Lorel Cornman

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Artist’s Statement

Each painting, or series, is its own event, existing in my life for a period of time, frequently a long time. My path is to surrender to the organic growth of each painting—a dialogue between following the painting's thread and “following my noodle.”

Primarily I’m an abstract painter, although I allow, even encourage, references to the natural world—both literal and metaphorical—to have their way. I make a gesture, I nullify it. I add, subtract, conceal, reveal, wipe out, begin again. Accidents and incidents are a desired part of this process and I cultivate what comes my way. It's like an internal jazz jam session.

I make my own paint using raw pigments and Venetian turpentine, mixing paint as I go. I work on wood panels to which I apply joint compound, and with various tools, coax this material into a somewhat sculptural surface. I stabilize the fragility of the ground with several coats of polymer varnish.

During the course of painting, as I apply layers of pigment, I use fine steel wool to bring up colors from the underlayers. Since drying time is involved, I work on several pieces concurrently.

As an artist, my core beliefs drop anchor in the following statement, written by the abstract painter Richard Pousette-Dart (1916-1992), which I've taken the liberty to put forth as a poem.

The best way to talk about art
is to work
The best way to study art
is to work
The best way to think about art
is to work

 

 

lorelcornman.com
3/13


practice

Practice, Practice, Practice (Self Portrait Number II) 2009

joint compound, raw pigment, glass beads, polymer varnish, Venetian medium
on museum board, mounted on wood panel
8 1/2" x 10 1/2"

 

 

 

 

 

 

 

 

 


 

 


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