DAAG: INTERVIEWS: RAYMOND DIFLEY

Interviews

The Directories of American Art Galleries

An Interview with

Raymond Difley

by James Leonard-Amodeo

On your website you state that you've always considered yourself to be an "abstract expressionist". Can you clarify this for us?

I see myself as living my art, in a sense being one with it. Letting it direct and lead me so that I am reacting subconsciously at times throughout the process. I think Jackson Pollock worked in this way (much more intensely than myself) and he has been my mentor of sorts through my art career. I feel a connection to his art and him as an artist, that I can't quite explain. My mental approach to my work is much like his was, it's not his style of painting, but more his approach to his canvas and the way he sees his art. From the time I started to take art seriously in college to the time I moved to San Francisco in 1994, I knew that my inside I was an abstract expressionist artist. It all became clear when I started to read a biography on Pollock (To a Violent Grave) that showed how his approach, love and passion for his work was/is connected to me. from that moment I knew in my heart that, that is what I was (abstract expressionist painter). I still knew at that point in my painting career that I had much to learn and develop to have my art convey what was going on inside of me. It has been in the last year that I see this finally coming to life in my work!

Could you explain a little how you understand Pollock's approach to his canvas? What was this approach?

Pollock felt he was nature; he would let the canvas lead him, he would do the controlled accident with his drip painting, which in turn he said that there are no accidents. Who knows what the paint is going to do?

That's interesting. It sounds like Pollock was attributing intelligence to sometheing that didn't have any. I mean, how can something that has no intelligence lead someone with intelligence? I'm just trying to understand the concept here, Raymond.

I don't think understanding Pollock is something anyone has completely done. He came around at a time when America was looking for someone to lead them. The art world started to love his energy in his work, he was such an odd character, an anomaly of sorts. America was looking for someone to put them on the art map and Pollock became their person. Understanding him wasn't important, it was all about his art.

What about the way Pollock sees his art? How did he see it?

I think he lived and breathed his art; if he wasn't painting, he was always thinking about it. He was living, breathing his art. His mind was constantly moving with painting ideas.

I wonder if that was the healthiest thing to do. We know that Pollock was an alcoholic and eventually killed himself in a car accident while he was deeply inebriated. So, perhaps always living with your thoughts immersed within your art isn't the best think because it can cause internal, psychological problems. Wouldn't moderation have been a better path to follow? Do you feel an artist should develop this capacity to be moderate in his profession as an artist and in the fact that he has to exist as a human being, also?

Pollock was an intense person. Living the way he lived was the only way he knew. Unfortunately his intense drinking was his escape from himself. Moderation in anything is good, a balance is necessary so that you don't burn out. We all struggle to have balance, but the greats in our history made serious sacrifices to achieve what they did. Certain sacrifices or choices need to be made to accomplish what you want. You have to decide how deeply you want your dream and what sacrifices you'll make to accomplish it.

You say on your website that your early work was more representational. Do you mean "representational" of form?

Yes, I do. My earlier work was more impressionistic/expressionistic in nature; I did many paintings where the face was my subject to burnt down structures to flowers and still-lifeAll of these had distinct and recognizable forms that people could identify with.

I did an interview with Ivan Lloyd for the FIne Arts Magazine where he clarified for me certain things i had never before thought. For example, he says that "Impressionism" is not really a "style" per se, but a technique. Do you agree with this? What is "Impressionism," finally? Can you define it for us?

I think Impressionism is a style and a technique. When you think of impressionism you can point to the artists of that movement and know what type of painting you will see. The way I see Impressionism is painting your impression of what is seen and the artists of their time tended to paint visual appealing paintings (landscapes, street scenes, etc.)

Isn't "Expressionism" also just a technique rather than a "style"?

To me Expressionism is much more dark and creates more of a mood. You have the earlier work on Anselm Kiefer, a German Expressionist whose work is very dramatic in it's size and theme. He painted the architecture ruins from Germany, post world war II.

What specific direction do you want to take your art.

