I work with paint, color, and form; elements from the history of painting often referring to color or manner of paint application from diverse areas on the art-historical timeline. While I highly value the history of painting I do not feel beholden to it.
My current exploration is in the presence and power of gesture made to exist forever in the present. What I want to happen is for the space between the painting and the viewer to become activated, encouraging the viewer to form a relationship and interact with the work.
Beyond an observational viewing experience, I am encouraging engagement and participation with the painting.
By eschewing the ground (canvas or panel) altogether, the painting directly addresses the viewer and relates more dynamically to the space around it.
These massive brushstrokes offer a potent exchange inviting the viewer closer, even inside the work. The intimacy is instantaneous and intensely visceral.
Donald Martiny studied at the School of the Visual Arts, The Art Students League in New York, New York University and the Pennsylvania Academy of the Fine Arts. His work has been exhibited throughout the United States and internationally at museums and institutions: North Carolina Museum of Art, Raleigh, NC; College of Fine Arts and Design, University of Sharja, UAE; Falmouth Art Museum, Cornwall, UK; Alden B. Dow Museum, Midland, MI; GreenHill Center for the Arts, Greensboro, NC; East Wing Biennial, The Courtauld Institute of Art, London, UK; Contemporary Art Museum Raleigh, Raleigh, NC; Cameron Art Museum, Wilmington, NC; Fort Wayne Museum of Art, Fort Wayne, IN; University of North Carolina, Chapel Hill, NC; International Biennial of Non-Objective Art, Pont de Claix, France. In 2015 Martiny received a commission from the Durst Organization to create two monumental paintings that are permanently installed in the lobby of One World Trade Center in New York City. That same year he also received the Sam & Adele Golden Foundation for the Arts Residency Grant.