Sometimes you look at a painting to appreciate a scene that someone has brought to life. And sometimes you look at a painting and you’re filled with a visceral, intense energy. Such is the work of talented abstract painter Trudy Benson. While still a relatively young artist, Trudy has already begun to stake her claim in the abstract art scene, and it’s easy to see why. Her work has – both physically and intellectually – several layers to it, mesmerizing the viewer.
We were lucky enough to get a tour of Trudy’s studio with our friend Maria Brito and to talk to her about her work, what it’s like to be written about in the New York Times, and how much paint she actually uses…
On her painting style:
I’m thinking about different iterations of things – to me, a red stroke there could be almost a 3D painting of [Roy Lichtenstein's] brushstroke lithograph, which was a lithograph of a painting. So there’s different layers here. But as far as the process goes, I usually start off really simply…here, I started off with this really simple composition of the different windows…but from there, the rest of the painting is totally intuitive. It’s a slow process, so I’m not working like Jackson Pollock or anything.
I work on a lot [of pieces] at once, because I have to. There’s a lot of taping off over the oil paint. I use a hair pick, a plastic hair-pick, and once I’ve taped off a circle and filled it in with really thick oil paint, then I dragged the comb through it. And then these are squeezed out of the tube, and then I scraped them down with a squeegee.