In between two major, challenging and demanding projects of making a new series of abstract paintings, I actually enjoy figurative painting and exploring a variety of themes, materials, techniques and approaches... Some paintings are commissioned, but many of them I paint just for the pure pleasure of painting.
I’m working on a variety of sizes of paintings. On the smaller canvases, the energy explodes slowly on the surface,..... I can control the pressure of the surface and the intensity of the melting paint.
The handwriting is fresh and strong.
The work on bigger canvases need endurance—I work on them for a longer period of time, constructing the painting in several layers, and deconstructing the surface into smaller shapes, so the painting can vibrate.
The freshness of handwriting becomes less important.
The physical character of the acrylic paint gives the opportunity and challenge to play with the drying time. Imprinting the process of change into the body of 34 paintings was a powerful experience.
....generously applying acrylic paint on the surface, from the movement of the first touch of wet paint on white canvas, the first move of the hand over the surface, through to the dance and vibration of color, layer over and over… the process of building a painting is strong and challenging. The images have become references to space, air, water, fire and earth.
Nada Sesar-Raffay, 2002 About “New Work” (December 3-31, 2002, Edward Day Gallery, Toronto)