IDENTITY Method: Degrees of Separation- Ira Korman

IDENTITY Method: Degrees of Separation
Darlene Campbell, Kenny Harris, F. Scott Hess, Ira Korman, Judy Nimtz, Sarah Perry, Robert Schultz & Peter Zokosky

July 7 – August 27, 2016
Opening Reception: July 7, 2016: 6 – 8 pm

Method: Degrees of Separation, the second of three IDENTITY exhibitions, highlights the art process with a special appreciation of historical methods within a voice of haptic ways of seeing. The featured artists come from various points of view—conceptually, pictorially, and aesthetically—yet collectively they share a deep dedication to creating artwork by way of a traditional method. In curator Eleana Del Rio’s words “Tradition by way of ‘method’ – stated loosely – is the exhibition’s topic.”

Artist interview #49: Ira Korman

korman studio

1. What is your ideal working environment? – space, music, lighting, etc.
My ideal working environment would be a large, light, uncluttered studio overlooking the ocean somewhere.  My actual working environment however, is a converted two car garage that can barely contain my work materials, various collections and overflow household miscellany.  I prefer working during daylight hours even though I use artificial light to illuminate works in progress.  I like some type of background sound while working whether it’s music, news, or Mod Squad reruns but I frequently find myself having worked for several hours straight in total silence.

2. Is there a specific motivator in getting you into the studio? – after morning news? coffee? after family is asleep at night?
After many years of varying formulations, it really boils down to 20% inspiration and 80% looming deadline….and lots of strong coffee.

3. What is your preferred medium?  Do you work on one project at a time or several?
I’ve worked almost exclusively with charcoal on paper for the last 30 years. I work obsessively on one piece at a time until it’s finished. However on occasion I’ve reworked a drawing several years after I first completed it.  I’m definitely not a multi-tasker.

4. Is there anything you would like to share as personal interests outside of the studio – outdoor activity, cooking, reading, museum/gallery hopping?
I read somewhere that people buy more books than they can possibly read as a subconscious way of guaranteeing they’ll live long enough to read them all.  If that’s true, I might live forever.   When I started teaching I began to buy old, obscure drawing manuals, and books on drawing technique.  I especially seek out material from the 19th Century and earlier and even have several drawing manuals from the late 18th century.  Aside from the beautiful engravings and diagrams, the text is the closest we’ll get to hearing the voices of teachers of past centuries.   I also collect vintage drawing supplies and have found several elaborate 19th century French and English sketching boxes complete with all the original materials.  I use these antique items to demonstrate to my students how the concepts, materials and techniques of drawing have remained basically the same for hundreds of years and how they are now traveling the same path with the same tools as previous masters.

5. In what way is your work a reflection of “tradition by way of ‘method’”?
My material and technique is influenced by traditional methods of 19th century life drawing using charcoal and stumps to achieve fully tonal drawings.  While I take liberties with the “atmosphere” in my drawings, my aim is to render subjects with a high level of realism and fidelity to nature.

6. With the examples of your work represented in IDENTITY Method- Degrees of Separation, are there any anecdotal notes that may give insight into your artist vision to a new viewer?
I believe that drawing is the foundation of all art-making and take my role as a drawing instructor seriously.   The mannequin in “Disillusion” is one of a core group of objects that I have my students draw.  My goal for them is to see, understand and then render the effects of light and shade on three dimensional form – the essence of observational drawing.

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