January 10, 2023
Artist to Watch
NB: Can you tell us about your experience with art before Yale and how you have arrived at where you are now with your practice?
GM: My training was classically inclined. I maintained non-academic experiments outside of my studies. At Yale, I synthesized my interests. Currently, I follow my hunches, and unforeseen space opens up. Simultaneously, I revisit familiar territory with an adjusted level of rigor and perspective.
NB: Can you speak on how the physicality of paint is used to address the subject matter of your work?
GM: Love, time, and weight are central subjects to my practice. The range from heavy topographical to smooth atmospheric surfaces is a byproduct of a considerate process for those subjects.
NB: Could you share more about your painting process and in what ways the process differs between your abstract and representational work ?
GM: On the surface, the abstract paintings aggressively deal with the physical nature of oil paint; The representational work moves towards non-narrative while weaving in and out of legibility.
I’m bringing my full self to each work, to then go on an arduous journey. The destination isn’t ever a physical location; it’s an internal realization. The outcomes of said process aren’t predetermined to be on a binary of aesthetics. I understand the distinctions between modes of painting, but I don’t think in those terms while I’m creating.
NB: What is the intent behind the compositions of your diptychs and triptychs? Is there a particular story or narrative to these works?
GM: There is no specific grand narrative. Instead, there are themes for contemplation; occasionally, a piece will be narrative. Each painting is a new opportunity, and none of them are promises. My motivations are to examine relationships by forcing familiar situations to exist alongside an unlikely companion..
NB: In your recent show “Butterfly March” at Alexander Berggruen there’s a series of abstract ‘color field’ paintings. Could you walk us through the process behind these works, and tell us a little bit more about this exhibition?
GM: The “Butterfly March” exhibition contained a wide range of approaches to painting revolving around existential themes; Living multiple metaphorical lives, dying through the flesh to be reborn in spirit.
NB: What are some projects in the future that you’re excited about?
GM: Painting is most exciting; seeing what comes of it all is exciting. That’ll always be my case. An exhibition catalog of “Butterfly March” will be coming out soon, via Alexander Berggruen. Regarding exhibitions, my next solo show is in March 2023, with Micki Meng gallery in San Francisco.