Morganna Sommerville - Nigel Van Wieck

Just when I think I’ve had enough of enigmatic artists, along comes another one. I know next to nothing about Nigel van Wieck, except that he is described as an ‘American realist’. But to me that description doesn’t work – it doesn’t say enough. Just click on the thumbnail to the left and have a look at the study in light. I would say that this work is post-modern, and if it is ‘realist’ at all then it also borrows heavily from the techniques of Impressionism. The realist element is, if you like, the ‘what you see is what you get’ element, inasmuch as this is a naked woman, sitting relaxed on one end of a sofa, lit from the side. But it is a scene to be taken in at a glance.

I look at van Wieck’s pool halls, highways, diners, and apartment windows, and I think, rather tartly, that Jack Vettriano ought to be this good a painter, but isn’t. Van Wieck portrays moments, and when he does there is often an element of menace, or of exploitation, or of voyeurism. His naked women are often the subject of someone else’s gaze – sometimes markedly ours. His subjects are frequently ‘working girls’. His paintings and pastels give us patches of light, bright colours, and impenetrable shadows.


In (1) above, a young woman, bored, alone, is riding a late-night train. The seat covers could be mockeries of a Mark Rothko canvas, or simply an attempt by the train company to brighten up its stark utilitarian furniture. However, the viewer of the painting is placed in the position of a stalker or a voyeur, looking up the young woman’s skirt. The painting  expresses and generates unease. By being made to look, we understand how being the subject of erotic, predatory voyeurism must feel.

                                     2 (DETAIL)

In (2) a working girl (perhaps) has done her work, and is now reclining on a chaise, frankly and fully on display to her customer (perhaps). The woman is fairly sharply in focus, but other detail, such as the dark woodwork of the chaise, is vague. Are those two pictures on the wall, or two casements? One suggests the organic shape of trees outside, the other the angles of urban architecture, giving a kind of Yin and Yang. What is the significance of the carelessly-opened book on the floor. The symbolism is vague, as is the unfocussed detail, and our eyes – the eyes of a voyeur – are drawn back to the naked woman with her laconic expression.

                                 3 (DETAIL)

The working girl in (3) is casually on display to a couple of prospective clients, whilst in (4) below, the observer is the model herself. The title of (4) is Between Dreams.



The composition of (5), Odalisque, is almost classical, but again the subject is observed, having just become aware that we are looking at her.


(6) contains, right in the centre of the picture, a piece of enigmatic symbolism. Two women, one lying on her side wearing a ‘little black dress’, the other naked and perched awkwardly on a chair, are together in a scene of total ennui. But what is the significance of the pear?

                                                 7 (DETAIL)
The girl in (7) is also under a gaze. Is this before or after a sexual transaction? Is this her first time? She is naked and vulnerable. She is looking down, neither meeting our gaze nor that of the other participant. Her shoulders are almost hunched, and she has her hand on her lap to cover her womanhood. She has a tumbler of whiskey in her hand, either as a relaxant (before) or an analgesic (after).


Here in (8), entitled Watch, we have a simple scene in which there is so much meaning, so much going on. Is the title a statement or an imperative? Two apartment windows are at right-angles to each other, in the corner of a building. Two women are facing each other. There is a kind of balance or contrast – both are naked, but one is facing towards us and the other away, one in a lit room and one in an unlit, both have one shoulder hunched higher than the other, each has, apparently, one had reaching down to her sex. The woman in the lit room appears to be caught in a moment of shocked realisation. Attempting to cover her womanhood and her breasts, she instinctively covers her mouth instead as she gasps. But why, if she does not want to be seen, is she naked in a lit room, overlooked by other windows? The woman nearer to us is an enigma. We can’t see her face, so we do not know what her expression may be. There is a tension in her body – look at the sharpness of her left shoulder-blade, the muscles in her back, and especially the way her fingers are digging into her arm. The position of her legs suggests that she is stroking herself intimately as she watches her neighbour. On the table in the unlit room is a spray of white flowers, a symbol of purity, of maidenhood, of awakening sexuality, but it seems at odds with the nearer woman’s self indulgence…
Nigel van Wieck has caught my imagination, so much so that I admit to looking, and looking, and looking at his work. He is so much more than a realist. I have already cited impressionism and symbolism in describing his work, but the most important element, to me, is the way that his pictures are much more than the sum of their parts. That, I would suggest, harks back to Romanticism. Perhaps post-modern art can’t help but reference many features of established artistic movements – perhaps that referencing and re-exploration defines post-modernism.


