WRECK PARK

    SEAN ROBERT FITZGERALD

  • Art by Sean Robert Fitzgerald
  • Art by Sean Robert Fitzgerald
  • Art by Sean Robert Fitzgerald
  • Art by Sean Robert Fitzgerald
  • Art by Sean Robert Fitzgerald

INTERVIEW

ELANA MALLOV

  When and where did you begin working as an artist? Did you have an "a-ha" moment where you discovered this is what I want to do ?

SEAN ROBERT FITZGERALD

It must have happened over a longer period of time. Of course, growing up, the naive impulse to make things had been there for as long as I can remember. I would (and still do) sit for hours just looking at things. But as a kid growing up in middle-of-nowhere NY, I just assumed all artists were dead since all of the art I knew was via dusty reproductions. I guess the process by which I came to self-consciously regard the things I make as "art" must have happened slowly and I would definitely describe it as more of an "uh-oh" than an "ah-ha".

MALLOV

  Why these media?

FITZGERALD

  A lot of my choices about media have to do with touch. When I paint, I only use oil paint; more often than not it's oil paint I've made myself by hand. Quite frankly, everything about oil paint is sexy. It's luscious, stinky, wet, and beautiful. It's agreeably versatile, yet it rarely behaves exactly as you want it to and I like that.

  However, when I'm making drawings, I tend to use graphite or ink because they're both particularly good at recording touch. I suppose it really depends on my mood because in a lot of ways graphite and ink are opposites. A drawing made with graphite is almost infinitely mutable, whereas ink is immediate and permanent. The one thing they have in common really is the fidelity of touch they both offer.

MALLOV

   What lens are you looking through? any References?

FITZGERALD

  I often play this game with myself where I try to decide who or what I'd be if I were to suddenly transubstantiate. The answers change a lot but I'll share some of them with you:

If I were a poet: Frank O'Hara
If I were a dead painter: Josef Albers or Agnes Martin or Milton Avery
If I were a film director: Ingmar Bergman
If I were a color: Verdigris
If I were a musician: Broadcast or Chet Baker (This one changes a lot.)
If I were a book: Naked Lunch
If I were a philosopher: Gaston Bachelard
If I were a film: Beetlejuice

MALLOV

  What are you working on now?

FITZGERALD

  I've been making observational drawings a lot lately. I've always experienced a sort of uncomfortable split in my work between drawing directly from life and distilling things into (for lack of a better word) abstractions. Lately I've really been trying to bring these two seemingly disparate aspects of my work closer together. I think the schism historically imposed between the figurative and the abstract was contrived to make us feel more comfortable about our surroundings. But in the words of Giorgio Morandi: "Nothing is more abstract than reality." And nothing could be more true than that.

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