the phenomena of luminosity and its relationship to space
Charles’ demeanor strikes as that of someone prone to introspection. One wonders if his work isn’t as much about inner space as it is about the physical phenomenon of light. He is a longtime Ridgefield resident with a rich family history in the arts. His Grandfather painted the celebrated ceiling of Grand Central Terminal and the names of his twin uncles still lie inscribed by the Gemini constellation. Years later Charles would take his turn in his family’s legacy by participating in the 1996 restoration of the terminal ceiling.
Charles attended one of the best art schools in the nation, The Cooper Union in New York City. Even as his skill as a painter allowed him to do pretty much anything and his artistic career spanned many ambitious projects, he took time to mature his own vision and germinate the seeds of his personal abstract style. His paintings incorporate the fruits of past labors; his unparalleled knowledge of his craft shines through the diaphanous glazes of different colors that enrich every surface, giving the paintings a depth and luminosity akin to stained glass.
Charles Gulbrandsen’s solo show Emergence is now on view at the Ridgefield Library Ends June 26. He gives us more details abou himself and his work in a brief interview:
Q: Where did you grow up and what sparked your interest in art?
I was born in NYC and raised on Long Island and Westchester. As many of you already know, my Grandfather was an artist who is best known for painting the ceiling of Grand Central Terminal. Although I’ve had many great teachers over the years, sitting on my fathers shoulders while walking through the terminal.and hearing the story of the stars was the beginning of my artistic career. The message: dream big.
I began drawing and painting on and with everything I could get my hands on. Walls and furniture were not safe from my busy hands. So, my parents finally pushed all my bedroom furniture to the center of the room and they covered the walls with large rolls of paper. My years of painting murals started early. Pencil and watercolors to start. Oils at about ten.
Q: How would you describe your style in a few words?
Describing my style is difficult for me as I think it is for most abstract artists. I have heard my work described as, ” magic realism with a surreal edge.” I’m not sure if this is true, but I love the way it sounds. In this new series of paintings, in order to express the tension between the natural and perceived world, I have begun to explore the phenomena of luminosity and its relationship to space. By removing the distinction between shadow and light, between states of matter, is to inhabit a space in which one is never quite certain of its scale. As paintings they function more like questions than statements. What place is this? Where are we now? Images of radiant uncertainty.
Q: How has your style changed/ evolved since you first started?
My style, my abstract self, has spent a long time waiting in the wings while my representational self paid the bills. The fact is I’m a better painter now than I was as a young man. I needed this time to grow and learn. Though I’ve painted my whole life, I feel like I’m just getting started.
Q: What do you hope to accomplish as an artist in the next 5 years?
I would hope that in the next five years my work will continue to find a wider audience and that, as an artist, I will learn to trust the sound of my own voice.
Q: Where did you first exhibit? Was it rewarding?
Upon graduating from Cooper Union, I had a show on the lower east side. One of my teachers was showing next door. As I walked through his show it occurred to me just how rewarding a life spent in the process of becoming can be if we have the patience to allow ourselves to grow. A marathon, not a sprint.
Q: What is your creative routine? How do you balance work/ art/ life? Do you favor a particular space, mood, time of day to get started? Do you like silence or music, darkness or light?
My creative routine begins with coffee and music in the morning. I have my studio in our basement, and when I’m working I prefer to have all other lights in the room off or low, so that I can focus exclusively on the work. Each piece begins as a series of arcing gestures from which an accident will present itself, a drip or a splash, and from that point on, each passage provokes another until an image emerges that is whole. Sometimes this happens quickly, other times not. Born of chance, but finished, luminous and clean they emerge without apology.
Q: What artist(s) past or present do you most admire? Why?
There are so many artists whose work I am inspired by, but I would have to say the breadth of Gehard Richter’s career is most impressive.
Q: What are you favorite go-to museums, galleries locally or in the Tri state area? What’s your fave hands-down place to go for the WOW factor?
My first museum experience was the Met . I must have been about seven years old. Never forget it. These days, The New Britain Museum here in CT is often a pleasant surprise. When I’m looking for WoW factor I often find myself at home, putting on some coffee, starting something new.
Q: Where do you shop for good sensibly priced art supplies? Do you do your own framing ( if you do)?
I still mourn the death of New York Central Art Supply. As for reasonably priced art supplies, by all means, let me know when you find them.
Q: What’s the best piece of advice you ever got as an artist? What’s the best advice you’ve given a fellow artist?
The best piece of advice I ever gave to an artist was, “Stop” The best piece of artistic advice I ever received as an artist was, “Stop.”
Q: What is your vision for the Ridgefield Art on Main community? What do you see as the next steps?
I think the Art on Main community is a vibrant group of artists whose collective talents have yet to be tapped. It was so great to see everyone at the opening. I’m excited by the possibilities of what our collaboration could bring. What’s next?
— interview by Frances Goulart with an introduction by Luiza Budea
