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This is a two part interview and is continued from Part I.Tell us a bit about your most recent work series Silk Road. Would you share with our readers some of your thoughts and inspirations about this newest series?
Silk Road 117, 12" x 12", encaustic on panel, 2009
Image courtesy of Joanne Mattera
Silk Road is the most succulent and reductive painting I’ve done. Each painting in this ongoing series is a small color field—you might call it a color "plot"— achieved by layers of translucent paint applied at right angles.
Silk Road 69, 12" x 12", encaustic on panel, 2006
Image courtesy of Joanne MatteraIt’s not quite the monochrome it initially appears. Each painting has numerous layers of paint and several different hues. Because of the translucent nature of encaustic, the color mixing takes place in your eye as the layers of waxen color, sometimes as disparate as coral and violet, coalesce into one hue.
Silk Road 86, 12" x 12", encaustic on panel, 2007
Image courtesy of Joanne MatteraWhile you’re up close, you’ll see that the subtlest of grids is formed by the trail of brush marks and intentionally grainy elements within the paint. Because of the paint’s luminous nature and a surface grid suggestive of woven cloth, the series just named itself. I’ve limned each painting to charge the intensity of its color field and, I hope, to spark the eye so that it travels from painting to painting on a small visual journey of its own.Here comes the frequently asked question - How long does it take to make one painting (please give us an example)?It takes 50 years and a week to several months to make each painting. That's life plus the actual work time. Also, one thing that many people, even dealers and collectors, don’t think about is the significant pre- and post-painting effort involved—from acquiring supplies and preparing panels in advance of the actual painting, to many little things after the fact, such as pulling off the tape and cleaning the edges; attaching a hanging device; photographing, Photoshopping and archiving the image; packing the work for delivery, or actually delivering it.
What is the most interesting comment about your work you have heard from a viewer?An artist once told me the surface of a painting was so luscious she wanted to lick it. I laughed and said, "Please don’t."
Silk Road 87, 12" x 12", encaustic on panel, 2007
Image courtesy of Joanne MatteraMy palette contains beautiful hues, but I'd never thought of them as candy colored. Typically I like when I can have a conversation, when a viewer is interested in reductivist work, or color, or geometric abstraction. Those topics provide a gate into a discussion about my work.
Please tell us about your art commentary blog Joanne Mattera Art Blog. When did you start blogging? What’s the purpose of your art blog?I began the Joanne Mattera Art Blog in June 2006, but it was not until I reported on the Miami art fairs in December that year that I felt I found what I wanted to do with the blog, which was to report on and comment about the art I was seeing in New York and at the art fairs.
After that I started posting a couple of times a week. Earlier this year I added a regular column, Marketing Mondays, which deals with the business side of being an artist.
I tag my blog "Guaranteed Biased, Myopic, Incomplete and Journalistically Suspect," but the fact is that I try to maintain respectable standards—I check facts, for instance—even if it is written colloquially and in the first person.
I find that the best art blogs are well written and generous, and those of us who are committed to good reporting and sharing of resources have all found and linked to one another. And it led to …well I see that's your next question.
Would you talk a bit a recent blog conference you organized at the Red Dot Art fair in New York? What's the purpose of organizing this event, how was the responses, who were the panels? The painter Sharon Butler and I first organized a little get together in December 2007 at the Miami Art Fairs. Matt Garson, producer of the
Flow Fair, allowed us to meet in the lobby hotel where the fair was taking place.
Then we reconvened at the
Red Dot Art Fair in New York City in March 2008, where producer George Billis let us have space. While the Miami turnout was small, the New York turnout was satisfyingly large, about 50 people—too many, in fact, to fit into the room we were in, so some of the conferees listened in from the lobby next door.
The panel consisted of
Edward Winkleman,
Carolina Miranda,
Paddy Johnson,
Carol Diehl,
Sharon Butler and myself. We talked mostly about our responsibility to journalistic integrity.
James Kalm recorded both the pre-conference and the public panel discussion and posted his videos on Blip TV.