“I hate Greenberg’s rules for painting. He thought light and dark, the values of the colors in paintings, should be even, so the color could be focused on hue difference. It’s a strategy from Impressionism. I want strong contrasts of light and dark, as well as contrasts of color temperature and hue. The one property of color that I wanted to keep even is the intensity. This lets the light move and flow throughout the painting. That’s another reason my paintings seem filmic. That’s my innovation in color: to hold intensity even while varying the other aspects of color in extreme ways.” David Reed in Conversation with Phong Bui, Brooklyn Rail, April 2, 2010.
Especially important in this interview is David’s assertion that – “Our experiences of film and photography have changed how we see the world. Film and photography made new emotional experiences possible, which can now be a part of painting. As painters, we can help define the meaning of those experiences.” This is especially true with the ubiquity of lenses and screens all through our culture. What sorts of emotional experiences do we have through these screens and can painting really be a part of it?