On that coast, I laid myself out like on the doormat of the palace for years (or even I was the doormat itself sometimes), as a receptive servant, not as someone who has come there to make nice pictures to take back to galleries waiting to sell, not at all that. (Actually when painting gets to that point, although we could make a list of successful painters we know working with market mania production in mind and making lots of money from it), actually, when things begin to sell, it’s time for some sober interrogation and a step back. My dealers of course would kill me for making such a statement, but it’s a very tricky, double-edged sword that one must learn how to handle to one’s advantage. We know that the market place is a blessing and a curse and the most important thing is not to be at all influenced by what is happening out there and to find the light inside and follow it fiercely because once it’s lost it may be a long time if at all before it comes back.)
So to extend the discussion on influence, the entire knot of experience on that coast eventually had two sides, ironically there was another aspect to it’s teaching and that relates (very briefly for here) to why I had to stop going there, and for now to leave behind that extended train thought. In 2006, by necessity, much of it related to my responses to market/dealer expectations, and to a certain kind of obsession among painters over this place (that I was perhaps partially responsible for developing) the whole business of making images to be sent to the market place became anathema as did the issue of speculation about what anyone would like. Actually, before then I had never given such things a moment’s notice, and the idea of painting speculatively for the market (whatever that is) seemed way off. To make paintings about what someone else likes?, come on! I really didn’t want to hear anymore about what this one or that one thought about my work and, I sensed it was time to close the door to the interior of my own passions. I knew who my friends were and weren’t and, that the holiness of the conversation underway for 13 years on that secluded coast was threatened. So, time to change paths.
BUT I would never have anticipated that the next piece to come along, would once again raise the bar of ambition and desire so high, and that the dry, chromatic airspace as well as the very solid forms of Umbria and Tuscany in the summer months, would haul my eyes into an opera as different as day is from night. Look, it’s not because these places are “pretty” or quaint that I go, but because something visual happens there (like a chemistry between people in love) and I go to sit still in a few spots with brush or pencil in hand, for sustained exposure, for extended opportunity to make inquiry.
Painting Perceptions was started in 2009 by Larry Groff to promote the ideas, practice and experience of painters working from observation in a modernist vein from around the world through interviews, essays, videos and community. It later evolved to include imagination-based and abstract painting as well.
Very inspiring and wise !
Outstanding! Thanks so much for this interview. He’s one of my favorites and I would love to take his class. He talks about a lot of the things I’m struggling with right now. Maybe Santa will reward me for being good all year.
Some great intense thoughts on painting and seeing. I really like the ideas he was talking about regarding the difference between ‘landscape’ and ‘scenery’, and how painters need to edit out the observed, see-able world, and focus on the construction of what’s happening on the picture plane. His work speaks of a deep involvement with the world, and it shows. Thanks
Great interview Stuart and Larry. Many thanks and will pass this on to the students etc… Best, IH
Thank-you very much Stuart and Larry… nice interview.
It is thrilling to read this discussion which has much to consider and digest.
Yeah, this was a really good interview. Painting as connected to a Kinks chord or whatever it is that grabs us in the world of our senses is really the game and Stuart has a great way of conveying the excitement of it with words and, of course, with his art.
thanks to both you.
dm
Awesome interview, Larry! I ended up doing his workshop in Philly and had a great experience. He is an incredible artist and instructor, as well as a great person. A lot of what was touched on in the interview was discussed in the class as well. Nice to have this wonderful resource to read over and really digest. My seed is taking root!
Hi Larry,
This is one of those interviews that I want to read every day. So many truths and poetic ways of describing the way we think and see as artists. LOVED IT!!
Thanks tons, love your blog!
Happy Holidays to YOU
Terrific interview! Questions and answers all so thoughtful, original, articulate, and helpful. I’d like to take a class in California in spring or early summer.
Absolutely outstanding!
This should be required reading for every art student and I would go s far as saying that every working artist would benefit from reading this often. So full of experience and intelligence! The paintings and drawings are truly beautiful as well.
Thanks for taking the time with this Larry and Stuart.
Thanks very much for doing this interview. Shils has always been one of my favorite painters, and this was wonderful to read and see. I particularly appreciate seeing his sketches, which are amazing.
Great interview on an inspiring artist! Much appreciated.
I got a chance to have Bill Scott in my studio during grad school and was really inspired by his perspective on observational painting. It makes it even more exciting knowing that a painter that I respect as much as Stuart holds Bill in such high regards as well. Great interview! Thanks, Dustin O’Hara
Love your stuff man. Very unique love the abstract qualities and the brightness of the colors. Really rate-type look. Ultra cool.
Great interview on an inspiring artist. Great collections of paintings there.