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Ten Ways to Look at the High Desert, My Six Week Residency,
Gallery 408/Twelfth Street, April and May 2008
I’m a painter and
draftsman of the northeast forest known for portraits of my woods, a hardwood
forest. Drawings, lithographs, and green
paintings with small patches of cerulean and cobalt as sky. I came to the residency looking for
transformation: How I see and feel and
the graphic and painting language I use to describe what I experience in front
of the motif.
Joan Malkerson,
the guiding light of Twelfth
Street, and I had joked – dead serious – that New Mexico had transformed Richard Diebenkorn
(in Albuquerque
in the early 1950s). New Mexico could transform our work,
too. (We weren’t ignoring the long list
of other artists like Higgins, Jonsard, Martin, Bell,
an incomplete list.)
Despite a handsome studio overlooking the train yard and the
veterinarian’s clinic, and working plein air and walking miles of malpais and
grasslands beneath Mt.
Carrizo, the paintings
didn’t come. I finished two green
paintings of the NE forest, both strong.
I did a number of drawings and oil sketches; the economy and description
of space pleased me. I took hundreds of
photographs from which I edited Ten
Ways.
As I considered the work I realized I was moving toward
lithographs, different scales, drawn from these sketches and photos. Images that were some equivalent of this
experience of geologic time and close-toned palette of the high desert
surrounding Carrizozo. A portrait of
place. I finished my residency with a
visit to Tamarind Institute at UNM to talk with master printer, Bill Lagattuta,
about what I’m thinking to call the ‘Zozo Suite, three to six large
lithographs, some in color.
Instead of maple, blackberry, and fern I’ll be drawing
soaptree yucca, sotol, chollas, beavertail and pancake prickly pear. A vet looking at a horse in a lot near the
train yard. Mesquite,
saltbush and sage in the Valley
of Fires lava flow. Carrizo peak.
The Sacramento
range at dusk.
Richard
Kathmann, Saphouse Studio, June
2008
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