1- What is different from your artwork than other artists working in contemporary realism?
The difference is that my work is uniquely about my story. Maybe others can relate. Essentially my work is about an immigrant child whose mother crossed racial lines during the 1980’s in New York City and fostered an artist child amidst the chaos that life was then. Though extremely dangerous, this city was wildly creative, and those influences have always had a very loud voice in my work. I paint a side of life like the New York during that iconic era. I have learned that the pursuit of personal honesty has led to a path of originality and individuality.
2- How important is process versus the end result?
Process is paramount. I paint pictures depicted in natural light. This is an extremely difficult task as I feel it is far mor illusive than studio or lamp lighting. It is constantly a heuristic process to solve the problem of, “how do I get this right?” It asks a great deal of me and in the end the growth and lessons learned reflect on the final image. The effort put in equals how convincing the painting drawing is.
3- What is your ultimate goal when creating contemporary realism?
My ultimate goal is for the viewer to be arrested, transfixed and feel something emotionally. I want the viewer to understand what that unique life I have depicted is about. I want them to ask questions of themselves or identify with that specific life. I want them to ask questions of me to explain the world as I see it.
4 -What do you like best about your work?
My work has made me more bold, more honest. The further along this path I go, the braver I have become to say things as they are. Realism is great means of accomplishing this. The intensity of the work, I feel, is dependent on the honesty of the artist. Honesty asks for great sums of courage.
5- What do you do you like least about your work?
I’m insecure. Every time I begin a new work I feel completely out of my depth. There is a constant inner monologue to pep talks to carry on. Eventually it all works out.
6 -Why contemporary realism?
I fell in love with realism as a child and can’t say my feelings have changed. The works of Velazquez, and Caravaggio were ever present in the books I studied. Later on, the early Italian Renaissance and the French academics greatly shaped my approach towards painting. The oculus they had on life really hasn’t changed at all and is still applicable today. We live in modern times and a contemporary world, so I guess we can call this contemporary realism if we depict the way we see ourselves now.
7- Which are your greatest influences?
Twentieth century photographers have been extremely influential in my work. The work of Diane Arbus, Nan Goldin, Roberta Bailey, Robert Frank, and Richard Avedon have inspired me to create paintings and drawings that depict the New York I grew up and live in. The way that approach has translated into realist work Robert Longo championed. His photorealist paintings and drawing of contemporary life were artistic goals I wanted to achieve. I can equally say the same for Gerard Richter.
I adored the work of Harvey Dinnerstein and when I was taught by him for nearly two years, I found myself hanging on every word he said. He routinely made references to the French Academics and after the day’s class, I would run to the museum and stick my face in an Ingres painting to fully understand what Harvey said.
8- What is your background?
I am a Polish immigrant who grew up in NYC during the 80’s. Art had kept me out of trouble as I studied at the Art Students’ League as a child, teenager, young man, and as an adult.
9- Name three artists you’d like to be compared to in history books.
Basquiat, Bowie, Richter
10- Which is your favorite contemporary realism artwork today?
“Seascape (Cloudy)” 1969, Gerard Richter
“Betty” 1988, Gerard Richters