Studio View with DannyO

Danny O Studio View Interview: www.dannyostudio.com

FPAC: Tell us a bit about your

process for working and how your space where you work helps this process...

Danny O: My working methods have changed over the years, a long time ago I loved a studio that was cluttered and a floor covered in layers of torn paper. Now I prefer a

clean and organized space. Especially after I have finished a project. Then I like to do a full clean and organize so I can focus on the next project. This doesn't always happen, but my head is clearer when I do. The biggest influence is the area where I live with my family. We moved to the shores of NH and we are constanly surrounded by beautiful landscape, both rural and close to the ocean, so the light is always dramatic and wonderful. But the space itself is really nothing more than an empty living room with great north light. When I have larger work to do, I borrow Eric Legacy's studio barn. Otherwise I work small and use the outdoors as much as possible as my drawing studio during the day and paint from the sketches at night.

FPAC: What is the concept behind your work and how are the works created?

Danny O: This is constantly changing. I don't think about concept too much. At the core I am a

resourceful creator. Using paper instead of paint, came from being too poor to buy any paint. Once after spending $30 on a tube of red paint I spotted a stack of brightly colored magazines waiting for the garbage pick up. The colors were so vivid (and free) that I took them home and went to work. That led to a decade of pursuing collage. In recent years I began to collect half finished thrift store paintings and paint over them. After doing collage and cutting for so many years I have a strong desire to use my hand again, this time returning to drawing and painting in a chunky collage, carefree manner. So I guess the answer is that I follow my heart rather than my head and the compass is pointing toward loose, free intimate drawings and paintings rahter than well defined collages.

FPAC: Your work has a hometown, nostalgic feeling. Can you talk more about this? It reminds me of watching America Pickers! (have you seen the show?)

Danny O: My work does have a folk art fe

el, this may come from my early years as a cartoonist and later as an illustrator. Trying to walk that line between fine and folk art gives my work a feeling that it is more naive perhaps than it actually is. I am thrift store junkie and I think that has worn off on the work. When I was young I did a lot of cartoons for my dad, and later the US Navy. I think it became ingrained in me to make approachable work. This was later cemented when I read a quote by Matisse that talked about making work that was for the eyes not the mind. I feel a natural kinship to that quest.

FPAC: What is the most unique part of the space you work in?

Danny O: Proabably that my nine month old daughter has a play pen in there and often keeps me company.....this is special.

FPAC: Adorable!

FPAC: Neat or Messy artist?

Danny O: MESSY to the core, but no

w that I am married, I have learned that organization creates balance and speeds the whole process of creation. Thank you Jen!

FPAC: Most inspirational artist that you are inspired by and why?

Danny O: Milton Avery, Sally Micheal and March Avery. For over twenty years I have been studying the whole family. The approach to art makes sence to me in a way that I am still in awe and discover deeper levels all the time. The color, design, improvisation and humor are the best in American Painting. I think Milton is an underated American, even though he is thought of as an American master and given praise for influencing so many of his generation and being the catulus for the great works of Rothko and Gotliebb. I think their life is worthy of a stunning movie that would unravel one of the most important creative collaborations of this past century. He and his wife lived together for over thirty years making paintings everyday in their living room. Sally's speed as an illustrator and her ability to capture the essence of a scene was on par with Milton's, and a quick study reveals how much her work had on his. So in the end it is Sally Micheal who I think is the greatest art figure of the past, for without her Milton would have been too stoic and formal. Her influence on him, and her supporting him allowed the work to flow from him freely. If you folow the family you can see that it was Sally who influenced Milton and Milton who influenced Rothko. Sally Micheal has a show up at the Childs Gallery now that illustrates this poit well.

FPAC: Your work embodies a lot of different materials, would you say your space for creating work can get a little overwhelming at time?

Danny O: YES! Sometimes there are too many images triing to get in, too many options with so much material. This has been the source of mental clutter and chatter, niether of which helps the process. Seeing this and feeling the work can sometimes feel over worked is why in recent years I have longed paint again and par down the available choices. Paint still can cost $30 bucks a tube, so I can still get very excited and inspired when I see a chunk of red paper on the cover of a magazine in a waiting room....quietly I tear it out and sneak it into my jacket for later.

FPAC: thanks! Your site looks great! www.dannyostudio.com

all pictures courtesy of DannyO