Briefly describe the work that you do.
These paintings are essentially process paintings that bring to mind aspects of concealment and revelation. The subject is left intentionally ambiguous in order to initiate associations of what it means to cover or uncover, to feel familiar or to feel remote. The familiar is embedded in the painting by using the pattern of a household paper towel, both as part of the process and metaphorically. For the most part, the pattern functions as a structural devise, a curtain situated between the viewer and the subject. I’m interested in the tension between photographic illusion and abstraction and believe that our understanding of either is fleeting and that what is imagined or seen may be about the subjectivity we place on any given event, including painting itself.
At what point in your life did you decide to become an artist?
I wanted to become an artist very early on. It’s hard to remember an exact time.
Tell us a little about your background and how that influences you as an artist.
My education as an artist was primarily painting through observation and I am still very influenced by the things around me. My work reflects my surroundings at any given time, whether that be the light, the location of my studio or an event. Although, I am particularly interested in things that are covered or draped, for instance the shape a bridge assumes when under construction or a motorcycle with it’s cover on it. I A shape derived from obscuring a form is provocative to me.
What types of conceptual concerns are present in your work? How do those relate to the specific process(es) or media you use?
In addition to being drawn to layers that both reveal and cover, I’m intrigued by the transformative quality of paint. I purposely use common paper towels to print a pattern onto my paintings. This process takes away the mark of my hand which in turn allows the paint to speak without my interference. The towel also provides a pattern that most people take for granted and re-contextualize it. For me that’s the magic of painting.
We once heard Chuck Close say he did not believe in being inspired, rather in working hard everyday. What motivates you in your studio practice?
I agree with Chuck Close.
When artists living or non-living influence your work?
Really, there are too many to list. A few are Piero Della Francesco, Morandi, Gary Stephen, Moira Dryer and many of my artist friends.
When you are not making art what types of activities and interests do you engage in?
I enjoy looking at art, films, walking my dog and being with my family and friends nothing terribly unusual
Marcy Rosenblat was born in Chicago Illinois and lives and works in Brooklyn, New York. She received her B.F.A. from Kansas City Art Institute and her M.F. A. from Vermont College of Fine Arts. Selective exhibitions include: Fordham University, The Rawls Museum, Galerie Berlin am Meer, Smith College, Oresmon Gallery, Nelson Atkins Museum of Art, Kouros Gallery, Salisbury University, Frumkin Gallery, Metaphor Contemporary, Morehead Gallery, Richard Anderson Fine Arts, and The Painting Center. Ms. Rosenblat is currently an Adjunct Professor of Fine Arts at The Fashion Institute of Technology.
All images copyright of the artist and used with their permission.