Ben Jones Interview

From his home studio in New York, Nigel Van Wieck paints the world as he sees it – a vibrant, realist, dreamscape, bursting at the seams with stories, secrets and sensuality.
An artist taken by the ambiguous, preferring carefully chosen subtext and nuance over grander statements of any particular meaning.
Through his work, Van Wieck explores themes such as voyeurism, sexuality, and gender, all through a distinctly American lens.
An artist, whose distinct style has also been oft confused with another notable realist and artist – Edward Hopper, who I – before this particular interview – had been convinced was the sole inspiration behind Van Wieck’s work.
Just over a month ago, I was given the golden opportunity to interview Van Wieck himself, an enlightening, revealing experience –  which saw to challenge my very preconceptions of the artist I thought I knew.
Is any of your work inspired by a particular piece of literature? I’m currently working my way through Celine’s ‘Journey To The End Of The Night’, and had felt as if your pieces had complimented that book extremely well. 
More specifically, that particular novel’s theme of urban loneliness, buried beneath superficial, surface-level happiness. Was this an intention of yours? 

“I love stories, whether they are in books, on stage or in films.  But my work is about my observations, it is possible that I will read a book or see a movie and  it will change my mind, but I don’t illustrate other people’s ideas.  I don’t paint from inspiration, inspiration is for amateurs, my painting is work and observation.  What interests me when I paint is the process, the formal problems of painting i.e. composition, line and color.  I never think about what I want to say in my paintings, that just happens, it’s an intuitive process where the aesthetic choices I make determine the tone of the work, and it works better when it is left to itself.
What is constant in my work is the solitude, it’s a theme that underlies most of my work.  So whether I’m painting the late afternoon sun hitting the side of a building or a girl alone in a subway car, there is a feeling that unites all my work which is mine.
The way my paintings develop differs, sometimes I see a room and want to paint the way the light is falling in it and then I’ll invent people to inhabit that space.  Other times a model in the studio will create a pose and I will invent the space and story around that pose, or I’m walking on a street and see something that would make a good painting.”

Some of your titles seem to suggest that your work is – at times – based off of personal experiences. For example, the piece entitled ‘What I Did When You Left’, hints at a first person perspective. 
Was this particular piece inspired by a past experience of yours, or do its origins lie elsewhere?

“Sometimes I witness a scenario that will give me an idea for a painting, but as I have already said the narrative in my work is intuitive and it’s shaped by the aesthetic choices that I’m making for the picture.
The painting titled “What I did When You Left” is a good example of this process.  Initially I intended to paint an urban landscape with a black car.  I saw it in abstract terms and produced a sketch of the side of a building with a large black window and a white and turquoise wall, in front was parked a black car. 

‘What I Did When You Left’ – Study One
I thought that the window needed some action to make the picture interesting.  So I decided to introduce a man playing pool, and so I did a second study depicting that, and it worked.

What I Did When You Left’ – Study Two
As a result, later, I did a couple of drawings to tighten the composition – and then started the painting.  As I did not have a title for the painting I decided to try an experiment, I posted the second sketch on Facebook and asked people for titles.  The one I liked the best was “What I Did When You Left” given to me by the poet Marianne Chabadi.”

‘What I Did When You Left’ – Oil on Canvas, 24 x 36 Inches (2016)
Throughout your work – one particular facet seems to remain a constant.
While yes, certain pieces do portray scenes of very public – and seemingly genuine – happiness, all throughout your work, loneliness, and especially private loneliness, seems to be the focus.

“The consistency in my work is solitude not loneliness, you are confusing being alone with lonely, they aren’t the same. Loneliness feels draining, distracting, and upsetting; solitude, which is what I paint, feels peaceful.”

Your pieces have been previously described as ‘Americana’, with their general aesthetic seemingly calling back to (Edward) Hopper’s previous, which reflected the times in which he painted them, such as the 30’s, the 40’s, and the 50’s.
Noting this, I’m interested as to why you seem to choose to focus your art – almost entirely – on this particular time in American history?

