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| Sherrod Blankner painting in Noe Valley, San Francisco.
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| As a painter, I strive to produce the best quality of paint application that is within my grasp. By studying landscape for many years, I have trained my hands to know the shape of houses and trees, and how to block out a window or put light on a hillside. I have learned to use the filbert brushes that can easily create the feeling of grass or movement with their thick brushstrokes. I also know the sable brushes that can softly move the paint around in the sky and fade color in and out. |
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| My abstract paintings arose out of a desire to recreate the most successful painting moments in my landscapes. I found often that within a large landscape painting, there would be a few areas that stood out from all others as "great moments" of paint quality. I thought to myself, "what if that were a whole painting in itself." I began to document and paint the parts of the landscapes that were most successful experiments in color, brushstroke, and medium. These were the first abstracts, and since then, I have culled more abstracts out of the abstracts. After several generations, the abstracts generate themselves, and the parent landscape is far removed. |
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| My aesthetic sense is informed by artists Monet, Hopper, Diebenkorn and Thiebaud. To me, their works portray a great range of heavy brushstroke and enthusiastic painting, both abstract and realistic. You can tell they loved to paint and you can imagine their arms moving rapidly across the canvas with different brushes. They weren't dabbing timidly at their canvases, but roughly embracing their art. I aim to do the same. |
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