by Heather Fuller & Editor Kriss Perras
Using airbrush, auto paints, resin and wood, Casper Brindle creates infinite horizons in evocative suggestions of land and sea.
MAJ: What are the Finish Fetish and Light and Space art movements, and how are you connected to this group of West Coast artists?
CASPER: Finish Fetish and Light and Space are art movements that were born in Southern California in the 1960s, in direct response to the culture, environment and geography of the region. Artists of the time, James Turrell, Craig Kauffman, Robert Irwin, to name a few, began working with new materials - light, both natural and artificial, industrial plastics, glass - to engage the viewer’s perception and experience of the work in innovative ways. Growing up in West Los Angeles, and being immersed in the unique light of California definitely influenced my work in the way it influenced the artists working in the 60s and 70s, I imagine. There’s something about the light here that is like no place else. On a technical level, I use similar materials - resin, automotive paints - to capture the effects of light with pure color.
MAJ: Your paintings seem to be inspired by Rothko’s reductive color fields. How do you feel you’re contributing to or transcending this genre, and what makes your art uniquely a “Casper Brindle?”
CASPER: There are similarities to Rothko’s work, in that color is the primary imagery, and it’s used to elicit emotional responses from the viewer. There is a spiritual or mystical quality to my paintings that I think relates to what Rothko was doing. My work is specific to my own experiences though, and the way I organize the picture plane, as well as the materials I use, are a departure from Rothko and other color-field painters. I use high-end, shimmering automotive paints and acrylics applied in layers of fine airbrush sprays, that shift and transform, sometimes dramatically, as the viewer moves around them. I’ve spent most of my free time in the ocean, staring into infinite horizons and these experiences have affected my work profoundly. I’m endlessly fascinated by refraction, and the spectrum of colors created by the sun traversing the sky as light meets water.
MAJ: What are your influences and inspirations?
CASPER: I find inspiration and influence everywhere, consciously and sub-consciously, whether its music, art, architecture, science, literature and beyond. I believe inspiration and influence can come from anywhere.
MAJ: How did you get involved with working with Light and Space artist Eric Orr?
CASPER: I was actually introduced to him through my father who is an architect. We all had lunch at Hals, and he was looking for an assistant. I showed him my work and started working for him shortly after.
MAJ: You are currently exhibiting at William Turner Gallery. What can you tell us about this show?
CASPER: In addition to my color-shifting Strata paintings, this exhibition is debuting a new body of work that I’m really excited about. In early 2017, the gallery showed my Aura paintings for the first time, and the new paintings for this 2018 show have evolved from those. I wanted to bring color into these works. The Aura paintings were very reductive, monochrome, white pearl on panel, and explore what effects that would have on the viewer, see how color would transform the reading of the painting. They are done on linen, so even the way the paint interacts with the surface is different. At the center of each piece is an enigmatic, metallic bar from which the color radiates across the picture plane. Though the central forms are simple, they have an otherworldly quality. I’m careful to leave interpretation up to those who view the work, but to me, these pieces have a sort of secular sacredness, something that hopefully transports the viewer and helps them tap into another state of perception.
ON THE WEB:
William Turner Gallery: http://www.williamturnergallery.com/Exhibitions/exhibitions.htm