Unable to access the studio of every artist I admire I will often go to museums to draw paintings. Following the rich contours of a heavy line with my hand is choice — Miro and Twombly being some of my more enlightening drawing experiences. Now I add to that list (and without a trip to the museum) my recent visit with Eddie Martinez. Paintings of all sizes were lined up, one after another, on his walls. Some were even strewn across the floor, momentarily lying down in mid-application. Admittedly, my allegiance lies with work that is anchored in line. You can only imagine how thrilling it was to have so much of it in front of me.
Dynamic black marks made without pause silhouette collections of chunky and vivid cut up shapes. Browns, blues, and yellows contrast varying degrees of whites and the darkest of blacks. But it is the reds that always lead me back, sitting on top of the canvas commanding my eyes. Sometimes they are still-lifes of unrecognizable objects, sometimes otherworldly rock filled landscapes or jumbled up figures with outstretched legs. I think of the primary colors and vigorous lines of Abstract Expressionist Corinne Michelle West or the direct rawness and figuration of the CoBrA movement's Asger Jorn. Jorn's good friend, Guy Debord, once said "Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations." This quote encapsulates the essence of Martinez's work. His art evokes an immediate sensation, the maker and viewer simultaneously experiencing a moment of creation.
Two round dogs happily trotted around the studio as Eddie, his assistants, and I worked throughout the afternoon. Fran, Martinez's pup, even posed a few times for the camera towards the end of the day. I couldn't resist penciling her in along with his paintings. Above is a view of his recent show "Salmon Eye" at Mitchell-Innes and Nash. To see more of Martinez's fantastic work go here http://eddiemartinez.net/.
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