Artist Q&A with Geoffrey Dorfman
In a time when the centrality of painting has been questioned and abstraction appears to have exhausted its possibilities, Dorfman maintains his commitment to oil and brush on canvas. For him, the Abstract Expressionists were a starting point, not an ending point.
Dorfman’s approach is not goal-oriented movement toward some idea or vision. Rather, it is an identification with with the properties of paint, understanding what it can do, and from there to the painting. For Dorfman, the edges of the painting are very important, and his works tend to move out beyond the canvas. At the same time, he puts small “stop signs” in his works, so as the eye pauses and contemplates before it continues on and outward. His strokes tend to “flutter,” in a way similar to the Impressionists, further generating movement and at the same time, anchoring the eye in the moment.
How did you become a professional artist?
Most artists are ex-art students or teachers. They’re still practicing the lessons they learned or else they get diverted into something peripheral, but call it art anyway. I myself didn’t know any different. I had been working summers in the movies as an electrician. I had an ‘in’ through my mother’s brother. In the late 1960’s I worked on several commercials and a few features, including Midnight Cowboy. (I and one other guy lit the set for Sylvia Miles’ bedroom.) Anyway, in 1971 there were openings in the scenic design union. You had to take a test and there was a $2,000 entrance fee. My uncle, who always drove a new Cadillac El Dorado, told my parents he’d front the money and … Click here to read more