I myself continuing to develop my current style of work. I feel I have just started in this direction and I want to continue and explore it. I do want to work with more odd shaped canvases and work on diptych and triptych paintings. My work now involves seeing images around me, this can be a horizon in the distance, a structural design of a cityscape or a development in the sky above. I use these visual images as a starting point and inspiration for my paintings.I want to simplify or abstract the image more, break it down into to color and shape, adding texture and shape with the mulberry paper (Japanese rice paper) and cold wax medium. I apply my layers of paint with foam brushes leaving the painted surface smooth. To create my texture I use my pallete knife.

I understand that abstract painting could be represented on canvas in such a way as to evoke many layers of meaning in the viewer. Then there is that sort of abstract art which is purely decorative. Do you strive to communicate something deep through your abstracts or are you just thinking in terms of decorative art?

Yes, one of the goals is to strike a cord and have someone have a deep connection with my paintings. I strive to evoke a mood and emotion from my paintings. I want people to see the painting for themselves versus me telling them what they should see or what I was thinking about when I painted it. If my viewer is able to have a connection with a painting of mine, then I've done my job.

You've said that you "like to let the work lead me in the direction it wants to go." Isn't this like saying you have mastered your art and can therefore improvise spontaneously, somewhat like a well-rounded jazz musician who can take a song and spin spontaneous improvisations around it?

I wouldn't say I've "mastered" my art. I do get into a state of being where the painting takes control of the reins and I am painting spontaneously, it's like I have stepped out of myself and I'm watching as the painting is being created. These are the times when great things can happen. . I do try to let the artwork communicate to me and I try to see things develop, so that I can see a part of the painting that would be gone in the next second.

So, you don't pre-plan and prepare a subject. It's more of an inspirational process, then? Would you say that the quality of the final product depends, to large extent, on the artist's abilities and skills even though there is spotenaity involved?

I do, actually sketch and/or visualize a concept for a painting before I apply paint to the surface. Although there are times where an idea will spark from a current painting I'm doing and I want to take it a step further on a new one. I have learned even in times where inspiration or ideas for a painting aren't coming, it's still good to attack a canvas and see what starts to develop. this can lead me back to the drawingboard or often onto a strong painting. I think the execution and vision of what you want to achieve in a painting is important, but it's important to allow one self to a controlled accident per se, that takes the painting to a greater level of achievement.

I suppose spontaneous improvisation is a little easier when one deals with abstract forms. Do you think it would be as easy when painting figures, for example, or still lifes?

I think reacting to the paint, image and surface is extremely important. I believe you still need to paint figures or still lifes to be a good painter, but you might be more confined to the structure of your subject.

So, in abstract painting there is less structure and less reliance on the limitations imposed by the subject. What might some of these limitations be, for example?

Actually, I think in some ways there is more structure involved in abstract painting. There is a fine line in abstract painting. I think you need to know when a painting is done; it's too easy to over paint and miss that precise moment where the magic occurs. If you're not aware and conscious of this or looking for it, it may slip by. I think the limitations in abstract art, if there are any, lie within the artist. To have the painting be successful and get a positive response abstractly can be challenging and difficult. What will a person see if they can't relate it to a personal experience. This is where the challenge is, I believe, for an abstract painter. Will we get a reaction and will it be a strong and lasting one?

Tell us about the rice paper and wax you are currently incorporating into your work. Is there an artistic reason why you've chosen these specific elements?

I have chosen to use the mulberry paper and the wax to introduce other elements into my work. It enables me to apply different textures and depths in my paintings. With the rice paper I will often sand the surface once I have fixed it to the surface with acrylic medium and I look for sections of the rice paper that are off the surface a little. At this point I will rip the rice paper off in a section, which creates a controlled ripped/textured edge and a bit of a controlled accident to occur. The wax medium on the otherr hand is thick and has a matte finish. This gives the work a cloudy finish when applied over the oils and a thick, textured painted surface when mixed directly with the oil painting.

Why "mulberry" paper, specifically?

I find that the mulberry paper is a litlle more durable then other rice papers. It will hold up to multiple layers of oil paint and it is versatile enough to sand and rip. It also is great to use to create depth in my paintings.

