“I want to paint to rep­re­sent some im­age, but I also want the paint to stay paint. I like the joy of the ma­te­rial.”

Pasatiempo - - RANDOM ACTS - Although Not Loud,

In three peo­ple are gath­ered around a ta­ble laden with wine bot­tles and plates of food. Most of the back­ground im­agery is nonex­is­tent, and the fig­ures are sur­rounded by white. De­tails, like the food on the plates, the wine la­bels, and other ob­jects on the ta­ble, are ab­stracted and ren­dered with quick and loose brush strokes. The im­age ap­pears like a mem­ory only half-re­mem­bered. The ti­tle — like all of Weiss’ ti­tles — is non­sen­si­cal in that it wasn’t cho­sen to match what’s hap­pen­ing in the scene, but it isn’t ran­dom, ei­ther. Each ti­tle in the ex­hi­bi­tion is de­rived from a line by one of the psy­cho­an­a­lysts and philoso­phers who have in­flu­ence the di­rec­tion of his work.

There is also a co­a­lesc­ing of form and shape in the paint­ings where as­pects jump out with a dream­like sense of re­al­ism. His paint­ings ap­pear to be ren­dered wet-on-wet and re­call works by early 20th-cen­tury fig­ure painters like Robert Henri, but Weiss tends to bal­ance re­al­ism with abstraction, us­ing abstraction to re­in­force the con­cep­tual as­pects of the com­po­si­tions. “I want to paint to rep­re­sent some im­age, but I also want the paint to stay paint,” he said. “I like the joy of the ma­te­rial.”

Weiss treats the sur­face of the paint­ing as a stage where small dra­mas from the psy­che play out, and he takes sem­blances of places he’s lived and com­bines them with el­e­ments from other places, or fills the scene with peo­ple who were never there. Part of the work is per­sonal, meant to trig­ger recog­ni­tion of his own re­pressed mem­o­ries. “I, for some rea­son, feel an in­cli­na­tion that I very much want to see those things,” he said. “I’m fas­ci­nated by how re­pres­sion func­tions and why it func­tions. That’s re­ally the project. I want to find out what I’ve hid­den from my­self.”

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