Art Lies, Volume 47, Summer 2005 Page: 35
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Upon returning from Japan, I no longer had a studio. The rent on my
space in Venice had gone from $230 per month to $1,200, and back then
that seemed like a lot. I moved up to my parent's farm in Moorpark, where
I bought an old travel trailer-a thirty-two-foot Spartan Mansion-and
set up camp on the rear of the farm. I didn't have a studio. I remembered
all the times I had suggested to students that they get rid of that six-
foot square and get a small canvas to work on with the same amount of
paint. No one ever took that advice, so I did.
I put a piece of plywood over a "living room" window in the trailer so
I had a wall to work on. I put plastic on the wall and floor and spanked
some canvas. I think of impasto (oil and wax) as the other side of my
flat work-as opposite as forms of painting can be, while still remaining
within the genre of monochrome abstraction. Wood panels prepared for
flat works, over which canvas had been stretched, gessoed and sanded,
now served to prohibit dents in the canvas resulting from heavy, impasto
brushstrokes-the same but the opposite.
Sabina Ott, a painter pal, told me that in teaching she cites me as an
example of a "good" modernist. I was never quite sure what she meant,
but the thought lingered and I am comfortable with it. It is not that
I am intellectually opposed to the tenets of postmodern thought. It's just
that I find my interest and practice outside the postmodernist's area of
ARTL!ES Summer 2005 35
Pia Fries, Palimpsest-GG, 2005
Oil and silkscreen on wood panel
49 x 67 inches
Courtesy Christopher Grimes Gallery, Santa Monica
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Bryant, John & Gupta, Anjali. Art Lies, Volume 47, Summer 2005, periodical, 2005; Houston, Texas. (texashistory.unt.edu/ark:/67531/metapth228012/m1/37/: accessed April 28, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; .