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Goldberg
The play and relationship of the language in the titles with the
image content is something that I hope to leave open for the viewer
to experience. The openings provide a space and time initially free
from defined meanings, which the viewer can fill in with individual
response to the work. Similarly, within a particular painting I do
work to provide an opening between the many images that then
may begin to coincide together according to the viewers’ interests
and ways of seeing. Within this process I invite the viewers to
“read” the images in the sequences and rhythms of their own
perception.
How do you perceive these works?
The layers are created by “painting” with inks and the alternating
with successive paintings in between additional applications of ink. I
often perceive them as translucent to one another or as embossed
onto pre existing images of landscape or architecture. Especially
when seen in certain lighting, I might see several human faces
appear under wing of the angel in that piece, seeming to be further
back in depth into the painting than the surface image of the
brownstone.
You have mentioned a number of ways that you view your own work.
Would you suggest that the audience follow along these paths as
well?
This is a process that does take some time being with the work, time
spent as with a kind of visual poetry when images may free float
between one another to lead to new connections and explorations.
I’ve noticed that at times you do not use glass to protect your images
- is there a reason for this?
Yes. Although I am aware that glass and framing protects the work,
to ensure greater permanence, yet the additional reflective surface
may also act as a barrier to the viewer. Life is full of impermanence.
The worry has been expressed that the images might degrade
through the process of being hung and observed without glass,
when people desire to touch surfaces. For me, this concern is
overcome by a strong desire to frame my images without glass
because I wish the life in them to be available to view, both close
up and at a distance.
Like a live performance, these art works also can happen in the
present moment. As the work is approached, I want this sense of
liveliness to be able to occur such that viewers will see something
different each time. The images are entirely fresh and more sensual
and alive, without the glass in the way to interfere by dispersing the
reflected image around the space.
I am still researching how this sense of aliveness may be protected
when works are shown on the computer screen. It is as if the images
live inside the screen and become visible when the computer is
turned on. The backlit aspect of the light, while permeating the
forms onscreen, does help the image glow. For the gallery I am
exploring ways to hang the image away from the walls so light and
air may move through them as well. Some of the most valuable
things in life are those that are impermanent, such as dancing,
choreographing, special moments with people, and many live
experiences, which are unrepeatable and different each time.
How does this liveliness apply to your landscapes, which often appear
to be so effervescent?