Gary Komarin is an internationally acclaimed artist whom Singulart is extremely pleased to welcome! This week, we had the chance to talk to Gary about his career and artistic influences which we share in this interview.
When did you know you wanted to be an artist?
“Art and all that goes with it chose me as much as I chose it”Gary Komarin
Perhaps as early as age 5. I was attracted to paint, paper and clay and all the attendant textures and scents of those materials.
I felt very close to all of it and was fascinated by mark-making, so very alive, whether with paintbrushes or with my fingers and hands.
Can you talk about your artistic influences and other artists you are most inspired by?
My artistic influences go very wide and very deep. Everything from cave paintings in Lascaux – to children’s drawings – to the early Italian painters like Giotto and Cimabue. Then Picasso, Matisse, Van Gogh, Cezzane, Morandi and later on to Pollock, de Kooning, Rothko and a great many others.
I was also very interested in what was termed outsider art for its simplicity and brutal honesty.
Do you prefer to work alone or collaborate with others?
Generally, I work alone. Though, I am open to collaborations if it is a good fit.
Can you tell us about a project you’re currently working on?
My work is more of a continuous flow in a Buddhist sort of way. Everything is connected – I don’t stop and start for a particular show or project. One painting feeds the next.
What do you think you would be doing if you weren’t an artist?
Perhaps a writer of some sort, fiction, short stories or poetry. I have come to realize that I am a good writer and I enjoy it although mostly in short sections.
I wouldn’t wish to write all day as I like the physical aspects of painting and moving around the studio and around a painting. I seem to have relentless energy and painting dovetails very nicely with that energy.
What advice could you give to young artists starting out?
Keep going and stay on that train! Believe in yourself and look at a great many other artists, past and present. It will help to form you. Later on, you can wean that down.
But in the beginning, as with writers who read widely, a painter should be looking at nature, architecture, and other paintings to keep a cosmic view of things. Finally, don’t get lost in the shuffle!