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ook in rooms oil on linen mounted on panel 22 x 16 paul weiner do you usually have an idea or emotion in mind before starting a painting or does that develop together with the painting process robert szot i think emotion builds with the painting and ideas are generated by other ideas as i work my process is very kaleidoscopic one decision leads to twenty others and ideas die and are reborn over and over again i think though my process can frustrate me it provides for an original work every time i mean i am certain that i have made similar choices in several different paintings but depending on how far i took one idea or another each painting can stand alone it is very important to create singularities objects that don t repeat and can maintain authorship throughout doing this naturally creates a history of work that others can look at and actively participate in it is very seductive to spend time with a piece of someone s history especially if it is one that won t ever be repeated your painting has now become a watermark of your life and more than that strangers can come and interact empathize and discover parts of who they are through your work it s a conversation with a person they never had the opportunity to meet i never got to meet philip guston but i feel like i know him i think dekooning and i make the same mistakes it sounds sentimental i know but it s a reality for me i love those guys philistine oil on linen 23 x 16 paul weiner you mentioned brice marden and his style of painting are there any artists who you think have influenced your practice whether historical or contemporary robert szot i like brice marden well enough i wouldn t say he was a direct influence on my work though going away francis bacon is the best painter there is no separation between who he was and his work which i think is the ultimate goal of any artist worth contemplating we are all expressing ourselves i guess but how many really lay everything out for strangers to review not many egon schiele falls in bacon s camp too philip guston who i mentioned earlier ranks big for me that guy changed direction midstream and didn t care what people thought of it that s great stuff maybe it s not the work so much that influences me but the people who made it certainly it is difficult to pull francis bacon out of one of my paintings it s chalk and cheese but if i am lucky the approach is the same i want the energy of a francis bacon the recklessness of a philip guston and the sorrow of a mark rothko to all come together in one frame a terrible sucker punch that unfolds into a deeper story contemporary painters are something new for me i tend to isolate myself and as much as i hate to admit it i look at other painters as friendly competition and would rather be free of their influence only recently have i been getting to know other artists and my new affiliations are pleasant and worth having galen cheney and christina foard are wild painters who regularly make decisions i am too afraid to make in my own work suzanne kammin is an extremely talented painter out of new jersey you can t leave patrick diaz out of the conversation either he is spearheading the painting scene in austin texas at the moment it s a good news bad news scenario that these exceptional people exist god love them but the competition is too much sometimes fort worth collects oil on linen mounted on panel 18 x 24 paul weiner you mentioned that you have a sentimentality for some 20th century new york artists especially dekooning and guston is that why you came to new york robert szot yes probably in the end it was i have family here too my brother and he will always be important to me the very idea of being able to have a shared experience with someone you admire is irresistible especially when you re young and idealistic i think that drives a lot of people with potential imagine you have a very small idea just an ember of desire to want to do something special with your life now imagine there is a tangible place where people who you perceive to have a commonality with spent their formative years you d go there of course new york city was my school and never having had any formal art training it became this incredible do or die life for me you re here and you re working on surviving whilst painting at night and in between whatever job you can muster that month it all finds its way back into your painting then at some point it becomes less about what you do and more about who you ve become i remember my first studio was on 14th and 6th avenue and i would ride the f train very late at night back to brooklyn where i lived one night on the train it just struck me that i was very happy to be where i was broke yes without prospects or interest in my work yes but damn alive i left everything prior to that moment in the past i resolved that anything that happened before that little moment on the f train at two or three in the morning was just going to be some warm memory like a story i heard in a bar a long time ago maybe that is what happened to people like dekooning and guston maybe they had that same awakening on the shitty f train i had to come to new york city to dialogue with the same entity that all great artists seem to know so well that they can incorporate it use it in the work they produce paul weiner how long do your paintings usually take from start to finish and how do you know when you are done robert szot forever and never please view robert szot s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 4 comments august 16 2015 tom melsen s timely paintings address the drama of contemporary life tom melsen s paintings fuse the dramatic and aggressive into a melancholy that can be seen as a result of his peripatetic travels a reflection of the places he has experienced his paintings emerge out of a liminal space between the intelligibility of representation and abstraction s poetic theatrics indeed melsen s paint handling exists in a space that makes odd bedfellows of peter doig and cecily brown as his compositions blend unsettling passages of quietude and conservative color choices with consistently bold punches of intuitive paint application and occasional layers of glowing chroma with an unflinching gaze melsen captures the jouissance of painterly turmoil through which a balancing act between discomfort and pleasure reveals the psychological essence of captured identities and landscapes he is at his best when representing fictional anonymous people such as a man in a brown suit someone blowing out birthday candles or a partygoer these paintings feel free and inventive while maintaining the hawkishly staring study present in his more objective works this lens is most apparent in his painting of a woman in the hospital in which melsen unloads layers of fleshy paint blurred into a bruising purple container to develop a piercing poetry of desolation and grief in 2014 melsen exhibited his work at firehouse gallery in dublin ireland somos in berlin germany p60 in amstelveen the netherlands and kunstwerk aan de winkel in rotterdam the netherlands this year he has exhibited at gallery nomad in berlin germany with a forthcoming show to open in april at de kristal in rotterdam the