City 2 City With Painter Joseph Noderer




In our debut City 2 City interview, Rosalux member artist Frank Meuschke speaks with Pittsburgh, PA, painter Joseph Noderer. Frank first saw Joe's work on Instagram, just a few years ago. He was struck by its convergence of originality, landscape, and links to various histories of painting. Read on for a journey through Joe's Pennsylvania landscape, his influences, coming to grips with an art education, and the difficulty with expressiveness in contemporary art.




Joe Noderer in his Pittsburgh studio


How would you describe your work to someone who has never seen it?


I usually say expressive landscape paintings; that is the easiest way to cover a lot of bases in my work.


Tell us something about where you live?


We’re part of the city [of Pittsburgh], it’s called Brookline. It’s just a few miles to Pittsburgh, although we are within the city limits. I am south of the Monongahela or Allegheny River, I can’t remember. They come together to make the Ohio River, which then goes down, west, through Kentucky to the Mississippi. We’re south of that and it’s pretty green. Brookline has a lot of houses that are eight or nine feet apart. Older houses that are a hundred years old. There’s a lot of green, a lot of tangly stuff popping out all over the place. It’s very hilly. Looking out my studio window, across the street, I can see the telephone poles and houses that are at the top of the next hill. It’s an urban neighborhood, family oriented, folks that have been here for awhile; Pittsburgh locals.


Lonesome Sue 'Pon Turd Hill (For Big Sue), Oil on Canvas, 36 in x 36 in, 2017 noderer landscape painting
Lonesome Sue 'Pon Turd Hill (For Big Sue), Oil on Canvas, 36 in x 36 in, 2017

It sounds like an early 20th century, working class, single family home neighborhood.


Yeah. Pittsburgh used to be a pretty big manufacturer of steel but there are also a lot of coal mines in the area. Pittsburgh is one of those places where there’s the north and there’s the south, not in terms of their…


Not the Civil War.


Yeah. People in the south don’t like to cross the river and vice versa. So I grew up in the south and my experience with the north is only since I have moved back. The further south you get, the closer to West Virginia you get; there’s more and more coal, more mines in this area, and there’s more mills in the north.


Did you grow up south of Pittsburgh?


Yeah, even further south. I live in Brookline, now, but I grew up a little bit further south in a suburb called Bethel Park. Those houses were built in the sixties and seventies, housing development kind of thing. At the time we had a pretty big wooded area behind our house that kind of stretched parallel to our street and at the top of our hill, which was a dead end street, a big patch of woods that I could easily walk through to get to my friends.


So you grew up in that in-between space, between total urbanity and the hills of southwestern PA.


Yeah, it wouldn’t be too much further south to be where you would consider it truly rural. As a family we would go on walks or bike rides on the Montour Trail. As a teenager we’d go creeping around the woods, trying to smoke weed, and hide from the cops. You can easily have that experience of being out in the woods, but then come home to sleep in a nice house in the suburbs. Or just go to the city; Carnegie Mellon is here, three or four different schools, and especially CMU, bringing in lots of interesting people around the city [which] was truly a good place to get interesting, alternative thought.


I think people still don’t think of Pittsburgh as a place of thought so much as it will always have this working class association, which it still hangs on to very, very much. Not hangs on to, but is. I mean it is a very working class city, for sure. But there are also some really smart people here, and really creative and really interesting people too, and they just coexist somehow; it’s great.


Screenshot, Noderer IG Post, 2020
Screenshot, Noderer IG Post, 2020

Before the pandemic, what was the nature of the art community in Pittsburgh?


There are a few galleries. Historically, they have had a hard time staying open. There are a lot of people here who are intelligent and sophisticated and appreciate shows, but there are only a few people here who buy [art].


How is the community of artists? Do people support each other?


Yeah, I think so. People are serious about making work and seeing work. A gallery recently opened up that is concerned with showing local artists. That helps a lot. There are a lot of really talented people here and Pittsburgh needs to showcase that talent. Zynka Gallery is doing that, which is cool. There’s a first Friday. The city does support a lot of arts organizations -there’s the Associated Artists of Pittsburgh and things like that. I can see it moving, incrementally, toward getting richer.


You do have to make an effort to meet people and maintain those friendships. My friend, Pete, who is a painter as well, we met when I was renting a studio space from an organization called Radiant Hall. They own three buildings converted into studio spaces and they are really affordable and in the city. They have open studios and a number of people came through.


