Fine Art  |  AD Tinkham & Mariette Roodenburg

AD Tinkham & Mariette Roodenburg

If you think making a painting is difficult, try making one with a photographer who has a very strong idea of what she likes and is not shy about sharing her vision. The very notion of making a painting with another artist, while sounding like an intriguing idea, is full of traps and land mines guaranteed to damage one's self esteem as well as melting the ego till it runs through the cracks of the studio floor. That being said, the experience can lead to an understanding of how another artist's mind functions and to see one's own process in a different light.

Before we had any notion of collaborating, we had spent many hours talking about our work and the processes by which we make art. Through this extended conversation we realized, that though there were certain cultural differences at work, we share a view of the world that was coincidental and elemental. Because of our backgrounds, mine American and hers Dutch, we had to make sure that we understood each other verbally and that practice allowed us to connect and eventually to attempt a piece of art together. We intended to make a painting but it soon became apparent that it would not be enough. It became a triptych in order to allow differences to surface and to make room for independent ideas.

There is no surprise that we called it The Furies.

If you think making a painting with an experienced and successful painter is easy, try making one with a painter who has painted, taught painting, studied painting, thought about painting, dreamed of painting and talked about painting pretty much his whole life.
Unburdened by knowledge or experience, one runs up against strong convictions, best practices and a whole lot of how-to-do's and not-to-do's, or else...that greatly challenged both the photographer and the painter at times, and in turn brought new understanding and ideas.

For a photographer, who is used to meticulously working her prints until they reach their full potential before finally printing the image, the immediacy of expressing ideas and feelings on to an, at first, virgin canvas and the physicality of the process, is an extraordinary experience. There is no holding back, no way to return to the beginning. With painting one can only move forward. And so we did, with leaps and bounds, and a single painting morphing into a triptych by necessity.

As was to be expected, The Furies were merciless