Gregory Hergert Blue – Hi -Fructose Magazine
There are new mixed media sculptures in your blue acid width. It combines three -dimensional elements with two -dimensional aircraft that resemble presentations that are almost similar to the advertising panel at work in a new way. How do you approach such a thing?
One of the great things in making art is to discover something that apparently set out anywhere. In the past, it seems logical but at the present time it is the feast of diver and suddenly it is exciting. My studio is located across the street of creative carpentry and they have a box in which they put the woodwood for anyone who wants it and does not resist for me, and there was a group of things with strange goodness with multiple aspects, so I drew on it aware that the various topics can coexist according to any aspect and led to the addition of the beings, words and words mainly.
You are making art for a long time. Have you always carved as part of your operation?
Like most artists, we are forced to make things. When I was scouting scouts, we used to make Durama and swipped with frogs and turtles and it seems that it was true for me to sleep because I was imagining it and even this day, the sculpture affects me. I restrain myself and keep it an attachment to the paint that I spent for life in an attempt to get good, but the sculpture always whispears for me.
There are new mixed media sculptures in your blue acid width. It combines three -dimensional elements with two -dimensional aircraft that resemble presentations that are almost similar to the advertising panel at work in a new way. How do you approach such a thing?
One of the great things in making art is to discover something that apparently set out anywhere. In the past, it seems logical but at the present time it is the feast of diver and suddenly it is exciting. My studio is located across the street of creative carpentry and they have a box in which they put the woodwood for anyone who wants it and does not resist for me, and there was a group of things with strange goodness with multiple aspects, so I drew on it aware that the various topics can coexist according to any aspect and led to the addition of the beings, words and words mainly.
One of the great things in making art is to discover something that apparently set out anywhere.
You are making art for a long time. Have you always carved as part of your operation?
Like most artists, we are forced to make things. When I was scouting scouts, we used to make Durama and swipped with frogs and turtles and it seems that it was true for me to sleep because I was imagining it and even this day, the sculpture affects me. I restrain myself and keep it an attachment to the paint that I spent for life in an attempt to get good, but the sculpture always whispears for me.
Are these new sculptures to change or change the way you deal with your oil and acrylic paintings?
It is very easy to get a lust and repeat the things that work and discovered that shaking the process is necessary and in my condition over time in the width of my large blue acid, I decided to do some statues that my wife believed was the idea of a doubtful time management. However, when I am under pressure, I get more creativity and suddenly the ideas come in my dreams and wake up with something new and excitement generates energy, enthusiasm and paintings that improve.
While there are always a lot of realistic details in your work, the “artist’s hand” is clear in the official brush strokes. Because of this approach, many of your paintings have an unclear feeling or “in movement”, such as a freezing framework for …
I was never a fan of real realism because it excludes the scenes that need to get a room to explain it. Sometimes, some brick strokes can mean brick instead of presenting each of them, so the fog also helps to have a concept of resting place in a plate that the viewer can stop temporarily before resuming their journey via the painting anyway, think about the time when the films should be without our imagination.