You might go to openings and see a few people that you know, go out and have drinks and talk. That was the experience in New York and Chicago -we’d go to openings, accumulate people, and you’d end up in a bar, somewhere, talking about art. That doesn’t happen as much, here, but I am okay with that. [Laughs]


Have platforms like Instagram substituted for a local, in-person art community?


To some extent you can get around the exhibition experience, but that social aspect? You find out that a big part of it is the social aspect - and the work is a part of that. Talking to people, meeting new people and all the ways that kind of thing can turn into new relationships and foundations to be built.


But this [pandemic] is happening, It seems like people, in art, are saying we’ll do an online exhibition instead. That’s good, but I would hate for that to replace things, though, because it is so much easier to be able to be on your phone, to be able to hold onto an exhibition. Plus the format is so different, it being so small really changes [the experience]. It’s the equivalent of walking across the street and then turning around to look at your painting on the other side. A lot of times it looks really great when they’re two inches by two inches. Or different, at least. I feel like we still have a lot of visual stuff we can get out of having an online interaction and we can be somewhat sociable on it too.



Noderer painting landscape Lois Johnson Memorial Daycare Center, Oil on Linen, 11 in x 14 in, 2020
Lois Johnson Memorial Daycare Center, Oil on Linen, 11 in x 14 in, 2020

I like artist interviews because I feel like I can better understand what artists are thinking. I think a lot of artists are interested in that, maybe because it gives some insight into something that is largely private.


Yeah for sure. In the interview you pointed me to, with Jim Hittenger, it was neat to read about things that I consider influential for me also influencing him and see how he visually dealt with those things. You can have a similar influential experience, say film, and we’ll both put out different things maybe based on our age or how our environment was filtered through seeing these films when we were younger. Sometimes it makes you feel a little bit better about what your influences are, if you are embarrassed by somethings here and there, when you find out that everyone has got geeky things they like.


You have to come to terms with the things you were raised with.


My parents had mostly family photos around the house and they still have this artist hanging up, the artist Bev Doolittle. She makes nature based, believable looking stuff. They are all prints at home, not originals, but they’re of some Native American, frontier stuff, a lot of natural stuff. What she does is kind of gimmicky; she’ll hide things in the underbrush...


Oh, yeah, I know her work.


Yeah, like a wolf! It’s funny because I liked them when I was a kid. Bev Doolittle paintings are rugged, frontiersy, but with this hidden element that is only revealed the longer you get lost in staring at the image. Saying this out loud, it is absurd to me that I never realized that until right now [laughs]! So yeah, those Bev Doolittle things were more influential to me than any art I saw at the Carnegie as a kid.


Because you lived with it -it was there, in your vision, everyday.


Yeah, it was similar to looking out the window. Like the Bev Doolittle painting, the longer you look, the different kind of animals you can see in the tree branches -you can kind of do the same thing just looking out the window of the kitchen.


A way of bringing in the idea of the painting as a window.



Night of the Horse Fire, Oil on Panel, 24 in x 30 in, 2016 noderer landscape painting
Night of the Horse Fire, Oil on Panel, 24 in x 30 in, 2016

Would you share something of your formative experience of the land that has so strongly influenced your work?


I had a positive experience with being outside, in Bethel Park. As a kid, playing outside, we had a large patch of woods, behind the house. I spent a lot of time outside with friends or by myself having experiences with what seemed like “real nature” at the time. Not just a tree in the yard, but the woods with the creek, where I happened upon a dead deer and that kind of thing. It’s a visually striking place. It’s pretty dramatic.


There’s hills, sometimes very steep hills. The weather is temperamental; I always think of it as kind of moody. I think this nature lends itself to painting because there is a lot of texture here, a lot of movement, it’s very dynamic. It’s an older place; there’s still quite a bit of old buildings and some of them are occupied and falling apart. I’ve been a visual daydreamer ever since I was a kid. It was easy to get lost in staring out the window, in elementary school, at the trees because there were so many trees right there. The sky and the leaves on the ground -it’s easy to get lost in all those things. I started doing that when I was a kid and haven’t stopped.


Would you say that the window is more important than an actual engagement with the outdoors?


Now, for sure. When I was a kid it was probably equally split. I played outside a lot. Now the balance is little off. You had more time to do that when you were a kid. You can just play.


Without a sense of time.


Yeah. It’s harder to do that as an adult.



Housplant Display with Painting, Noderer Home

The work isn’t necessarily informed by your day to day, now, but is informed by early experience?