“My work is American, I’m a modern American Realist, I don’t see my work as “calling back to another time”, it’s a continuation of a deep-rooted tradition that is in American Realism. To understand my work and its place in American painting you have to understand American figurative painting. There is a tradition of the single figure in American painting, whether it be the certain iconic images of the 19th century such as Max Schmitt in a Single Scull’ by Thomas Eakins, or The Gulf Stream’ and The Veteran in a New Field’ by Winslow Homer. America is a land of immigrants – we are strangers in a new land, so there is a strong tradition of painters attempting to find peace in America’s solitary landscapes.
Hopper is a continuation of that tradition, he paints the first half of the 20th century. I painted the last half of the 20th century. The comparisons of me with Hooper are often wrong – as he paints loneliness and I paint solitude. But we both paint light; its the raison d’etre for both of our work. We both compose in a geometric way and use figures in singular way. He paints his time, I paint mine.
I once painted a painting called ‘Q Train’. It’s of a girl sitting alone in a subway carriage and she’s deep in thought. It has gone viral on the internet, and on many occasions I see it posted as painted by Edward Hopper – which is flattering – but anybody that has really looked at Hopper would see that it’s not by him. Firstly, it is in a modern subway car, one designed 40 years after he died, and secondly, the girl is dressed in an modern style  –  and third perhaps and most important of all – is that the image is sexy.

 ‘Q-Train’ – Oil on canvas, 24 x 36 inches (2012)

Eroticism is important in my work, my work is sensual, whatever sexuality there is in Hopper’s work is repressed and like his loneliness it is painful.”

Your paintings, capture – at least, on the surface – the essence of the ‘golden age’ of America, a time wherein its industry, enterprise, and invention ruled the world, despite the growing threat of recession and financial depression.
If this is the case, then why do you seem to contrast such scenes of success and thematic over-indulgence against more concentrated scenes of smaller, more private misery?

One can only paint the time one lives in. I was lucky to live in New York in the second half of the 20th century: The American century, a time and place I still find visually satisfying, but I think that I might be painting the end of the empire. When I paint I do not concern myself with that, nor do I concern myself with making conscious contrasts between ‘success and private misery’. If people want to make those conclusions so be it. David Galloway wrote in a review of me in ArtNews. “Their intimate formats seem to vibrate with an inner life, lending additional resonance to that poetry of the commonplace that is Van Wieck’s specialty”. He’s right, I am a poet of the common place, I see beauty everywhere.
When I look at most contemporary painting it bores me. It’s usually a single idea painted badly with bravado. The art that interests me is art that is complex in that it is not just making a statement, it is all about mastering the craft and speaking in more than one syllable. My paintings have meaning, but I’m concerned with composition and color, making the picture work pictorially and then I want to paint the light and show its beauty. If I do not achieve all three of these elements in a work, I consider it a failure. As I have said I don’t focus on meaning in my paintings, I trust that to my intuition. But there have been times when I’m more conscious of what I’m saying, the Working Girl period is an example. They were a series of narrative pastels made in the late 80’s.

‘Dead End’ – Pastel on Paper, 30 x 22 inches  (1987)  
Many of them were dark and dealt with the relationships between the sexes, and with power, who has it and who does not. They conveyed that the language of sex was no language at all. So what was important was the space between the people. Not just emotional but the physical space between the figures. The paintings reflect the lack of connection today between the sexes. Looking back at these pictures I see that they also have an allegorical meaning: the women in the series represent beauty and art, and the lack of appreciation they have in the world today. This is something that has been constant in my work.”

As an extension of this question, why do you choose to focus on the quieter, more nuanced ‘mundanity’ of every-day life, rather than on certain ‘larger than life’ scenarios?

“Grand gestures get in the way of telling stories, it is easier to relate when one keeps it simple. The larger than life scenarios tend to be noisy and could mask the meaning of what I’m saying; it’s easy to dismiss an idea if one thinks it doesn’t apply to them. I want to have a conversation with people so that they can connect with my paintings, so I see it the connection as talking rather than shouting.

‘The Sweeper’ – Oil on panel, 14 x 20 inches (2004)
Beside I’m interested in painting light, it’s the glue that is in all my pictures and light is everywhere. I don’t see life as mundane and I pity those who see it that way, I’m never tired of seeing a sunset and I wish I’d seen more sunrises. I love walking to work and enjoy cleaning my studio. I’m hungry for life and if you are hungry then a piece of bread tastes as good as a piece of pie.”

Your paintings are also, at times, extremely lavish, placing the maximalism – and excess – of the so-called ‘American Dream’ as their focus.
Is this your aim, or am I simply misinterpreting?

