![]() I intuitively recognize the semiotic null-space you use to stage some of your scenes, and this conforms not only to my native habits of thought, but also to some extent to the years I spent working in black-box theater, where this kind of minimalism is essential. On the other hand, and I think this is why I brought them up, your analytic and perceptual spaces are very harmonious with mine. This is not to say that they cannot be deciphered or recognized only that there are elements of your primal experience and outlook which are very clearly distinct to me from my own. The psychological motifs in your work do not answer to my own experiences. It’s interesting, we have very little intersection in the narratives of our lives. It is my sincere hope that in looking at my painting you will find places where our lives have intersected. It is the language I use to talk to myself loud enough for you to overhear me. My art is a process, a method, that aids my search for a clarity about myself. There is no “face value” in art.Īrt is the meaning of its own revelations. Everything you see in a painting should be considered in every possible way you can interpret it. Nothing is there without purpose and intent. ![]() Artistry is how meaning is most fully and compellingly captured.Įverything in a painting is there because decisions have been made. Art is a search engine for meaning and meaningfulness. There is experiencing life and then, in making art, there is re-experiencing it.Īrt is a representation, as simple as that: a re-presentation.įor the artist, there is Art and there is artistry. My early work was a search for my “voice”. Here are some things I’ve learned over the many years trying to make art: ![]() Please feel free to answer them yourself. They are the same questions I ask myself while painting. The depiction of water enhances and expresses mood in your work - from the bright daylit ocean in "Preparing to Swim the Channel" to the oceanic dark water of "I Dreamt I Was Dancing With The Moon." Can you discuss a bit what the sea means to you as an artist, and the role it plays for you in creating your work?ĭaniel, your questions are excellent. The way I read your depiction of it is simply that you find the most natural human location to be the edge of the water. The sea is a frequent element in your work. How has your sense of the figure in space evolved, and what does space mean to you in your work? Is it an active, analytic tool of expression? An intuitive reflection of your emotions? Your current work seems to hover between the modes, sometimes edging toward psychological narrative in a stripped-down semiotic zone, and other times telling its stories in a more representational world. In the 80's, your spaces and people evolved toward a much more chromatic and realistic mode of representation. Your earliest figurative work, including the glassines, generates narratives which take place in a kind of floating semiotic space. What formal and thematic elements were at the fore for you in creating the current body of work? How are you building on earlier work, and in what ways would you say you've gone beyond or away from earlier work? Eric Fischl, Inexplicable Joy in the Time of Corona, 2020, acrylic and oil on linen, 78” x 105” , courtesy of Skarstedt Gallery, New York, NY.
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