In a lot of ways, yeah. If I think literally about my day to day, seeing it through my car windows, through the work windows -I’ve wondered about that. How can I make my work more about my day to day experience? But then, all I can think about is making paintings essentially of work, which I do not want to do.


When I moved up here, my dog and I would walk multiple times a day throughout the seasons. That, up until about two or three years ago, was the extent of my daily experience with nature. Now that primarily comes through plants. My girlfriend and I have a lot of houseplants. It’s a big part of our interior worlds. We have these beautifully composed areas of lots of different types of plants that she has cared for amazingly.


I think the suburbs has conventionally gotten a bad rap when we talk about nature, or even when we talk about the city. I’m thinking that the suburbs is sort of a window upon the world outside the city. It exists as this place between the internal city space and the external, raw nature experience.


Right.


It has a lot more to offer than we have ever allowed it in terms of our experience of nature. It's counter to the narrative of wilderness, where there isn’t a human in sight, and its opposite, the urban experience and it being nature-less, which we also know is not true. The suburb is a unique vantage point and if you open up to it, it allows you to see that narrative differently.


I can see it from other perspectives as well. Folks out in the country can look at the suburbs as a window into what’s happening in the city in a way that maybe they can relate to more than just looking directly at the city. It’s a window; it’s a middle ground. Yeah. That’s interesting. Paintings as windows is definitely a thing.


It’s not even something I care to walk away from or challenge, strictly.


Yeah, I’m pretty much fully invested in that idea.



Shortcut To Wabash, Oil on Linen, 11 in x 14 in, 2020
Shortcut To Wabash, Oil on Linen, 11 in x 14 in, 2020

How do you go about creating a sense of place, or more on point -the feeling of place, in your artwork, if you even feel you are doing so?


I want to. I find this area very beautiful. Formative experiences, in terms of interacting with the world, those were all had here. It’s important to me, but since I’ve been back, I have trusted that the character of this place would come out if I work intuitively because I’ve had so much time, even when I wasn’t here, being saturated by this place, or wanting this place back.


My goal is to capture how I feel about this place and I just assume that it comes across to people looking at my work. Whether or not they know, by looking at a painting of mine, that I live just outside of Pittsburgh? They can see it, maybe even the group of paintings, as a region because of the consistency there, in terms of subject matter, color, composition, specificity. I want there to be specificity in my work and of course, an amount of ambiguity.


I looked at your work and I’m not sure I knew you were in Pennsylvania, but it suggested it. I don’t know if it matters to viewers of your work that they pick up that regional sensibility or not, but to me it is specifically there, I see it based on my experience [of Pennsylvania].


I’m glad to hear that. Because to some extent it confirms that it’s not me subjectively thinking that I am capturing the place, but being way off-base, objectively, for someone else. I am really just painting what I see here. I know that it is not representational in the conventional sense, but I think it’s reflective of my influences, they’re right out this window. What I do with those influences, I don’t put them all back together so they look like the view out the window, because I need more than that. I think some people don’t realize that I am painting what’s around me. I haven’t constructed some sort of world, or if I have, it’s based on the world that I live in.



Monongahela, Oil on Linen, 16 in x 20 in, 2019 noderer landscape painting
Monongahela, Oil on Linen, 16 in x 20 in, 2019

There is a sense of decay in your work that, to me, speaks of the region as well.


Yeah, it’s here. There’s a lot of old stuff here and a lot of it is not repurposed. Some of it is plowed over and something is built on top of it. But there’s plenty of stuff that is left alone to fall apart. At the same time, it doesn’t exist in an economically depressed area, it’s not an indication of a ghost town. You can appreciate it that way and not look at it as an indicator of some really dark thing that is happening.


I’m reminded of Caspar David Friedrich -his interest in painting the gothic ruin. I don’t look at that ruin as a matter of fact, but that he is creating an entire ethos or mood around an environment that looks partially rendered, accurately, and partially made up. I feel like your work has an American...I was almost going to say gothic!



