'Watercolor sits on the edge of control and abandon.' How artist Richard Dupont rediscovered drawing with his 'Islands' series:
is very distinct from your previous works. How does the sporadic nature of watercolor differ from your more calculated and technical sculptural works?
In the summer of 2020, when we were quarantining in Maine, I had hardly any supplies with me. But I brought some paper and some ink, and I just started working. And I kept going. I thought, “This is sort of satisfying.” Initially, it was a very basic motif of the landscape and the horizon, but the more I did it, the more it was opening up, and I started working on different kinds of paper and getting effects that I liked.
I didn’t really think about it until later when somebody said, you’re obviously titling these “Islands” because we’re all islands now. We’re all isolated, you know? And I never thought of it, before, but I do feel as though that’s relevant.Color is so powerful emotionally. It’s a pipeline into people’s emotions, and perhaps the most direct one in art. It can sort of short circuit the more cerebral response, which is interesting.
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