Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.
I wanted to paint in a folk-artist-y way. My heroes were Van Gogh, Gauguin, Matisse, and Rembrandt. I think Picasso is about as a modern as I got. But I incorporated things that they rejected as well as movements that happened later.
Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on colour... Paint generously and unhesitatingly, for it is best not to lose the first impression.
I don't like acrylic because you can't get the density of color. And with each coat of oil paint, the surface gets better and richer.
I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
It's to paint directly on the canvas without any funny business, as it were, and I use almost pure turpentine to start with, adding oil as I go along until the medium becomes pure oil. I use as little oil as I can possibly help, and that's my method.
I'm just really impressed by oil paintings - I don't see how people do it! That's the style I like: classic oil paintings. Abstract art just isn't my thing.
You do not have to ladle on the impasto to make a point about human frailty or ambitions.
