Dan Covert shows us how his language of graphic shapes translate from sketches to digital images and back to painting at his Bushwick studio.
“I will forever be obsessed with using analog means to try and recreate the perfection only achievable through digital output. I start loose in a sketchbook, then migrate onto the computer where the sketched forms are refined and ordered, before I attempt to mimic those digital sketches with paint. ”
“My work is an incremental journey though ideas, form and mediums. When I began painting I started on paper with gouache, but over time I migrated to using acrylic on canvas. With this body of work it was nice to make work on paper again at a small scale with gouache, which felt familiar and warm—and at a larger scale with oil stick, which felt raw and fresh.”
“Paper by nature is a much harder medium to perfect because it’s fragile and remembers every failed thought, or gesture. I’ve honed my craft and process significantly since my early experiments on paper so I felt confident enough to explore both more minimal and complex compositions—each of which has its own inherent challenges.”
“Minimal work requires extreme dexterity because there’s nowhere to hide a wavering line, a boring shape or uninspired arrangements. More complex compositions need a balance of making sure not to overwhelm with the maximal, or to recede with gestures that are too safe or uninteresting.”