{"id":27693,"date":"2012-04-10T16:00:33","date_gmt":"2012-04-10T20:00:33","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=27693"},"modified":"2012-04-10T16:37:53","modified_gmt":"2012-04-10T20:37:53","slug":"terry-winters","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/04\/10\/terry-winters\/","title":{"rendered":"Terry Winters"},"content":{"rendered":"

\"\"<\/a><\/em><\/p>\n

Terry Winters works on the fifth floor of a Tribeca walk-up. It is a steep climb, but the space is serene and open, decorated with a few large Nigerian ceramics, a framed Weegee photograph, and of course Winters\u2019s own drawings and watercolors (he does his oil painting in a studio in the country). It is also remarkably free of clutter for an artist who describes himself as an \u201cimage junky.\u201d Winters spends a lot of time here\u2014\u201cI try to show up for the job,\u201d he remarks when I ask him about his daily practice\u2014though he does not have much by way of routine, allowing the needs of the project to shape his day.<\/em><\/p>\n

This year marks the thirtieth anniversary of Winters\u2019s first solo show at the Sonnabend Gallery. Now represented by Matthew Marks, Winters\u2019s work continues to be informed by the ideas that animated his very first exhibition. One constant\u2014besides his New York studio, where he has worked from the very start of his career\u2014has been his use of found images, which he faithfully collects and assembles into collages that serve as miniature laboratories for future paintings. But the collages, with their layers and juxtapositions, their invocation of modern technology (several feature visible URLs, linking to universities and laboratories) and natural forms, are also lovely in their own right. <\/em>In Winters\u2019s current show<\/a> at Matthew Marks\u2014and on view for the first time in the United States\u2014are images from his \u201cNotebooks,\u201d which showcase the artist\u2019s process as an indelible part of his larger vision.\u00a0
<\/em><\/p>\n

I stopped by Winters\u2019s studio on a mid-February afternoon. What follows are excerpts from our conversation about his practice, photos from the visit, and several images from the \u201cNotebooks.\u201d<\/em><\/p>\n

In the current show there\u2019s a clear extension of many ideas from my first exhibition. The beginnings of the \u201cNotebook\u201d collage project actually date from that time\u2014clippings that I made in the eighties. Hopefully, the concerns of the work have widened and gotten deeper over time. The collages are a way of thinking for me. I use photographic or computer-generated images that are then transposed through a succession of layers to provoke unforeseen connections. The collages are complete in themselves, but they can also suggest other ways for me to explore their subjects or themes, as drawings or paintings, for example.<\/p>\n

\"\"<\/a>

Notebook 34<\/em>, 2003\u201311, collage, 11 x 8 1\/2 inches.<\/p><\/div>\n

Technical images offer something readymade. That is, found images, technical images, offer us something no one made. Although they are the product of human activity, these images also seem free from subjective decision-making. And the Internet amplifies this; it offers images made by no one and everyone. I use this found imagery as a model, to see how images can be torqued or tweaked, made more poetic.<\/p>\n

\"\"<\/a>

A painting in Winters's studio.<\/p><\/div>\n

I\u2019ve always tried to define parameters for the drawings or paintings according to some organizing principle. It can be anything from an idea about acoustic space to the color range of a particular pigment. The goal is to construct a picture that is autonomous and at the same time suggests multiple associations or readings. This is partly why I\u2019m reluctant to name where all the sources are, what they are. I think there is some significance to the source, of course, but the ultimate significance is what the images conjure up in the paintings themselves and what they might mean to the viewer in terms of the multiplicity of connections that one could make in looking at them. Still, the decision to show the \u201cNotebooks\u201d is a way of showing the variety of disciplines I\u2019m attracted to and how they might be seen in the paintings.<\/p>\n

\"\"<\/a>

In Winters's studio.<\/p><\/div>\n

I\u2019m always on the lookout for material. I grew up in New York, so I remember the used bookstores on Fourth Avenue. When I was in school I bought lots of books. They were a cheap and inspiring resource for reference material. Just the abundance of pictures, exquisite photogravures, chrome lithographs, precise line engravings, or simple woodcuts. A dizzy and dazzling array. Now, digital information is the great image provider.<\/p>\n

\"\"<\/a>

Notebook 1<\/em>, 2003\u201311, collage, 11 x 8 1\/2 inches.<\/p><\/div>\n

My method is quite random and intuitive. Recently, I\u2019ve been reading a book of interviews with W. G. Sebald. I\u2019m taken with the way he discusses his writing methods. The structure of his novels are singular, and I feel close to his approach, that mixture of fact and fiction. His use of photography is wonderful\u2014each photograph may or may not be an actual document. That hybrid is something I want for my paintings, using abstraction to make images that are factual and specific and at the same time fictive, almost mythological. Sebald describes how the most enjoyable part of his work is the research\u2014reading texts and collecting images. And that is true for me as well. I like to stockpile pictures for inspiration and motivation. That\u2019s all stress-free and entertaining. How that source material gets utilized or becomes part of a painting is a difficult, not always pleasant process. The challenge is to describe another possible world.<\/p>\n

\"\"<\/a>

In Winters's studio.<\/p><\/div>\n

When painting, I\u2019m being pulled along like those strange attractors in chaos theory. The work makes demands and I respond until the work has a life of its own and feels somehow complete.<\/p>\n

\"\"<\/a>

Notebook 182<\/em>, 2003\u201311, collage, 11 x 8 1\/2 inches.<\/p><\/div>\n

I work in the city, and have a studio in Columbia County. Over the past few years, I\u2019ve been painting up there and concentrating on drawing here in town. The impetus to get a place in the country came from changes in the work itself. The space of the pictures was changing, and I wanted a new working space as well\u2014literally, both inside and out. I was able to extend the floor plan of a New York loft and construct a building in the middle of an open field. The new studio has helped to fuel much of the energy and evolution of the recent work.<\/p>\n

Terry Winters\u2019s show \u201cCricket Music, Tessellation Figures, & Notebook\u201d is on view at the Matthew Marks Gallery<\/a> through April 14.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Terry Winters works on the fifth floor of a Tribeca walk-up. It is a steep climb, but the space is serene and open, decorated with a few large Nigerian ceramics, a framed Weegee photograph, and of course Winters\u2019s own drawings and watercolors (he does his oil painting in a studio in the country). It is […]<\/p>\n","protected":false},"author":228,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1857],"tags":[18,35,6652,2051,1465,6650,6651,67,100,6649,6647,722,68,6648],"class_list":["post-27693","post","type-post","status-publish","format-standard","hentry","category-studio-visit","tag-amateurs","tag-art","tag-chaos-theory","tag-collage","tag-drawing","tag-found-images","tag-notebook","tag-painting","tag-photography","tag-readymade","tag-terry-winters","tag-w-g-sebald","tag-watercolor","tag-weegee"],"acf":[],"yoast_head":"\nTerry Winters by Yevgeniya Traps<\/title>\n<meta name=\"description\" content=\"April 10, 2012 \u2013 Terry Winters works on the fifth floor of a Tribeca walk-up. 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