“My paintings do not hold extreme views, on the contrary I’m interested in ambiguity. The American Dream is the subject, I investigate it and propose questions. I want my paintings to have many interpretations. A critic once told to me that he had heard three different explanations for one of my paintings and asked which one was correct. I said that the three of them were correct.”

Would you say that – in a certain way – you are a Journalist? After all, you do document otherwise unspoken events, stories, and secrets – some, perhaps, even inspired by reality.
Your work is also essentially voyeuristic in nature, as we, the audience, are being granted a privileged look into the private lives of those of which we would normally otherwise would not be allowed.
While a stretch, I admit, I was interested – based upon my own interest in Journalism – whether or not this was an aspect that you would consider, upon reflection.

“I’m not a journalist, I’m a painter. True – my work is voyeuristic, and I tell stories, but the point of news is to inform and the journalist tells a story to do that. With me, telling a story is a reason to start a painting, the satisfaction is painting the painting, and a painting is judged on its aesthetics, the narration is secondary.

 ‘New Model’ –  Oil on panel, 10 x 20 inches (1993)

My subject matter is often personal or intimate but the point of my work is not to pull back a curtain to allow the spectator to see, rather it is to share intimate moments that are universal, I want the viewer to be empathetic not voyeuristic. My pictures are personal and although it’s a cliche, the truth is ‘I paint for myself’. So my choices on what and why I paint are made to please me, this would never be true of the journalist.
What are you currently working on?

“The easy answer is my next painting, which is true. But I work on many pictures at the same time, some I have been working on for years. Painting pictures is about solving problems, sometimes the process is fast and sometimes it’s not. So when people ask me “how long does it take to paint a picture”? I answer – “How long is a piece of string”?”

As I’ve – and numerous others, no doubt, have already noted – your particular style takes its cues, and is obviously very inspired, by the work of Edward Hopper.
Why the influence? And if not Hopper, then who?

“I have answered this in some depth earlier in the interview. It’s an observation that is made by people who either don’t really look or don’t know. I think Hopper is a great painter and there are obvious similarities in our work, but if I were to ask you what Hopper paints you would say loneliness, which is in his paintings, but he would answer “I paint light” – as he often did.
I went to college as a painter, and left as a kinetic artist working in light. Ten years later when I wanted to paint again, I sat in front of a blank canvas and scratched my head. A few weeks into this behavior I open an art book and it opened on a double page spread of the ‘Allegory of a Painter’ by Vermeer. I saw immediately that he was painting light. I understood light as I had been working with neon light for ten years, so I began to paint again and I painted light.
As a very young child, I spent 2 years in a hospital and a lot of it on my own. I am content with solitude and that feeling is in all of my work. When I started painting again I was living in London and unaware of Edward Hopper’s work. From my first painting I have painted light and solitude. It wasn’t until I moved to New York that I saw Edward Hopper’s paintings and recognized in him a kindred spirit because I saw he painted light. If those people knew anything about Hopper they would know that his marriage was unhappy, and his life too. He did not start selling pictures until he was 40 and although he had success he was soon eclipsed by Abstract Expressionism and was a forgotten man. His wife Jo kept a diary for the last 40 years of her life and in it she references her resentment of Hopper’s cruelties to her, from his refusal to allow her to drive, to his physical attacks on her, all of which reinforced a bitterness toward him; it was a miserable marriage. This was Hopper’s world and it flavors his paintings.

‘Morning Sun’, by Edward Hopper – Oil on Canvas, 28 x 40 inches (1952)
To further visualise the difference between Van Wieck’s work and Hopper’s, note how the painting featured above – one of Hopper’s most famous, features a lone woman, front and centre – widely reported as being modelled after his wife, Josephine, in a drab, prison-like room.
It is also important to note the contrast between the focus of the painting – the cell-like apartment, and the exterior location, which is New York, a bustling Urban Metropolis. 
The Woman, the focus, is alone, despite living in one of the most populated cities on the planet.
Urban Loneliness, and Urban Misery – these were the tools of Edward Hopper. 
This was Hopper’s New York, and as Van Wieck describes, this very painting only goes to further demonstrate his particular view of the world, and the relationships between the sexes within it. 

