Direct Observation: Two Approaches, Kathy Gore Fuss & Amy Huddleston

May 7 – June 30, 2016
Reception for the artists: May 7, 2 – 4pm

Both Kathy Gore Fuss and Amy Huddleston work from direct observation, but they use this traditional tool very differently. One would never confuse their two bodies of work.

In a recent artist statement, Amy Huddleston write: “Two years ago I decided to work entirely from observation, with a muted and limited palette.  I learned a great deal through this work; which was based on measuring in order to help me better understand spatial relationships. I felt a strong desire to see what this could bring to my work.”

Huddleston’s passion is for observation detached from narrative. Because she knows how to paint well indeed, her straightforward approach will have its rewards, among them, allowing psychological expression to be a by-product, rather than the intention of her efforts. This compelling subjective expression, while it arrives without invitation, does become a significant aspect of her work. – Norman Lundin

Artist Interview #42: Amy Huddleston, Part 2

Amy participated in our interview series as part of a previous exhibition (artist interview #12).

huddlestonstudio 2016 1
1. In your drawings and paintings, what does it mean for you to succeed?
I must like it.

2. In your recent artist’s statement, you wrote that you are working on small works that help you further refine the “how” of your process. What have you discerned about your process through working on these?
That it changes, attempts at approaching work the exact same way; same support, paint etc., is too rigid for me, at least currently, I see glimpses of future definitiveness, but I tend toward mirages.

3. How do you understand form in relation to expressing your observational experience?
By asking myself, when looking at something, what exists in this particular visual field, and how can I use it to make a visual experience that draws people toward it, for whatever reason. If I can figure out what draws me to a form I can potentially use that information to construct, or rather, reconstruct this information; not in order to get the same viewpoint but to gain another.

4. What can you tell us about the expressive results (the expression) of your observational experience?
That it is determined along the way, as the work moves forward. It is not a preconceived notion. Largely, it is determined by eliminating things I do not like rather than adding things that I do.

5. What is your ideal working environment?
You can never have too much space, light, or music.

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