"I opted for this "erosion of culture" idiom when I started this line of book work, because I thought it was a good way to connect with our collective preoccupations in the beginning of the 21st century. But it was obvious from the start that my paintings didn’t fit into that frame. As a sculptor, I feel that I am a not placing things in space but rather collaborating with space, as though we were partners, trying to get the job done."
"The natural world is diminishing, but less trodden land does remain in the well-tracked contemporary globe we inhabit. The less trampled lands that I seek are harder to get to, but only require a few hours before you are there – in places that haven’t been industrialized, and aren’t full of tourists. The world's arctic, deserts and mountains, places that some see as wasteland, have held my attention for fifty years. A great advantage of being an artist is that it is like belonging to a fraternity of people who explore and enjoy the attributes of places; local things people do in crazy landscapes."
"The responsiveness and tactile quality of clay feels like an extension of my hands. I’ve played, worked, triumphed and failed with it for the last 16 years. I enjoy the imprints I leave behind, the roughness of the sand or grog, and the ease with which I can press into a form."
"I consciously decided to focus on trees because they fascinate me. One of their features is as a universal symbol in almost every culture. Most people associate trees with life, growth, shelter, strength, stamina, longevity, ecology and so on. It’s a long list. But the richness of themes affords me with a great many perspectives that I may use."
"I find all the steps to making a work satisfying. Depending on what I’m working on, I really like taking photographs, especially while traveling. The time I spend either manipulating images or just correcting for sharpness or colour etc. is also something I enjoy. Painting onto a printed / mounted / piece, is the most, energizing and apprehensive part of the process. You get one shot at it most of the time."
"I like the enduring nature of stone – although it is kind of an illusion, all things fade with time. Stone outlasts our lifetimes, it’s hard and resistant and not easy to work."
"Of all the necessities, this quarantine made me even more connected to my family and to become conscious about ideas that I left for ‘another time’. On a day-to-day basis, I feel it is most important to be less concerned with long-term questions about the past, rather than to foster and reflect on ideas of today."
"The process is completely fluid and open to improvisation. If I come across a scene of interest I like to give myself the option of staying for hours, days, or even weeks - whatever it takes. You’re very much in the flow, often riding the cycle of the sun, moon, tides and weather."
"Sometimes I’m thrilled with this new realization and sometimes I’m crushed because I’m afraid I ruined my painting. But I do use oils so I can continue to work layer by layer until I get it right."
"In my painting life, it’s in letting paint be paint and simply directing it to deliver enough information for a viewer to connect. In the rest of my life I try to ride the waves of ups and downs life delivers while keeping my own personal practices in order to stay grounded and happy."
"Water slowly became an allegory for the transformational moments we all find ourselves in - to challenge us, comfort us and remind us of how small we are in the great landscape of life."
Ranging from sweeping vistas, striking aerial views, and abstract images, the photographers of Foster/White Gallery each present unique perspectives with clarity and expertise.