Sophisticated Living Indianapolis

JUL-AUG 2019

Issue link: http://digital.slmag.net/i/1138690

Contents of this Issue

Navigation

Page 23 of 131

Expound on that. The places where I most often hang my thoughts are located in the natural environment, and usually at a more intimate scale, such as my neighborhood or my garden. It's not by chance that I nd inspiration this way. I enjoy observing the way forms grow, spread, shift scale, color, or texture, all of which is nearly audible to me. ese observations are source material from which I can quote or transcribe visual rhythms that are resonant, discordant, muscular, or melli•uous. Tell me about your process. Do you make sketches before painting? I usually know where I want to go, or at least where I want to begin, so my sketches look like diagrams that map out color shifts or changes in the direction of mark making, and sometimes the position of positive and negative space. ey're very minimalist. I also create color 'tests' which have their own aesthetic that I've grown especially fond of lately. To borrow a jazz term, these are like little ri•s. I was recently commissioned to do a label for a Benziger family wine called Imagery. Right o•, I knew I wanted to create a piece composed of these ri•s in stanzas, seeing them as analogous to tasting notes. I write down things I come across, or things I hear my friends and neighbors say, that beg for a visual exploration. ere are pages of these notes in my sketchbooks, and a wall in my studio is littered with Post-its that contain these image sparks. And often the notes become titles. Does one need to understand art to like it? For example, what do you say to a person who doesn't •nd they understand abstraction? You like what you like and there's nothing wrong with that. I've thought a lot about this. It's a natural human reaction to feel some hostility about that for which we don't readily have a reference. e more one is exposed to art of all kinds, terms like 'representation' and 'abstraction' are distinctions that matter less than the specicity of what you see and how it's operating. Consider instrumental music: that is a form of pure abstraction that is familiar and comfortable to most of us. In other words, abstraction has already accessed most of us. Lastly, where can readers •nd your work? I am represented by Kathryn Markel Fine Arts in New York, www.markelnearts. com. Also, my website, www.martinanehrling.com, features recent work as well as pieces that are in private collections in order to show some trajectory. sl 22 slmag.net

Articles in this issue

Links on this page

Archives of this issue

view archives of Sophisticated Living Indianapolis - JUL-AUG 2019