netherlands melsen has also been nominated for the palm art award filmed for a documentary by brazilian filmmaker leticia simoes and collaborated with techno record label lateral fragments melsen is also a poet and musician who has composed soundtracks for independent films the walk acrylic on canvas 80 x 60 cm under folding branches autumn leaves acrylic on canvas 100 x 70 cm paul weiner how did you first come to painting as your artistic medium tom melsen ever since i was a child i have gone to museums and read books about art my father studied art history so we often went to a museum and he introduced me to many great painters i remember going to a museum with my father when there was a special picasso exhibition going on it was an exhibition with works from his blue period after seeing that exhibition i knew i wanted to become an artist i started reading more and more about picasso it was all really inspiring i became interested in his life and work at the same time i started working with acrylic and oil paint trying out different things portrait of picasso acrylic on canvas 100 x 70 cm portrait of van gogh acrylic on canvas 50 x 40 cm paul weiner your paintings often represent historical artists such as picasso or van gogh which artists have had the greatest impact on your work tom melsen besides picasso francis bacon became a huge inspiration for my own work i think what drew me to the works of bacon is that it is very dramatic the images he portrays the colors that he uses and the stories behind his works are very interesting i love how bacon portrays intense loneliness despair and inner turmoil i think that is much more interesting than a painting of ordinary flowers or for example a man on a horse when people tell me they think my work is too dramatic i take that as a compliment you can never have too much drama i ve learned that and a lot more from the great painters self portrait acrylic on canvas 90 x 70 cm paul weiner when blending abstraction and the human form to what extent is the human condition or emotion as important as formal concerns such as painterly beauty or composition tom melsen i think the emotion in a painting is very important that is also why i love doing portraits you can capture a lot of emotion in a face i never attended art school i have no specific way of working i really just paint what i feel composition and painterly beauty is of course very important but i would say emotion in art is what makes a painting unique i think it s the same with music some people may be very good singers but when there is lack of emotion it does not have any effect on me memories acrylic on canvas 100 x 70 cm paul weiner do you see your poems and musical works as being similar to your paintings or does your thought process change drastically between artistic mediums tom melsen a painting can be an inspiration for a musical piece for example when i go to a museum and look at a piece of art it sometimes happens that a melody pops up in my head just a certain melody that fits the image i have often been inspired to write something after visiting a museum but there is no real connection between my paintings and musical recordings or writings i keep them separate although everything i do seems to have a melancholic feel to it i don t know why that is actually man in brown suit acrylic on canvas 60 x 40 cm paul weiner tell us a little about the emotions behind your painting the walk which seems to be an abstracted landscape tom melsen i wanted to make a painting of someone who is walking through this landscape a landscape with a clear blue sky and tall grass in front of the painting you see a man i d like to think that this man is on a journey everyone questions where their life is going sometimes this painting is about dealing with yourself and following your own path this painting was also inspired by some of the landscapes van gogh used to paint woman at party acrylic on canvas 60 x 50 cm birthday acrylic on canvas 60 x 60 cm paul weiner you mentioned that your art is often seen as dramatic do you see your paintings as being stories that continue from one work to the next or is each painting representing a new idea or emotion tom melsen each painting is representing a new idea i like to travel and when i do i always carry a small notebook around with me i m often scribbling down new ideas for a painting i m always exploring different things i do not want to repeat myself over the years i ve written so many things down that there is still so much i have yet to paint woman at hospital acrylic on canvas 60 x 50 cm paul weiner who is the subject for your painting of a woman in the hospital and what led you to paint this woman tom melsen this painting is completely fictional last year i wrote a poem about someone in a hospital it goes something like this you say your mother is ill she doesn t get any better all your life you ve never learned how to go without her no roses by the window no one s on the phone and all that you wonder is how to move along and all the things you ve never done you never do them now you say your mother is ill the hospital is empty now the original poem was a bit longer but i made this painting because i wanted to put some of these writings in a book i cancelled the book but the painting survived tree at night acrylic on canvas 60 x 50 cm paul weiner your painting of a tree at night attempts something formally complicated as you attempt to represent something that in reality is barely visible how did you handle this challenge to create a scene that embodies this tree tom melsen i could say that i studied this or did a lot of sketches beforehand but that would be a lie as with most of my paintings this happened by mistake i m not a master painter i actually don t really know what i m doing my way of working is that when i make three paintings one of them survives i have to throw away the other two because i don t think they are any good it s a frustrating way of working but when a painting works out it s a great almost magical feeling with this particular painting tree at night i knew that i wanted to create a night scene with red tones i had this picture in my mind and all these colors in my head and it surprisingly turned out pretty much the way i wanted please view tom melsen s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 4 comments august 2 2015 david dilillo s documentary investigation of nick drake s hometown david dilillo s multimedia artwork has been included in exhibitions at the museum of modern art moma calumet photographic anthology film archives museum of the city of new york state of the art gallery in ithaca bottleneck gallery in brooklyn art takes times square liverpool lift off film festival on sictv and in a wide variety of other galleries festivals and publications he also works as an art instructor and as the co founder co director of aquehonga cinema a staten island community film series during his interview on critique collective dilillo illustrates his recent trek to tanworth in arden where he documented the town that cult music icon nick drake lived in further images of dilillo s artwork can be found on his website three hours from london tanworth in arde...
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