My paintings are very different. I like my life –  and I’m painting about solitude, which I like. Desire also permeates my work. Unlike Hopper, the women in my work are varied, warm, desirable and sensuous. There is a sameness with Hopper’s images of women – Jo was his only female model – and they seem unhappy, motionless, indifferent and sexually cold.
The real similarities in our work are the formal ones: the obsession with light, the geometric composition, the use of singular figures and of course having New York as one’s stage. So my work is not inspired by Hopper but we are kindred spirits at least in painting.”

Whilst preparing for this interview, I had noticed that your Instagram profile (@nigelvanwieck) is followed by Virgil Abloh, Louis Vuitton’s recently appointed head of Menswear.
Have you ever met, or is he ‘simply’ a fan of your work?

“I have never met him – he’s a fan of my work.”

Finally, who are your favourite musical artists? And do they happen to have an influence on your work?

“I have an eclectic taste in music, I listen to everything and believe in Duke Ellington’s maxim – “If it sounds good then it is good”.  But music is for listening and enjoying, it does not influence or create meaning in my work.
I do like to listen to music when I work and sometimes I use it as a tool. If I’m organising a picture and working out the composition then I’ll listen to something that’s precise and clean like the Ella Fitzgerald ’Song Book’, or a Mozart opera.
If I’m painting a nocturnal picture then it could be Stan Getz,or the Pet Shop Boys, but the music I listen to is for mood – rather than for inspiration.
My favourite musical artists tend to change.
At the moment I like The War on Drugs, but amongst the music I would want on a desert Island would be the complete works of Bob Dylan, Ella Fitzgerald, The Beatles, Branvan 3000 and JJ. Cale.”

Van Wieck’s vast selection of work can also be viewed, in further detail, on his website – which can be accessed here. 
He can also be reached via his email address – .
The art featured in the cover of this article is entitled ‘Another world’, and is a Oil on Canvas, at 18 x 36 inches. 

Published by Ben Jones


XOXO Magazine an interview with Seza Bali


                                        NIGEL VAN WIECK

                              Damardan Americana

Aslen İngiliz olan Nigel Van Wieck, kariyerini New York’ta oluşturması ve Amerikan Realizm stilinin önde gelen isimlerinden biri olmasından dolayı  Amerikalı zannedilebilir. Resimlerindeki kuvvetli ışık kullanımı, Van Wieck’in gençlik yıllarında kinetik sanatla haşır neşir olmasından kaynaklanıyor. Americana temasını en melankolik halleriyle çizen sanatçı; üstsüz güneşlenen kadınlar, çatıyı tamir eden bir usta, sokağı süpüren bir adam gibi günlük hayattan karelerinde bize insanın yalnız hallerini tekrar tekrar hatırlatıyor.

                           interview seza bali photographer jason rodgers photographer assistant shean

Bu yıl için kendinize hedefler koydunuz mu?
Her günün kendine dair bir hedefi olduğunu düşünüyorum, bu yüzden sadece yeni yıl için hedefler belirlemiyorum.

1970’lerde Londra’daki Hornsey College of Art’ta okurken igüratif çalışmalar gerçekleştirdiniz. Mezun olduktan sonra figüratif işlerinize ara verdiniz, neon ile eserler ürettiniz. Ve daha sonra resme geri döndünüz. Bu geçiş nasıl oldu?
Hornsey’de okuyan öğrenciler, oturma eylemleri ile İngiltere’de bir öğrenci devrimi başlatmışlardı. Ben 1969'da okula başladığımda bu eylemler bitmişti fakat o noktada okul radikal bir şekilde değişmişti ve büyük bir kaos içindeydi. En karizmatik hocalar Dante Leonelli’nin liderliğindeki bir grup kinetik sanatçıydı. Bu hocalarla okuyarak ışığın önemini öğrendim, neon ve akrilik kullanarak kinetik heykeller ürettim. Heykelle çalışıyordum fakat zaman geçtikçe asıl ilgimin iki boyutlu işler olduğunu fark ettim ve resme geri dönmeye karar verdim. Ancak ortada bir sorun vardı; resim yapmayalı 10 sene olmuştu. Resim yapmak istiyordum fakat nereden başlayacağımı
bilmiyordum ve haftalarca boş tuvalin önünde oturdum. Yine bu günlerden birinde, elime bir sanat kitabı aldım, şansa bakın ki kitap yere düştü ve tam da Vermeer’in The Allegory of the Artist isimli
eserinin olduğu sayfa açıldı. O resimde Vermeer’in aslında ışığı çizdiğini fark ettim ve ışığın anladığım bir konu olduğunu hatırladım.  Bu andan sonra da resim yapmaya başlayabildim.

