In many ways my work is the opposite of Turner. I see his work as impressionistic, full of gesture and color, open in feeling and luminous with light and activity - storms, and wind, sunsets and sunrises. My work is stilled and my gestures are subdued and hidden. A stroke too active feels wrong to me. The work has no light but the white of the paper and every stroke describes the flat surface and the image together making one solid object.
We do share, I think, a love for the material we use. Turner leaves the mercurial attributes of watercolor as evidence, and I push the natural density of charcoal, graphite, and mezzotint, so both of us acknowledge the physicality of the material as part of our work. I think we also both like wildness – the wilderness, the impossible image to capture and wrestle onto that small piece of paper. We are also not confessional artists looking to express ourselves but are more observers and describers of the world outside.
Celmins selects Turner
Tate Britain: Display
14 May 2012 – 25 March 2013