In his earlier years, Robert Osborne ran a successful art gallery on Madison Avenue in New York City and was then a private art dealer in the city before he turned his efforts to creating his own art.
Years ago, as a young art dealer in Manhattan, I saw two art exhibitions: Robert Ryman’s first showing of his almost all-white painting and Eve Hesse’s “hang-ups” (curtains). Twice I was a witness to art historical events and, at the time, I didn’t know it.
Now, as a working artist myself, with different knowledge, I find these artists and others of the ‘Dia generation’ (Michael Kimmelman’s label for minimalist and conceptualists) most relevant for today. Their work is about optics, light, architecture, and a unique philosophical approach to seeing (thinking). I am also investigating the string constructions of Fred Sandback (1943-2003), another artist of that era, appreciating his exploration of volume and space. These artists and their peers have informed my own approach to sculpture.
What I hope to offer is work that is a little more on the questioning side—to make viewers really look closely and think about the images and their interactions.