James Biederman

The interweaving of spatial structures found through an intuitive process guided by experimentation and trial and error, opens a path toward finding a poetic visual discourse. The work evolves through several sessions. The paint must remain wet. This requires daily attention.  Color becomes an element to separate and interweave the structures. The paint is hand ground from dry pigments and linseed oil as a binder. Rectified turpentine is gingerly added to the ground paint to thin the thickened oil. A glass mueller grinds the pigment into the binder. The paint is made as needed in small amounts. The found colors are without names. And then there are the brushes, the hand, the arm and one’s breathing. The concentration. Point to point. What is possible. The Belgium linen is stretched on bass wood stretcher bars. Three coats of Golden Gesso and two coats of Williamsburg lead white are allowed ample time to dry while awaiting the oil paint.