Bugün Nigel van Wieck dendiğinde, ister istemez, Edward Hopper’ın da adı geçiyor. Geçmişte sizi etkileyen diğer sanatçılar kimlerdi?
Edward Hopper’ın resimlerini 1979’da New York’a geldiğimde gördüm ve bu işlerde de Vermeer’de gördüğümle karşılaştım; Hopper da ışığı çiziyordu... İşlerimde onun tarzını andıran öğeler olduğunun
arkındayım, fakat bu teknikten çok ikimizin de yalnızlık temasını işlememizden kaynaklanıyor. Bu tema aslında Hopper öncesi Amerikan figüratif resimlerinde de sıklıkla işleniyordu; Thomas Eakins’in Max Schmitt in a Single Scull'ı, Winslow Homer’ın The Gulf Stream'i veya The Veteran in a New Field'ı gibi örnekler verebiliriz. Amerikan figüratif resim sanatında yalnızlık konusunun sürekli işlenmesi aslında ABD’nin bir nevi yalnızlar ülkesi olmasından kaynaklanıyor; burası yeni bir toprağa adım atmış göçmenlerin ülkesi. Hopper yalnızlık ve ayrılık konularını sert bir dille çiziyor, ben ise onun tersine bu yalnızlığı -ama tek başınalık değil- çizerken şehveti de öne çıkarıyorum. Hopper’la ortak noktamız, ışıkla obsesif bir ilişkimiz olması ve kompozisyonlarımızda geometriyi kullanmamız. Işık, işlerimde hep var olan bir konu, sanırım bu yüzden de üniversitede kinetik sanatla
ilgilendim. Işığın birçok kullanımı var; dikey, yatay ve diyagonal çizgilerle geometri oluşturuyor, bir anı dramatikleştiriyor ve öyküye boyut katıyor. Vermeer gibi, Hopper da kariyerimin başlangıcında benim için önemli bir esin kaynağı olmuştur... 80’lerin başında post-modern düşüncelerle ilgileniyordum. İtalyan post-modern ressamların sanat tarihinden imajları kullandıklarını gördüm. Ben de bu yaklaşımdan esinlenerek Poussin’in resimlerini çizmeye başladım. Üniversitede kinetik sanat okuduğum için resimle ilgili kompozisyon veya tasarım gibi teknik bir eğitim almamıştım. Poussin ile kompozisyonu ve pozitif le negatif formların önemini anlamaya başladım, bu düşünceler de kendilerini daha sonra Working Girls serisinde gösterdi.

Resimleriniz çok gerçekçi ve öyküsel. Bu öyküleri kurguluyor musunuz, yoksa gerçek anlardan, mesela bir fotoğraftan referans alarak mı çalışıyorsunuz?
Çizimler, fotoğraflar, hafızam ve hayalgücümü kullanıyorum. Bazen   gerçekte tanık olduğum anları da referans olarak alıyorum. Şöyle bir örnek vereyim; bir gece New York’ta bir bardaydım, genç ve alımlı bir çift gelip yakınımda bir masaya oturdular. Bir süre yiyip içtikten sonra
tartışmaya başladılar, kadın o kadar sarhoş oldu ki masada uyuyakaldı ve adam kadını orada bırakıp gitti. Karşımda çok dramatik bir sahne vardı; boş bir odada, beyaz masa örtüsünün üzerine yığılmış yalnız bir kadın. O kadının hatırasını 10 sene sonra tuvale döktüm. Resimler için çizimler yapıyorum fakat resim yaptığım süreçte o resmin varacağı nokta dramatik bir şekilde değişebiliyor. Resim bazen bir yolculuktur, bazen de bir bakış açısı.

New York’a ilk geldiğinizde bu şehir sizin için ne ifade etmişti?
Buraya taşınmam benim için yeni bir başlangıç demekti, ve bu yenilik resme geri dönmemi de kolaylaştırdı. Karşımda yeni bir hayat, yeni arkadaşlar ve resim için yeni konular vardı.