Caspar David Friedrich, The Abbey in the Oakwood, 1810 painting
Caspar David Friedrich, The Abbey in the Oakwood, 1810

I know you’re not talking about this [gothic] literally, but, it’s funny, as a teenager, I was very goth, liked all the goth music, but also gothic fiction, films, and some artwork -I didn’t see a whole lot of that in high school. You know, I am a seventeen year-old with black hair and nail polish and my teachers weren’t like, “Oh, you should check out Friedrich!” No, they were like, “Do you need help?” [laughs]


That sensibility, that awareness of mortality, with Friedrich, is something that has always been built in with me. I don’t know if that has to do with the region, or what. With Friedrich, his work is reflective of mortality, of spiritual wealth versus earthly gain. Those things aren’t explicit, in my mind, but I am aware of loss, the transitional nature of things.


How much of that speaks to being in a rust-belt city that has seen a significant end to a certain kind of life or work life?


It could be the collapse of the steel industry or it could also be genes. I’ve just been drawn to that stuff for so long. When I lived in Austin, Texas, that’s a very different city than Pittsburgh. I think that how Austin’s culture deals with progress is a lot different than here. So I feel like, if I had grown up there, I might not be as affected by the things that I am here.



Horse Hill Burner, Oil on Canvas, 24 in x 30 in, 2014 noderer landscape painting
Horse Hill Burner, Oil on Canvas, 24 in x 30 in, 2014

Was there a particular exhibition that had a profound impact on you as a young artist?


Earlier on I mentioned going to the Carnegie. There’s the Museum of Natural History and then the Museum of Art; they’re connected but also distinct. As a kid, I don’t remember going to the fine arts aspect, but I remember going to the natural history part quite a bit. Because, like any kid, I liked dinosaurs. Anything else there -the hall of minerals, the geologic stuff, the dioramas there, are out of sight. They are from the golden age of dioramas. Those contained worlds were very influential to me and that makes a lot of sense [when] looking at my work and that idea of a window.


When I was in undergrad, I really liked figurative painting. I really liked Lucien Freud, Jenny Seville. Who I loved the most was Odd Nerdrum. I remember going to New York and seeing a show of his work at Forum Gallery. I was just beside myself with wonder -it was great, but I have a different opinion, now.


He was popular then [nineteen nineties].


Oh yeah, sure. He was writing all that stuff on kitsch. He’s a goofball, but he could definitely make a handsome painting. Seeing them in person was important because he was essentially doing Rembrandt-type stuff. It was like, wow, these paintings have all this depth, on top of the content. At the time I was being a little reactionary; I was into academic figurative painting and almost everybody else was into more avant-garde stuff that I didn’t feel comfortable doing myself because I didn’t know enough.



Screenshot of IG Post by Joe Noderer, Carnegie Museum of Natural History Diarama (crop), 2020
Screenshot, IG Post, Joe Noderer, Carnegie Museum of Natural History Diorama (Detail), 2020

That Burchfield show, at The Whitney, about ten years ago. I love Burchfield. He’s so Midwestern. There’s an undercurrent of darkness to his work that I think exists in regions like this.


He was in Western New York. Gloomy -lot of clouds from the Lakes.


Yeah, and he lived in Ohio for a long time before that. Seeing that show in person was great. I don’t think, prior to that, I had seen any Burchfield in person because they are famously sensitive to light and they stay put. So that was just mind-blowing for me. I also saw a pretty great Lucien Freud show in Ft. Worth -that was pretty eye opening too.


Do you think about this work when you are making your own work?


Burchfield I do. I have plenty of his books around. The Burchfield Penny Museum is only about three hours away, in Buffalo. I think about Burchfield in terms of I don’t what to be derivative of, more so than anything else. I think my paintings are pretty different from Burchfield.



Hell's Hollow, Oil on Panel, 18 in x 24 in, 2018 joe noderer oil painting landscape
Hell's Hollow, Oil on Panel, 18 in x 24 in, 2018

Freud I don’t think of, consciously. One of the things I was blown away by, at that show, was how the closer you got to those paintings, they completely fall apart into material but you do not have to get to far away from them and they feel as real as you. I still have a hard time understanding how that’s possible, to be honest. I don’t really like Freud as much, anymore. Once you find out about people, you’re like, “These people aren’t that great.” [laughs] But that was one of the first times I had that experience.


Viullard -there’s a few of his paintings at the museum in Chicago where I would go pretty frequently. That’s a similar thing, but his stuff is way weirder than Burchfield or Freud.


What contemporary artists are you looking at now?


Alessandro Keegan is an awesome believer in painting. He’s into the occult and spirituality. He’s up front about it and makes really great work that is connected to that. It’s not corny, cheesy, sensational or anything like that and I think that’s pretty impressive.



