sexta-feira, 1 de julho de 2005
Eric Fischl (V)
Eric Fischl, Swimming lovers, 1984.
Eric Fischl, Untitled, 2001.
Eric Fischl, Swimming lovers, 1984.
I have to admit I'm not sure what a platonic realist might be. As for the interest in psychological scenarios over the materiality of painting, I can only say that I have struggled with this conflict since I began to work. The relationship between what something means and how it is stated — it is always in flux. It is always a matter of proportion. It is always a surprise. There is a seduction to description. The seduction is that anything can be described in its greatest and most precise detail, and to do so will yield its deepest truth. But emotions distort. They shrink or enlarge or color the forms of the world. They animate objects in surprising and unnerving ways. This conflict, between emotional needs and pursuit of perfection, is what gives my work its vulnerability. It is for me always an uneasy truce that is arrived at in the painting. And perhaps this is another way to define "American": the willingness to make art open to its vulnerability. American art is resistant to refinement, most especially to style.
Eric Fischl, Untitled, 2001.
