Andrew Smaldone, Stage, 2012

Can you tell me a little about about your show “New Work”? What is the guiding thread?

The show is composed of paintings that confront the rendering of architectural space through paint.  I’ve divided the show into three sections based on three different types of paintings, which include: paintings from three-dimensional architectural models, paintings from architectural renderings done on a computer, and paintings based off of drawings of stairs.  The thing that links all the different types of paintings is my interest in space.

It appears as though you address architecture as a game of interlocking between the “inside” and “outside”.  Does one dimension dominate the other?

No, neither dimension dominates the other.  In painting architectural space, I try to get into the interstices of space in an attempt to marry inside with outside.

With what kind of feeling do you paint your paintings?

The feeling that is most important to me is the thought of suggesting an idea through paint.  In this way, a given project keeps me curious as I can keep discovering new ideas about the visual language of art.

What architectural style appeals to you most?

I’m very interested in two contemporary architects named Martin Siegrist and Thomas Wirsing who are based in Switzerland.  We collaborate together and many of my paintings are based on their work.  I’m also a fan of the great Albert Frey and his “Desert Modernism”.

How important is the viewer in relation to your work?

The spectator’s gaze is very important because it is the viewer who interprets and completes the work.  I also aim to provide room for participation from the viewer when it comes to narrative or meaning.

In your opinion is there a kind of soul in contemporary art today?

I don’t know if there is any soul in contemporary art, but if I were to choose any time to be an artist it would be now.