Alessandro Keegan, Inky Bloater, Oil Over Walnut Ink on Wood, 24 in x 18 in, 2017 painting
Alessandro Keegan, Inky Bloater, Oil Over Walnut Ink on Wood, 24 in x 18 in, 2017

Where did you study art, if you did at all?


Undergrad school was in Pennsylvania. I went to the Tyler School of Art.


In Philly?


Yeah, near Philly.


Did you go to grad school?


Yeah, in Chicago. Although, before I went to SAIC, I lived in New York very briefly.


What year was that?


It was February, 2002, and I probably left in 2003 [Laughs]. It was one of those...a really rude awakening. I really did not like it there.


Why did you go to NYC?


Before I graduated from Tyler, I did the Yale Norfolk Residency and met a lot of people there that lived in New York and we got along really well. I decided I was going to save up some money and move to New York. Went to Philadelphia, got my stuff, and then moved back to Pittsburgh. I lived with my folks, worked and saved money. I saved about two thousand dollars and then I moved to New York in February.


It was the winter after September 11th. It was probably the worst time to move to New York for lots of reasons -that being the primary one. It was a complicated time. I moved from Pittsburgh, from a relatively ideal setting, to New York. It was a lot of anxiety, really stressful, on top of the fact that there was a miasma of total terror and fear and anxiety -all those things left over, just still hanging. Not even left over, just hanging in the air from nine eleven.


I visited some friends in Philadelphia while I was living in New York and they were living, to my eyes, just the best life and I didn’t see them as making any kind of huge sacrifice, artistically, by living a more comfortable life. I realized that part of the reason I moved to New York was that I thought, you know, that this is the place -the center of the art universe in America. And you know, I really don’t like my day to day life, I feel terrible all the time, but it’s worth it because I am in New York and it’s going to lead to something. So that trip to Philly made me see that I didn’t have to live in New York if I didn’t want to.



Night of the Demon; Friend to Beast and Bird, Acrylic on Panel, 24 in x 30 in, 2004-05
Night of the Demon; Friend to Beast and Bird, Acrylic on Panel, 24 in x 30 in, 2004-05

Part of my reason for moving to New York is that I wanted to get into grad school and I thought it would be a great place to be making work to then apply to grad school. I assumed that I would get into at least one of the grad schools that I applied to. Didn’t get into any grad schools because the work wasn’t true to my nature. I was making stuff that I thought would fit into Yale or even SAIC or...


The “important” schools [laughs].


Yeah! Exactly, the important schools.


Everybody applies to Yale, whether they want to go there or not [laughs].


Yeah [laughs]. That’s the truth.


So I got all the rejection letters and that was tough, but what happened was that I kept making work; I kept painting. But then I started making these paintings that I really, really felt connected to and that was a pretty formative experience. When I am making a painting I am trying to be relatively intuitive; I’m trying not to think too much about what it might mean or what I am trying to say with this painting. I’m trusting that I’m making it and I’m influenced by what’s going on and that influence will come out and will show in a way that is more saturated than if I were to set out with the idea of this or that. That practice of just sitting down, painting, listening to music, getting lost in a painting -that’s where that started, actually.


I wasn’t painting for an application or for anybody, since I didn’t have any kind of prospects lined up for showing, really just painting, in large part, for myself. Although I lived with two other people who were artists and I had a lot of artist friends -they saw what I was doing. It wasn’t like no one knows I paint. The experience was just about me and the painting. I can’t imagine how awful things would have been if I had gotten into grad school with that work I was making, initially, for grad school.


How old were you at that point?


In my twenties, twenty-three or so.



Jogger, Acrylic on Wood Panel, 32 in x 30 in, 2004
Jogger, Acrylic on Wood Panel, 32 in x 30 in, 2004

There was a lot of struggle when I was twenty three. Questions like, “what am I doing; what worth does it have, who am I in my work and how do I choose a direction?” Do you have a memory for what you worried about, artistically, back then?


All my friends who were making art there were painters, but they definitely were kind of conceptual. They had gone to Cooper or Pratt. I didn’t know anyone from the New York Studio School, which maybe would have been an easier fit. When I think too much about being intelligent or defending something I’ve done in a painting, I get suffocated. I mean it’s intellectual to some extent, but for me it’s about connecting to my experience and just connecting to my environment. Again, not that thought has no place in that, but it’s not the primary reason for making the painting to begin with or there is no end goal, proving some sort of point, necessarily, about painting. So knowing that about myself, but trying to be a “smart person” in my paintings -that was very stressful.


