21x27 inches oil/linen
I work on a lot of paintings at the same time and I often find a color unexpectedly and switch to another painting. I want to see something new happen when I go to the studio. I collage views, I add and subtract chimneys. There's no idea of realism or fidelity or reportage. It's more a kin to songwriting and there are good days and bad days. The awful days usually are followed eventually by good days. A lot of people say the paintings look happy. When they come together, they lift me up from my usual funk. Dark helps you understand light.
Please watch for one of my #Georgetownuniversity paintings on page 53 of this weekend's #nytimesmagazine.#nytimes#newyorktimes#iceland#reykjavik#mitchelljohnson#abstractart#abstractpainting#interactionofcolor
This is a detail of one of my Lower East Side paintings I started in NYC a month ago. You can see one of my California landscapes on page 73 of this weekend's NY Times Magazine. My interest in the watertowers is related to the houses and buildings I use in compositions from Europe and the Cape where the scale is ambiguous, unfamiliar. Who has ever touched a water tower and knows their scale when they see them in person or in a painting? You can hold a rose in your hand and in this painting a water tower is about that size yet we assign it a different scale like the moon. This composition is a collage of different times of day and different views. The goal is to make something interesting not something realistic. #mitchelljohnson#watertowers#newyorktimes#abstractart#abstractpainting#coffee#watertower#nyc#lowereastside#colorascontent#コーヒー