Paintings

All of these paintings are recent. All of them were done in 2001.

The windows are not just windows. I see them as being the blend between us, as people, and our environment. They are us, and what we think about. What a particular image made me think about is suggested by the title.

I started cropping figures with the New Yorker in Japan series. At that time, if you read the text (see link), I thought it meant that so many of us can't talk to so many others, because we lack common base. We are all so different.

One big reason that I continue cropping figures is because it feels right. There is definitely something there, and it is trying to tell me something. It's like bells and whistles go off when I see figures this way. I'm sure it is correct, for whatever reason.

One guy recently told me that he thought it meant that no one talks to me. No one will confront me.

This is true. I tend to want to go much deeper with people than they are willing to go. I find that I take people much more seriously than they take themselves; and so, even when the relationship is only about them, it only goes just so deep, which is usually not very deep at all.

The majority of people I have met in life are only focused on their own world.

I see them, and their worlds, as parts of the whole. I understand their part, their love of it, and why they hang onto it do dearly. It's what they got, what they know and who they are. To them, it's everything.

But me, I feel everything. I walk through life with all my windows and doors wide open, and simply breath it all in, trying to appreciate it for what it is. I find it all to be good, understandable, even right and correct -- within the context of their worlds.

But still, to me, those mini-worlds are experienced as parts of the whole -- which is why, I think, I portray them only partially, usually projected onto the screen of others.

Tim Folzenlogen
October 20, 2001