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Biography

Paul Genader, Painter. Based in the New York metropolitan area.


1962: Born in Paterson, NJ

1983: Graduated with degree in Fine Arts, The Ridgewood School of Art & Design, Ridgewood, N.J. Studied there under New York painters Sherron L. Francis, James R. Anderson, Larry Camp, and Joanne Landis.

1980 - Present: Painting continuously. Nothing else matters.

Artist’s Statement

    A visitor once asked what the painting in my office was supposed to be. I said it was just a painting and waited for a response. She stared in silence for a moment, then said it looked like a section of wall. I couldn’t have been more pleased.

   

    Crumbling old walls and weather-stained concrete fascinated me long before I had an interest in art. Even before I could read I sat with books, mesmerized by pictures of ancient ruins covered by jungles or desert sands. Out of a pile of rubble protruded the shattered granite torso of an Egyptian god or a fluted marble fragment of a Greek column. Deep in the earth, under millennia of deposits was evidence civilization once flourished.

 

     I came to art believing painting was simply adding color to drawing, and that photographic realism was the measure by which art was judged. Shortly thereafter I became fascinated by the brush stroke in its own right. My work became looser. Then I noticed the weave of the canvas with its highs and lows, and how thin layers of oil paint highlighted the texture. My vigorous brushwork led to a heavier application of paint. The desire for texture variations called for additives like sand to the paint, and canvas was exchanged for burlap. Then it occurred to me that my artistic discovery of textures and layers was simply an extension of something I’d always admired. From then on I made art while thinking of the dynamic interaction between man and nature: man takes his building materials from nature and nature, in turn, reclaims them.

  

     These painting are an illustrated history. Their alternating layers of construction and destruction have the essence of archaeological strata. A form is crafted before being clothed in paint. Each layer has its life, only to be covered by new layers, solid layers, translucent layers, washes, stains, and splatters. Every application marks the passage of time and the forces of creation. New work is laid down upon old. The past either protrudes through the surface, or is revealed through gouges and excavation troughs. The layers reflect the struggle of life and its cycle with death and regeneration. This pattern of rising and reduction has a poetic meter and rhythm which is visual. Its story is an ancient one:


Thou [shalt] return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return.” Genesis 3:19