Untitled Landscape, Woodstock (No.42) 1970

Arthur Pinajian made this painting, Untitled Landscape, Woodstock, with oil, and a brush, maybe a palette knife too. I love the way the painting is built up with loose, gestural marks and how the colours – yellows, greens, blues, reds – jostle against each other on the canvas. You can almost see the painting coming into being, shifting and emerging through trial, error, and intuition. I imagine Pinajian must have really worked that surface, pushing the paint around, wiping it away, adding more layers, and letting the colours mix and mingle in unexpected ways. It's like he's in a conversation with the painting, trying to figure something out, not just what a landscape looks like, but what it feels like. I’m reminded that all artists are in an ongoing conversation, inspiring one another’s creativity across time. Painting is an embodied expression, and in its ambiguity there is space for multiple interpretations, beyond any single definitive reading.