Douglas Gimberg, Painting
I do not identify as a painter, although it does form an integral part of my practice as an artist and especially as a teacher. Because of the long and particular history that painting has within and beyond the canon of western art, it is very difficult to escape referentiality, and which I have instead chosen to embrace. This is partly as an extension of my teaching but also as a valuable tangent to my sculptural work.
In sculpture, which is a far broader category materially and formally, the ability to work from a point of first principles is significantly greater, whereas because of the aforementioned history of painting, it is far easier to 'stand on the shoulders of giants'. This forms a valuable part of the longstanding question "why paint?", as does the fact that there is a significant point of intersection between the two disciplines in the problem of 'space' as well as the inherently deceptive character of art-making (these two being particularly concentrated in the art of painting, and taking more of a back seat in sculpture).
While each of the series of paintings presented below address themselves to specific problems 'out there' a part of them always refer directly back to the wonderfully absurd art of painting itself.