For me, the whole idea of the radically new is tied to a close reconsideration of older sources. I like to give myself over to those sources, as points of origin, in order to bring things forward. My approach requires me to internalize my sources as much as possible in the hope that new themes might emerge. The material has to be internalized in order for it to live again. Ultimately, paintings reveal themselves on the basis of what they are. They are inseparable from the physical process that goes into their making.
Philip TaaffeThere is a tendency in my work toward minimalism, in terms of stripping away the unnecessary. I am seeking a tightly ordered gestalt, usually. I've always felt a strong affinity towards Mondrian's work. I understand the importance of those subtle planar and linear modulations he made in the course of building up the incredible visual tension in his work.
Philip TaaffeAn artist makes something to be physically experienced by another person. It's a raw, freely chosen, interpersonal relationship between the maker and the viewer, so it's close to what a musical composer does, or a poet or a dancer. It is coming out of one's inner being.
Philip TaaffeI think that is the role of the artist in society - the cultural role of the artist is to perform a healing function.
Philip TaaffeI will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
Philip TaaffeWhat excites me and what I find most compelling is clearly not what excites other artists. It comes from my own idiosyncratic background and what I'm drawn to. Maybe this is a result of having lived in Naples during a formative period of time. I'm interested in telling a unique story in a very intense way.
Philip Taaffe