Stephen Westfall

1. — I think I first met Harry Roseman at an opening at the Lennon Weinberg Gallery in the mid-nineties. I had met Cathy at Bard and she was there and introduced us. A very nice guy, I thought, not knowing what the future would hold for my friendship with Harry and Cathy or my relationship with the Gallery.

2.–My own paintings are abstract and geometric distillations of fragments of architecture, signs, artifacts, and an evolving sense of abstract painting’s own scope as a social project with a history. Others see a Pop element and I think the self-awareness necessary for Pop is in my work, though I’m not entirely sure I put it there. I think that most things are at least partly alive and transitioning: color is both material surface and light, for instance. Painting is a certain kind of materiality and a painting is animated by a certain kind of intentionality that often wrestles for self-determination beyond and away from the artist’s original plans. Awareness of this tug of war between the painting’s own intention and the artist’s original plans may actually open up new paths of form and content. I like painting that is talismanic, magical, and essential. Blinky Palermo, Ellsworth Kelly, Agnes Martin, Mary Heilmann, and Frank Stella are among many others that have at one time or another deeply influenced my work.

— July 2007

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