Let Love In
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Driven by an interest in color interactions, and human sensations derived from the act of looking, I make tactile paintings of an abstract atmosphere inhabited by deeply hued bands of light. Color interactions in light are very different from that of paint. For example, the primary colors in light are red, green and blue; in paint, they are red, yellow and blue (or cyan, magenta and yellow depending on your outlook). As you mix light, colors get brighter and lighter; in paint, the reverse is true. With this in mind, I look for unusual or surprising colors that appear to be convincing mixtures of their neighbors. It thrills me when a painted band of violet light intersects with a band of red-orange light and the mixture is a bright green. One's brain accepts it as that mixture, when it is actually neighboring areas of opaque paint. Whether or not a viewer engages with this idea, I think a subconscious tension registers, as those paint colors could not possibly be mixed to make that bright green. The forms I use are intuitive shapes that develop in the painting process. These contours, structures and paths give me a way to control the number of times colors mix, as well as locate areas of hotness or contrast, allowing me to create rhythm and balance within a sometimes tumultuous situation. I find deep satisfaction in the way that these forms imply typography, symbols, graffiti and other forms of visual expression. It makes sense to me to develop shapes that ask to be read or deciphered. In the act of engaging with the forms and/or looking for meaning, one may find meaning, but that meaning is unique to each viewer. In looking outward, we make our way towards looking inward. Let Love In is a great example of these thoughts. In this particular image, the spatial and surface geometries flow together, keeping the eye moving around the canvas and through the pictorial space. Speed variations occur depending on what path your eyes follow. The forms respond to the perimeter and seem contained, which gives the sense of an internal space. From there, I could suggest a range of meaning, but I'd prefer to leave the reading to you.
Sean Greene | See All Editions
Sleight of Hand curated by Noah Post at Brian Morris Gallery, New York City; and Non-Objective at William Baczek in Northampton, MA. His work is in collections in the United States, London and Paris, including the corporate collection of Neiman Marcus.