If I find a good view, I’ll bring it back to the studio
and wring it out until it’s almost nothing.
I’m after a critical pointlessness, the odd way
through a composition without a center. To
understand how the quietest part of the
painting is as vital as the loudest, and the
small ways that they’re held together.
I think I keep going back to the outdoors
because it aligns with my feelings about
painting; wandering as an important gesture
and a complicated freedom, an attempt to find
meaning where there might be none.
In Virginia we did acid in the backyard of a
haunted house. I felt a very important sense of
all things just passing through.
Alan Prazniak
