Late Summer LightGermantown, 2016, oil pastel on Arches paper

It’s been one year this August since I bought a fixer upper farmhouse with view in Germantown. It may take the rest of my life to come to terms with what folks here call the “view shed” but these recent works on paper are a beginning.

Moving studios after forty years in Soho was one of the hardest things I’ve ever done. It was also a great opportunity to reassess my paintings over time. Much of my older work is out in the world, and I hadn’t seen the backs of my storage units in years. Some of the early work looked pretty good, but some didn’t. I had the heady experience of ripping up about a third of my old paintings and keeping small fragments of areas that interested me. Since then I’ve been remounting these fragments, which become abstractions when seen in detail and out of context. It feels as if I’ve gone back in time and get to choose the road not taken.

The little diptych Convergence, is what remains of a large scale, rather forbidding neo expressionist landscape that was painted in 1987. I like the simplicity of form and gesture in the fragments, a suggestion of mountains and sky. It’s been emptied out of angst. That’s an approach I’d like to bring to my new view. With Hudson Afternoon, I’ve ripped up and reconfigured a more recent work from 2013. John (Davis) doesn’t really approve of ripping up old paintings, so I’m grateful for the chance to show a few of the fragments. Assuming all goes well, there will also be a painting of my new view.

Daisy Craddock June, 2017