they seem not to require more than the largest 24” x 36” paintings to reverberate throughout the entire open plan if the painting has the ability to carry that space correctly. Haverland likes to lean paintings on top of tables against the wall with smaller paintings leaning up as well. So, the goal is to create a relatively small painting that registers as a huge painting either through the personal imagery being adorable and compelling or not expecting the image to be about the person’s life who is residing there.
Posted on: Sun, 22 Sep 2013 03:53:40 +0000
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