Gary Komarin




Gary Komarin’s paintings are the result of a process whose outcome was at the beginning unforeseen. He’s undertaken this process many times, and each time he’s done it, he’s added something to his understanding of its potential. Yet there is always room for surprise. In fact, understanding the painting process means nothing else than understanding how to elicit the hidden possibilities that can excite you.


It’s interesting to see how many variations Komarin can play on this theme of the dialectic of periphery and center in paintings such as Loosha in Blue, Rue Madame in Red, and Big Pink, Lily Pond Lane, to name a few. What’s consistent among them is that in working with the edges of the rectangle, he never emphasizes or re-marks it. Marks and images seem to swim in and out of it according to unpredictable and indefinable inner and outer forces. More than that, one can see the edges themselves as in movement, like the edges of the frame defined by the lens of a movie camera as it pans across the surface of a pond.


What’s happening in these paintings? Something, but you can’t exactly name it. In order to best enjoy them, it’s important to let uncertainty become part of your viewing process. His intention is not to impose himself on or through his paintings but rather to let them go their own way. He’s put it beautifully: “My paintings travel on their own roads in many ways. I am there to assist and to guide.”

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