It lends itself too easily to metaphor and connotation and evokes dynamic spatial relationships too readily – hence the artist’s career-long love of grays. The yellows are coming, the blues are going and the reds are ready.” Color is also too energetic. Besides it was so indiscriminately joyful. In a different interview, she raises the issue of energy again in slightly different terms: “I came to the conclusion that color was really gross, it was too spatial, too violent, too expressive of itself. Even when depicting inert objects like a fan or a lamp, she feels that there was too much energy to her paintings. ![]() Painting is low energy it is essentially still. Ĭelmins defines painting in terms of energy, or more specifically, the lack thereof. But the object paintings came out sort of twisted, with more energy in them than was needed. So then I went back to some basic thing, like looking at simple objects and painting them straight, trying to rediscover if there was anything there that might be more authentic. I couldn’t resolve my stroke making with the essential stillness of the painting. A couple of years later I began to feel that there was no meaning in it for me. ![]() I had tried to do passionate kinds of things because I was full of energy, like I think you were, like we were when we were twenty years old. I think that it came about because I had been painting in an abstract expressionist manner and I had been trying to make my strokes – – the painting space – meaningful. ![]() In an interview with Chuck Close, Vija Celmins describes the inspiration for her early still-life paintings of household appliances:
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