Beginnings are important and basic to the formation of the painter. Spending half my childhood in India and Pakistan, and the insistence in the sub-continent on color as well as on the spiritual in art and life has formed me. Color is never arbitrary for me, but full of meaning. I remember meeting Helen Frankenthaler in 1969—she would become very important to my early painting—and asking her how she chose her color. She replied, “It’s like choosing a word in a poem.”
Color for me is related to specific qualities of light, and according to Guenon, “the initiatic cave is illuminated from within.” I found this embodied in Ajanta and Ellora. Coomaraswamy provided helpful clues. Color is shaped by emotional reference, and I agree with Alain, “Every emotion is a presence.”
Poetry has also been important to my work and without reading Rilke in my formative years, and then Mila Repa, it would have all been completely different. It is Rilke’s insistence on putting the impossible at the center of the quest that stays with me every day. HD also entered my work when I was searching for a furtherance of inward voyaging.
Recently I have been looking at late Braque. And Bonnard is always there as well as Basohli and Pahari painting. Also it is those who companion the journey. And with HD I strive, “to make what is most real more real.”
M.A. (Painting), Hunter College, New York, NY.
Studied with Helen Frankenthaler, Robert Morris, and Robert Motherwell
B.F.A. (Painting), Maryland Institute of Art, Baltimore, MD.
Studied with Robert Moskowitz, Boston, University, Boston, MA