A trip to Long Island rendered a wonderful opportunity to visit the studio of a Long Island artist David Herman, whom we have exhibited for many years. Creating is in Herman’s DNA for sure. Besides developing his craft as an artist, he has been working as an accomplished violin restorer. The underpinnings of his artistic practice is observation and experiences, specifically the ones he gained during his extensive travels. The things Herman saw and felt in his trips give his works their character and girth and become the context in which his art is brought to life. These encounters with the world are the tendons of his art.
How Herman has found time to travel in various corners of the world and still accomplish to master art and violin restoration is a wonder and a testament to his character. My recent visit to his studio proved that despite COVID and the limited ability to travel, he has still persevered and produced an impressive body of work.
Herman’s works tend to go two different directions: they either show landscapes that emote the sheer beauty of shapes, forms, and the architecture; or his images reflect and illustrate things, people, and events encountered during his travels.
The latter often depict unique and strong characters, regular yet extraordinary happenings, specific conditions and contexts in which persons of different social standings exist, and how a human being can overcome hardships with dignity and honor.
On the other hand, the abstract landscapes that he creates are primal yet complex. They are formed by shapes and swaps of bold color, and every element of them is very carefully articulated. Regardless of what type of works he produces, they are always emotive and exude a sense of careful control.
Nevertheless, Herman still provides viewers with an opportunity to experience his art for themselves, without dictating the meaning or emotions one can see and feel. The freedom of interpretation is a vital part of the dialog Herman strived to build between his art and the public.