What was the process behind selecting work for the show?
The curator made several visits to the studio over the course of three years, and the exhibition grew to include ninety works, comprising a 12-paneled room from 2004, large and small paintings, screens, drawings, and new works in bronze.
Can you tell me a bit about the new work you’ve made for the show?
The large paintings continue certain series I’ve created over the years, with some fresh inventing along the way. The gilt-cardboard works put an everyday material into a new light. Abstractions of clouds, rain, and stars are evident throughout the work in a search to make the ephemeral material. The works of raised gesso on distressed cedar incorporate wood grain and landscape, a desire to be near nature, which I miss in my Astoria studio. The new work in bronze is especially exciting at the moment. I had always thought bronze too laden with overwrought statuary references for my approach, but have found a way to make it my own in the new table top sculptures, Mountains for Flowers. For the San Diego Museum of Art exhibition, I plan to make Ikebana arrangements in and around the movable bronze elements. I have so many more ideas I want to explore, so this is just the beginning really.