Is it important for an abstract to have texture and depth or is this just another means contributing to an artist's more meaningful expression of whatever it is he is trying to convey through his art?

Personally I like to use texture to contribute to my visual effect, but I don't think it's necessary, I've just always enjoyed using texture in my painting. Depth on the other hand can help create multiple layers and dimensions in a painting.

How long have you been painting?

I have been creating art since I was a little kid, but I've been seriously devoting myself to painting for over ten years now.

Do you paint as a hobby or as a profession?

I paint when I'm not at work; around the other choices and commitments in my life. I am always trying to structure more time to paint. I don't like it when people refer to it as a "hobby". An artist is what I am and I want to make it a paying profession for myself.

What sort of "day-time" job do you have?

I teach art at an independent private school in San Mateo, CA to PK-5 grade students.

Oh! Then I'm sure this interview will be helpful for your students to understand more about where their teacher is coming from.

What would be great is for them to see this and maybe get inspired or want to become artists themselves.

How many hours per week do you paint?

I paint around 10 hours a week during the school year, although even when I'm not in the studio my mind is on my art about 95% of the time. During the summer I devote 6-8 hours a day in my studio.

Do you feel it is important to paint a lot or is just a few hours a week sufficient?

I think the more time you can devote to the studio the better, whether that's painting, prepping, thinking, promoting your work or finding venues to show your work. This day and age it's all important; it's very rare to be discovered. You have to get yourself discovered.

Do you feel you've achieved a "voice" with your art?

In the past couple of years my "voice" or "signature" has become more visible. I try to go and view art work at shows as much as I can; I want to see what's out there, but also know that my work stands out from other abstract artists. I want people to know my work when they see it, not from the card on the wall.

So, you're saying it's important to measure your own style with other's style so that you might make adjustments if you see that somebody else is doing the same thing you're doing?

It's important to know what your peers are creating, you don't want someone looking at your work and thinking it's someone else's or not unique in some way.

I note that you received your BA from the California State University in Hayward. Are you originally from California?

Yes, I was born in Los Angeles, California, grew up in rural Northern California, before I made my way to CSU Hayward.

Where in Northern California, precisely? And how long did you live there? What caused you to move?

I grew up in Nicasio (Rural Marin) from 2nd-6th grade and spent my high school years in San Anselmo.

Since May, 1994, you've done group exhibitions. Your last one was in March, 2003, at the 66 Balmy Gallery, California. Who were some of the other artists showing there?

The show at 66balmy was a two man show with Jonah Burlingame, a fellow abstract painter. We had a great turn out and great responses/reactions to our paintings.

Would you recommend artists do Group shows? What advantage for an artist doing a Group show?

Yes, I would definitely recommend doing group shows. It's what has helped me get into more shows. To be in a show with other artists that you respect can only help in bringing you recognition and might also lead to future connections and, hopefully, other art shows.

Have you also done Solo shows? When was your last show?

I had a solo show at CSU Hayward's University Union a few months after I graduated and sold my first piece. It definitely gave me a boost in confidence. Other than that i've done San Francisco Open Studios, where I showed out of my studio.

The Jewish Bulletin of Northern California published an article in September, 2001, entitled, "Artist in S.F. Open Studios Show probes Russian origins." How did you get involved in that show? What was it all about? How does "Russian" tie in with your art?

I have done San Francisco Open Studios going on six years now; they always try to reach out to the communities in the city to help artists gain exposure. When I was in college I used my art to help me connect with my Russian/Jewish heritage. I spent a bulk of my last year painting images that were rooted in Jewish history with a strong emphasis around the holocaust.

I'm wondering where the idea to become an artist came from. Was this peer influence? Was anyone in your family an artist?

