The Dream Stelae/Akenaten's
by Ritchard Rodriguez
Interview of Ritchard Rodriguez
by David FeBland
DF
: Some artworld wag once proclaimed that you should be able to describe your work in 25 words or less at a noisy reception. Can you do this for me?
RR
: To begin with, I do not define myself in terms of established schools of painting. Right now I am developing a sequence which combines colorfield, gestural painting and…
DF
: You’re over your limit. Let’s try again.
RR
: I produce series-driven, calligraphic abstractions reflecting themes in poetry, music and literature.
DF
: Your work has evolved from objective representation to its present non-objective form. Was there a defining moment that caused this change, or was it more evolutionary in nature?
RR
: This is something I ruminated upon for a considerable length of time. When the time eventually seemed right to embrace abstraction it was not incremental; I took a plunge.
DF
: Are you saying that you turned your back on the external world? Did you suddenly turn inward?
RR
: Not at all. While I have never been expressly influenced by socio-political events - nor by artworld considerations, I have always incorporated aspects of daily experience. Call this a microcosmic approach to my universe. For example, as a rollerblade instructor, I often encourage my students to keep their eyes out away from the movement of their bodies. I have adopted this way of seeing into the process of painting, allowing my hands to move without intentionalized control.
DF
: Lets discuss your conceptual process when approaching a new canvas. Do you begin with an idea that has formed beforehand or do you approach the canvas spontaneously?
RR
: I always begin with a title that I have developed before I've even prepared my canvas. Not unlike a composer, I decide on a palette (scale\ or a key), make up rules along the way, choose a color at random and begin to superficially draw on the entire canvas, working quickly. I'll cover some large patches with a 40% hue of my choice according to mood, leave other areas white, not as underpainting but as a means of seeking form. Then the clash of stroke and color begins, continuing until things have built up considerably, reflecting a mood.
DF
: You reference music as an influence on your process…
RR
: I could provide you with an endless list of musical “partners” . At the moment my favorites include the new music operas of Robert Ashley, the infamous Smile project of pop music's Brian Wilson in collaboration with poet Van Dyke Parks, Prokovieff's Romeo & Juliette, and above all, David Thomas, founder of alternative rock band Pere Ubu. I'd also include the writings of Nobel Prize winner Jose Saramago. You'll find attributions to many of these artists within my painting titles.
Ritchard Rodriguez’s solo exhibition The Dream Stelae, opened with an artist reception on Wednesday, February 7, 2007, from 6:30 - 9 p.m., and will be on view through March 30 at Earth2Mars Gallery, 404 Park Avenue South (28th Street) 3rd Floor 212-545-8545. Monday through Friday, 9 - 6 p.m.
www.ritchardrodriguez.com
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