That time in your life, whatever you do, but certainly as artists, your mind is way more open to influence, even influences that don’t fit, and it pulls you into a kind a void. And if you’re lucky, or whatever, maybe luck has nothing to do with it, if you survive all that you get to come out on the other side, which I say is over 35, whatever, maybe over 40, I don’t know what age it is, it’s different for everybody, where who you are remains in tact, despite all that.


Yeah.


To me, that’s an arc of an art education. So what brought you to Chicago, SAIC?


I had been to Chicago as a kid and thought it was a pretty cool place. I had been told, when I was in undergrad, by one of my professors, Richard Cramer, who unfortunately has passed away of complications due to Covid-19, that Chicago would be a good place for me to check out; check out the Hairy Who. At that time I was making work that was a little more graphic, in terms of being kind of flat, and really composed, but it was also inspired to some extent by cartoons and comics. So I can see why he would say that now. At the time, I was just a kid, and I thought more about what was happening in New York as important versus what was happening in Chicago. So I just didn’t know much about Chicago.



Kurt Wirsum, Youdue, c. 1966

Even though the way I approach my paintings has changed, that current stayed intact. A lot of color, relatively stylized figures, but also not a presumptive attitude about art, which is what those folks [Hairy Who] were known for. They were smart; really intelligent people reacting to the high brow stuff in New York and on the West Coast.


So, the second time I applied for grad schools, I got an interview at SAIC. I went and got along with Dan Devening and Judith Geichman, the folks that interviewed me, and they were interested in where I was coming from.


I also applied to Yale and got an interview there too, but when I went it was like, “You don’t belong here, Joe.” When I was at the interview, they asked me who I was looking at and I mentioned Martin Kippenberger. Based on what I had to say about Kippenberger, which was mostly all formal, not conceptual at all, which is an enormous part of the approach, if not the entire thing, Kurt Kauper, who was one of the interviewers, said flat out, “I don’t think you understand Kippenberger.” It was pretty intense, he was right, but no one had ever been that blunt with me or it had been awhile. That was a pretty intense environment to be in anyway; I was interviewing at Yale and I was sweating bullets.


Yeah, it’s that kind of environment.


So when he said that, he was right. It made my stomach sink, and I also knew I wasn’t getting into Yale, but that made the interview at Chicago, which came after that, just feel more right, more natural. We got along. I was making these paintings on acrylic panels that I put together from wood at Home Depot -they were really poorly made. I wasn’t thinking about that conceptually, I was just making something to paint on. Dan said something about how the supports look like shit, and that’s got to be on purpose. It wasn’t on purpose, but I understood what he was saying. So it just seemed like a good fit. Chicago, in a lot of ways, reminds me of Pittsburgh -a big, blue collar city. After getting to know Jim Nutt and Karl Wirsum, and other folks that work at the school, it seemed like the right attitude. They were serious, but not too serious, fun but not too much fun.


So, why did you move to Texas?


I was living in Chicago. I was teaching and working in a woodshop. Chicago was stressing me out. My parents had recently moved from Pittsburgh to El Paso, Texas, and then to Austin to be with my sister because of the grandkids. Work was drying up in Chicago and me wanting to be there was drying up. I initially wanted to move back to Pittsburgh, but part of that was to be closer to my family. Since they had all just moved to Texas I thought maybe I should consider moving to Texas. I found a job, there, teaching at the art institute. I have to admit I was definitely into the idea of moving to “the West.” Not the west coast, but the frontier west.


A romantic notion, maybe?


Yeah, for sure. Lot’s of people in Chicago were like, “If that’s the only reason you are going there, you shouldn’t go. Don’t move to Texas for that reason. ” But I did. So I moved there for a change. I liked that Austin was small, like Pittsburgh, but also that it seemed healthier than Pittsburgh -it is healthier than Pittsburgh. Coming from Pittsburgh, New York or Chicago, that seemed refreshing, although talk to anybody I knew down there and they’d say all I complained about was that it wasn’t old enough or decrepit enough [laughs].


So I started working from pictures that were of Pittsburgh or South Carolina, which reminded me a lot of the Pittsburgh area with the tangly growth.



Untitled,  Acrylic on Wood Panel, 12 in x 12 in, 2011 landscape shack painting
Untitled, Acrylic on Wood Panel, 12 in x 12 in, 2011

When was this?


That was 2009 through 2014.