The idea to become an artist is rooted in three main areas of my life. The first being my stepmom. She is an artist herself and used to teach art at the elementary level. She would always try new projects on us kids first. The second point where I crossed paths with becoming an artist was my senior year in high school. I had two incredible art teachers, especially Mr. Nagel, who got me excited about exploring my painting style and to let it loose. The third -- ultimately the most important -- came at the end of my college years at CSU Hayward on my way out to the real world. My painting professor, Grace Munakata said, "You have a connection to the paint and canvas. It's too bad you're graduating." It was at this point where I stepped back, re-thought my course of action, and stayed on two more semesters to pursue what has become my passion. In many ways my life started here.

What fascinates you about the arts?

I love seeing all the different types of art in the world. I love to see what others are creating. I love the art in everyday life, whether it's the curve of a street, the angle of a building, or colors in the sky. I am always inspired by the art of others, I love to see art and go jump right into the studio.

A tough question I like to ask artists is: Do you consider yourself a "Fine Artist"? If so, what does it mean to be a "Fine Artist"? What is your social duty, or is there any?

Yes, I do consider myself a Fine Artist. To be a Fine Artist means that you are creating your art, first and foremost, because it's your passion. You can't live without it. It's part of who you are. A Fine Artist, in my opinion, keeps his or her art pure. In other words, he/she doesn't change the work to get famous or become popular. Our duty as Fine Artists may be to keep creating and getting our work out into the world for people to see and enjoy. I'm not sure, though.

How old are you, Raymond?

I'm 32 years old.

Have you adopted any personal work habits related to your painting time?

When I enter the studio I turn on my music (often classical or jazz), put on my painting clothes and shut out the outside world.

Besides Jackson Pollock, who are some of your other favorite artists? Is there any specific reason why you like these?

I love the work of Wassily Kandinsky and Anselm Kiefer. I love these two in particular, amongst others I enjoy, because of the energy in their paintings. I can get lost in the movement and color in Kandinsky's work. I'm truly in awe of the dark, immense structural paintings of Kiefer and probably always will be.

You have been painting for 10 years, which means you've gained quite a bit of experience. Do you have any tips for art students or artists who are just emerging as you are?

The best advice I ever got was from my fellow art students and college art professors: "Whatever you do, keep painting." To this day, this is the best advice. If you keep at it, in time everything else will come.

Can you tell us a bit about your approach to colors?

In my current work I try to choose colors that will react with each other, but also off one another to help create my imagery.

Do you have a favorite palette?

I do love to work with alizarin crimson, a range of blues and more recently grey tones.

What are your favorite paint brands (Gamblin, etc.)?

I like to work with Holbein and Gamblin paints. I love their rich color and luminousity.

Should you paint artwork that fits into a gallery or find a gallery that fits your artwork?

I got stuck in the middle here awhile back. A gallery owner liked smooth and clean paintings without texture. I found myself creating more work without my texture, which wasn't natural. So, yes it's important to find a gallery that fits your artwork.

How should an artist go about finding a gallery to represent him? How did you find your first gallery?

You have to get out there and look at galleries in your city, talk to other artists, connect with your local arts organization and network like crazy. I found my first gallery through our local free paper, the San Francisco Bay Guardian.

Once a gallery accepts you and starts selling, do they expect you to paint in a similar style or...?

I think it's important to paint in the same style, but as the relationship grows and matures an artist's style will evolve and develop. Ultimately if the gallery likes you and your art, they will like your new work.

What are your plans for the near future?

The past twelve months I have been fortunate to gain some exposure; I want to continue the forward motion. For the near future I plan on painting, painting, and more painting. There are a some local galleries that I want to network with and hopefully start showing with them. I just bought "Art Marketing 101" to help me improve my marketing skills, I'm very excited to get started. Also I want to continue making that personal connection with the art community (artists, patrons, gallery owners). Giving someone that personal connection to the painting and the artist is so important in creating a place for yourself in the art world. Every year I try and find ways to gain more exposure and hopefully to sell more artwork; this year I am showing with seven other artists for San Francisco Open Studios. I am excited about showing such amazing artistsI see great things happening for all of us this year.

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Raymond Difley is represented by the following galleries:

66 Balmy Gallery

San Francisco, CA

www.66balmy.com

Pieces Gallery

Healdsburg, CA

www.pieces.net

Raymond Difley's website: www.difleyart.com

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