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STATEMENTS BY THE ARTIST
THIRD PARTY COMMENTARY
CRITICAL ESSAYS
IN MEMORY

 

 
 
Official Website of Ed Paschke
  1982

"Visual media in its varied forms (newspapers, magazines, film and video) has always interested me and, to a great extent, has influenced my work. The manner in which "reality" is transformed and stylized or, more appropriately, the look characteristic to each form has become part of my personal painting style. Perception, or what we experience through our sensory apparatus, is being affected by the rapid acceleration of media-related technology. Our view of the world is changing as the "global environment" expands through media accessibility and the information reservoir gets deeper. My belief is that these elements (good or bad) have woven their way into the collective fabric of our lives. I also believe that any artist always works within the context or conditions that are indigenous to their time and, in doing so, reflects the energy, temperament and attitudes of that climate. My recent paintings have become a kind of orchestration of electronic impulses fluttering between 3-D and 2-D or substance and lack of it." "The medium in which I work is oil. This is used in a process employing first an underpainting in black and white followed by a series of glazes (layers of transparent colors). To a degree, this sequence parallels the black and white to color progression in the historical development of printing, film and T.V. images. The substance or subject matter is intentionally non-specific thereby allowing a wider range of interpretations."


1985

Paintings is all about problem solving. The bigger the problems you create yourself, the more resourceful you have to become to resolve it and make it work some how. If when you're working on a painting and everything feels comfortable and cozy and secure and safe than you're probably not doing anything new. You are probably repeating all sorts of old ideas. That frustrated, awkward feeling of not knowing how to solve the problematic area of your work will eventually force you to try something new and this sort of visual orchestration helps to pull you forward as an artist.


1990

7) The experience of looking at, or digesting a painting has to do with a certain type of energy. The observer of a painting or any sort of art experience or event, when you confront it, when you open yourself up to it, you are in a sense completing the circuit. The painting is sending out various kinds of energy, or levels of information and you as the audience, the person perceiving this, brings to it your own personal baggage or experience, associations, references, biases, prejudices, dislikes. You complete the circuit.


1990

Life is very much about rule-breaking, about confrontation. Otherwise history would just stand still. Someone has to come along and break the rules and try, for whatever reason, to go about things in a different way. Even if it is a simple sense of adventure, a sense of exploration. You explore concepts and things that interest you, but you are also exploring inside of yourself.


1998

Light can be generated by natural or artificial sources. The metaphorical implications of my light sources involve issues of spirituality, technology and the enlightenment both can provide. Illumination occurs within time, as does evolution. In this way they can record the trajectory of history. Our identity is woven into the fabric of surface information that we orchestrate and present to the world.


1997

Dualities in life are omnipresent in my work. Natural versus artificial, night versus day, underwater versus sky, television technology versus the intelligence of a chicken and life versus metaphor. The identity of my subjects exists in relation to their opposites. These relationships comprise a pulse or inner spirit through which tensions and rhythms reveal themselves. Elements taken out of context have a different potential when freed from the constraints of their origins.


1999

My father was my first art teacher. His influence began when my brother Richard and I were very young and impressionable. The magic usually occurred after dinner or on Sunday afternoons while sitting around the kitchen table. Using modeling clay or drawing materials Dad would entertain and inspire us by creating birds, animals and human heads with exaggerated personalities. These performances became contagious. Soon we were imitating his colorful inventions and creating our own cast of characters. Seeing the Disney classic "Snow White and the Seven Dwarfs" inspired Dad to build a toy box featuring his paintings of Grumpy and Doc. When I saw it I thought my father was, in fact, the real Walt Disney. It was one of many crystallizing experiences that helped lead me down the path toward my own life as an artist.