Escape oil on panel 18x24 inches 

Bir gününüz nasıl geçiyor?
Atölyemle evim Garment District’te birbirlerinden birkaç sokak uzaklıktalar. Garment District New York’un otantik bir bölgesi olduğu için her gün evimle atölyem arasında yaptığım yürüyüşten çok keyif alıyorum. Sabahtan akşama kadar atölyede resim yapıyorum, bazı akşamlar operaya gidiyorum. Yazın ise Central Park’ta insanları izleyip gözlem yapmayı seviyorum.

Resimlerinizi üretirken izleyiciyi ne kadar düşünüyorsunuz?
Resimlerim öyküsel oldukları için mutlaka bir izleyiciye ihtiyaçları var. Fakat çizmek tek başına yapılan bir eylem olduğu için, resim yapma esnasında öyküyü aslında kendime anlatıyorum.

'Odalisque' adlı eserinizden bahsedelim. Sanat tarihi boyunca sıklıkla karşımıza çıkan,çıplak bir şekilde uzanan bu kadın figürü, Batı kültüründe harem kadınlarına verilen ada gönderme yapıyor. Ingres’ın dünyaca ünlü 'Grand Odalisque' eserinde olduğu gibi erotik içerikli eserlerde bir fantezi figürü olarak kullanılan bu figüre sizin yaklaşımınız nasıl oldu?
Bu eseri yaptığım sırada 19. yüzyıl oryantalizmi ve erotizminden haberdardım, ayrıca bu pozun da sanat tarihinin en önemli pozlarından biri olduğunu biliyordum. Benim çizdiğim Odalisque de, Ingres’ın Grand Odalisque’i ile aynı pozda; kadın sırtını dönmüş, kışkırtıcı bir bakışla izleyiciye bakıyor.

Figürün yer aldığı havuz başındaki mozaikler de bahsettiğim oryantalizme referans veriyor. Figürün bakışı çok etkileyici. İzleyici ile göz teması kurması onu bir nevi teşhirci yaparken, bizi de sanki röntgenci konumuna sokuyor?
Figür ile izleyici arasına koyduğum havuz bir güvenlik yaratarak Odalisque'in seyirciye kışkırtıcı bir şekilde bakmasına izin veriyor.  Aynı zamanda bu havuz bir kaleyi çevreleyen hendekler gibi koruma
sağlayarak, izleyicinin karşıya geçmesine engel oluyor.

The Roofer’da ise, bizim dışımızda eserin içinde yer alansahneyi izleyen bir karakter var. Buradaki bakış nedir?
The Roofer’daki bakış daha farklı. İzleyicinin tanık olduğu iki ayrı dünya var; güneşlendikten sonra bahçesiyle uğraşan bir kadın ve çatıyı tamir eden bir işçi. Bu sahneler, bize aslında hayatın akıp gittiğini hatırlatıyor.

Sıklıkla deniz ve yelken konularına geri dönüyorsunuz...
Yelken yaptığım bir dönem oldu. Işığın yelkenlilerin üzerine vuruşuna ve yelkenin rüzgarla olan etkileşimine hayran olmuşumdur. Gökyüzü gibi, deniz de her gün bambaşka bir karaktere bürünüyor.

Q Train, Oil on canvas, 24”x36”

Working Girls serinizde erkek ile kadın arasındaki duygusal kopukluk çok bariz, aynı mekan içinde birbirlerine çok yakın durmalarına rağmen, fiziksel bir iletişimleri yok. Bu tür işlerinizde günümüz kadın-erkek ilişkilerine gönderme mi yapıyorsunuz?
Sizin bahsettiğiniz yalnızlığı ben yalnız olmak olarak görüyorum,bunlar farklı şeyler. Erkeklerin ve kadınların yalnızlığı daha farklı tecrübe ettiklerini düşünüyorum. Günümüzde karşı cinsler arasında
iletişim eksikliği ve duygusal bir mesafe var. Working Girls serisi, kadınla erkek arasındaki güç ilişkisini irdeleyen karanlık resimlerden oluşuyor. Bu seride alegorik bir anlam da var; kadınlar bir yandan güzelliği ve sanatı temsil ederken diğer yandan günümüzde erkekler kadar takdir edilmediklerini bize hatırlatıyorlar. Bu arada küçüklüğümde iki sene boyunca bir hastanede hareketsiz bir şekilde yattım, psikoanalitik bir açıdan bakarsak, belki de bu yüzden işlerimde yalnızlık konusu sıklıkla ortaya çıkıyor.

