Thursday, October 27, 2011
Posted by Aubrey Levinthal
Fairfield Porter, Under the Elms 1971
However, I've never had my feelings about him so succinctly expressed as Dan O'Connor did in a recent interview on Painting Perceptions. O'Connor is a recent MFA grad of PAFA and although his work is very impressive to me in ways, I think it is what he aspires to in Porter that unites our thinking as artists.
He says; " I am continually trying to introduce new ideas or ways of seeing into the paintings. A few months ago, I read a little catalog from a Diebenkorn exhibit where he mentions learning about the importance of whimsy from the paintings of Matisse. This has proved to captivate me for a while. I’ve always thought on whimsy as a sort of heavy-handedness or awkwardness that permeates through some paintings, but have started to see it now as something that could potentially relate a real, palpable truth about vision. It seems to present itself in limitless ways; the way you hold your brush, apply paint, stand, look, question. This playful manner of observing, I think, speaks loudly about the painter and the subject, while still providing a satiated, fully resolved, believable painting. Fairfield Porter seemed to have it."
Dan O'Connor, Dear God, Thank you For Friends, 2009