(Ran Ortner, "Open Water #24," 2009. Winner of ArtPrize 2009, oil on canvas)
Ran Ortner working, "Open Water"
το παρακάτω κείμενο είναι απο μιά συνέντευξη του Ran Ortner, στο ArtPrize blog (http://blog.artprize.org/2010/04/21/what-happened-to-the-winner-of-artprize-2009/)
NJC: How do you approach a canvas?
RO: I have made a scientific, calculated, intense investigation into process because I want the full dynamic range of tools possible to facilitate what I do. I have found that one of the most useful sources of information in painting are the technical bulletins coming out of the National Gallery in London, as far as a real exploration of how paint layers develop and their optical effects. I make a lot of my own paints. Every color has its own life and its own possibility. What goes into a color and type of oil, how long that oil has been cured and what kinds of processes have been used to cure it, which oils dry faster and yellow less—all of these things are the range I work within. I want the lushness of Velasquez, the immediacy and tenderness of Rembrandt, and the contemporary now that lives in El Greco. I’m also terribly compelled by contemporary art. Joseph Bueys, Lucio Fontana, and James Turrell [for example]. But I don’t distinguish periods. I don’t see a difference.
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RO: I have made a scientific, calculated, intense investigation into process because I want the full dynamic range of tools possible to facilitate what I do. I have found that one of the most useful sources of information in painting are the technical bulletins coming out of the National Gallery in London, as far as a real exploration of how paint layers develop and their optical effects. I make a lot of my own paints. Every color has its own life and its own possibility. What goes into a color and type of oil, how long that oil has been cured and what kinds of processes have been used to cure it, which oils dry faster and yellow less—all of these things are the range I work within. I want the lushness of Velasquez, the immediacy and tenderness of Rembrandt, and the contemporary now that lives in El Greco. I’m also terribly compelled by contemporary art. Joseph Bueys, Lucio Fontana, and James Turrell [for example]. But I don’t distinguish periods. I don’t see a difference.
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(Deep Water no.1,oil on canvas, 6 x 24 ft, 2010)