Dancing seriniz ise capcanlı renkleri, pozitif bir ruh haliyle diğer işlerinizden çok farklı. Bu seriye başlamanızı tetikleyen ne oldu?
Dancers resimlerim, seneler boyunca biriken fikirlerimin ve görsel temaların bir araya gelmesiyle oluştu. İşlerimin çoğu insan ve insan ilişkileri hakkında olmuştur, Dancers’da da insan ilişkilerini
inceledim ama burada daha pozitif ilişkiler görüyoruz. 90’lı yıllarda aile ve çocuk portreleri çiziyordum ve portre ile kompozisyonum da değişmişti. Portre, özellikle sipariş üzerine yapılan portre, izleyiciyle bir iletişim kurma derdine sahiptir. Working Girls’deki sert çizgi ve ışık kullanımı, portrelere başladığımda yerini daha kıvrımlı çizgilere ve yumuşak ışık kullanımına bıraktı. İşlerimde
hep irdelediğim insan ilişkileri bu sefer pozitif ilişkiler üzerine ve insanların birbirlerine dokunduğu, iletişim kurduğu kompozisyonlarla ortaya çıktı. Bu resimlerin içeriye dönük değil, aksine daha açık olmalarını istiyordum. O dönemde yeni bir konu arayışındaydım; dans, erotizmi ve öykü anlatmayı mümkün kılan bir konu olduğu için ilgimi çekti... Dans keyif verir, dans eden kişi kendini mutlaka mutlu hisseder. Bir profesyonel dansçı bu serim ile ilgili şunu söylemişti; “İnsanların önünde dans etmenin nasıl bir şey olduğunu biliyorum, acınızı unutmak için de dans etmenin ne olduğunu iyi bilirim ve bu resimler o tecrübeyi anlatıyor”. Ben de dansın yarattığı keyfi, danstan alınan hazzı çiziyorum. İzleyicinin dans pistinde olduğunu hayal edip, müziği ve bedenleri hissetmesini istiyorum. Yeni teknik ve kompozisyonları eski ilgilerimle birleştirdiğim bu seri, dilimin gelişmesinde önemli bir adım oldu. Bu da işi taze ve canlı tutuyor.

Pastel ve yağlı boya ile çalışıyorsunuz, birini diğerine göre daha çok tercih ediyor musunuz
Bir resme başlamadan önce hangi materyali kullanacağınıza nasıl karar veriyorsunuz? Pastel elimin bir uzantısı gibi. Bazı malzemelerle doğal bir ilişki kurarken, bazılarına alışmak için o malzeme ile vakit geçirmek gerekiyor. Bir fikri araştırmak istediğim zaman, hem çizim hem resim yapabildiğim çok yönlü bir malzeme olan yağlı pasteli tercih ediyorum. Aynı zamanda bu malzeme resimlere bir sıcaklık katıyor, bu sebepten dolayı çocuk portreleri için de kullanıyorum. Yağlı boya ise çok özgürlük tanıyan bir malzeme olduğu için büyük boy işler yapmak istediğimde onu kullanıyorum.

Elinize boya almak istemediğiniz dönemler oluyor mu?
Bazı günler diğerlerinden daha zor olabiliyor ama ben ilhamın gelmesini beklemeye değil her gün çalışmaya inanıyorum. Bu düşünce tarzı ile devam ettiğim için de tıkandığım bir dönem olmadı.

Bugünlerde ne üzerine çalışıyorsunuz? 70’lerde kinetik sanatla uğraştığınız gibi bundan sonraki çalışmalarınızda bir değişiklik görecek miyiz?
Şu anda, Nisan ayında New York’ta Didier Aaron Gallery’de açacağım Connect sergisi üzerine çalışıyorum. Konularımda bir değişiklik söz konusu; seyahat ve iletişim temalarını araştırdığım resimlerdeki figürler yine yalnızlar ama cep telefonu gibi modern teknolojik araçlar sayesinde de başkalarıyla etkileşimdeler. Bu paradoksu araştırıyorum, bu insanlar gerçekten yalnızlar mı yoksa hep birlikte bir yalnızlık mı yaşıyoruz? Diğer bir seri ise karanlık bir otoyolda arabaların birbirini takip ettiği Chase. Bu resimlerde izleyici sürücünün bakış açısına sahip; dışarıdan sahneyi izlemek yerine resmin içinde yer alıp takibin heyecanını yaşıyor.