This is because over the years I have gone to you and your father (before you) and asked, ‘What new have you got for me?’ Both with new mediums and colors, I have been excited to make paintings. Paint for me is not just a means to an end. It’s different – I decided to just go for it. My first reaction was trying to compare it to the other paint and I think that might have even been a mistake. Can you give a sense of your first reaction?
Sending you the OPEN product was exciting for me just to see your general take on the material. You’ve been working with the acrylic medium from its onset but some might be surprised to learn that you’ve worked with traditional oil paints as well. Mark Golden: John, this is a unique opportunity for me to interview you, thank you. I thank these four artists for sharing their insights and hope they provide a useful introduction into this very special product line.
But what we’ve also learned in the process is that for those adventurous artists, willing to give up some old ways and learn some new ones, the GOLDEN OPEN Acrylics will provide an incredibly new and exciting opportunity. Most acrylic painters have created entire methods of working that depend on the ability of the paint to dry quickly and to be able to build up incredibly thick, flexible passages of paint. Many traditional oil painters clearly preferred the density of pigment from their oils as well as the extremely long open times offered by traditional oils. The artists interviewed included John Griefen, an artist and collaborator with Sam and Leonard at Bocour and one of our first customers Patrick Fiore, an accomplished artist and a studio arts professor who was one of the first to try out the early versions of OPEN Barbara Dickerson, an incredibly courageous teacher who allowed us to bring the OPEN Acrylics to her oil painting portrait class and lastly, Jamie Grossman, a plein air painter who has been incredibly generous in sharing a great deal of feedback about the possibilities with OPEN Acrylics.įrom the beginning of this process we have learned that artists’ needs are so unique that no one material could possibly meet all the requirements.
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