Working in watercolor, acrylic, ink and stain on canvas and board, the genius of artist David Weindorf employs a range of textures and tones in his images. Bold strokes of paint are placed over contrasting backgrounds with colors that range from delicate pastels to intense blues, reds and yellows. Weindorf says he likes to use vintage paints when possible, feeling that the vividness of those paints gives sharper definition to his images — heightening their three-dimensional sense of space. The resulting works combine a strong physical presence with a lightness and freedom that draw-in the viewer. It Was Art Production New York's honor to interview both a brilliant mind and, a brilliant man.
The core and fundamental themes in my artwork is symbolism and history. It stems from a lifelong interest in Egyptian hieroglyphics and cave art. Also, being adopted I’ve always wanted to know who I am and who I come from, so there’s a strong interest in knowing my ancestors too. History has been a passion of mine since childhood and I read all kinds of stuff including about art, guitars, civilizations, wars—you name it. I might have become a history teacher if I hadn’t had ADD!
I start by studying a historical symbol, or pondering an idea, letting it formulate in my mind for a bit, and then I’ll start to work on one or more paintings laying down backgrounds. The idea or symbol, or historical subject matter I’ve been studying, then sort of come out of me as I’m working, formulating my composition on the canvas. My concepts have ranged from Egyptian collar symbols, Viking runes, sound waves, historical figures and cultures, like a Mongolian warlord, ancient environments like the sea and constellations. I’ve also created from an idea, like questioning when will wealth come to me, where I looked up Viking symbols to find the one that meant “timeline to wealth” and created a painting based on that.
I’ve been influenced by lots of artists. I would say Picasso, Dali, Miro, Kandinsky, Klee and Chagall are strong contenders! I love the movement and vibrancy in their works. I strive to do the same, but with an emphasis on lines and symbols on top of layered backgrounds. I like how Miro takes shapes and backgrounds and gives it a playful look. He’s serious about his art, but it can be playful at times, which makes the painting more exciting to me. With Dali, I love the surrealism. You can see through the work, you can see the object through the invisible layer and with the backgrounds whether it’s people or landscapes it looks very out of this world. What I love about Picasso is the constant evolution in his paintings, collages and sculptures! He was always striving to come up with something new and exciting. My desire to achieve a style that nobody’s done before was inspired by Picasso’s search for the same. What I like about Klee’s work is his use of line work, architecture, and complex backgrounds and how his art comes into one energy and force.
Robert de Sable the 4th, 11th Grand Master of the Knights Templar – I chose him because he’s a long-distance relative of mine and I did research and found he had lived a very interesting life, like attaining the political ladder in the Knights Templar. And all the battles he had to fight. After I found out I was related to him through French royalty, I decided to paint him as a Knight from my visual imagination of what he might have looked like. There are no pictures to depict him so I chose to paint his face as a mosaic of my primitive line work. This was an important time for me because I was discovering my family DNA and ancestry and it was quite a shock to find that he was a relative of mine.
I like to communicate history visually, through my artwork. To unlock the mysteries of the past and make them relevant to today. I don’t know any other way to say it—history has always been an obsession.
Like Picasso I have a burning desire to evolve my work—in my case to do art that makes people see history in a new and interesting way. Taking a historical subject from the past and making it more relevant to today, the 21st century, by interpreting it using my techniques of primitive line work and symbols with modern materials.