Philip Guston
Philip Guston
Philip Guston, born Phillip Goldstein, was a painter and printmaker in the New York School, which included many of the abstract expressionists, such as Jackson Pollock and Willem de Kooning. In the late 1960s Guston helped to lead a transition from abstract expressionism to neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects...
NationalityAmerican
ProfessionPainter
Date of Birth27 June 1913
CountryUnited States of America
Where do you put a form? It will move all around, bellow out and shrink, and sometimes it winds up where it was in the first place. But at the end it feels different, and it had to make the voyage. I am a moralist and cannot accept what has not been paid for, or a form that has not been lived through.
Sometimes I scrape off a lot. You have on the floor, like cow dung in the field, this big glob of paint... and it's just a lot of inert matter, inert paint. Then I look back at the canvas, and it's not inert - it's active, moving and living.
The painting is not on a surface, but on a plane which is imagined. It moves in a mind. It is not there physically at all. It is an illusion, a piece of magic, so that what you see is not what you see.
Usually I draw in relation to my painting, what I am working on at the time. On a lucky day a surprising balance of forms and spaces will appear... making itself, the image taking hold. This in turn moves me toward painting - anxious to get to the same place, with the actuality of paint and light.
The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.
I'm not interested in painting; I'm not interested in making a picture. Then what the hell am I interested in? I must be interested in this process.
More than a process, painting is being possessed...
In my experience a painting is not made with colors and paint at all. I don't know what a painting is; who knows what sets off even the desire to paint?
When I see people making 'abstract' painting, I think it's just a dialogue and a dialogue isn't enough. That is to say, there is you painting and this canvas. I think there has to be a third thing; it has to be a trialogue.
It is the bareness of drawing that I like. The act of drawing is what locates, suggests, discovers. At times it seems enough to draw, without the distractions of color and mass. Yet it is an old ambition to make drawing and painting one.
If the artist starts evaluating himself, it’s an enormous block, isn’t it?
I do not see why the loss of faith in the known image and symbol in our time should be celebrated as a freedom. It is a loss from which we suffer, and this pathos motivates modern painting and poetry at its heart.
There is something mysterious in this work that I do not ever what to discover.
I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me.