Phil Sandusky is a plein air painter, landscape, cityscape and figurative artist based in New Orleans. I’ve written about Sandusky previously, most recently in 2014. Since then, he has unveiled a new website that showcases his work to better advantage.
Sandusky paints the streets, parks and neighborhoods of New Orleans, and several other cities that he frequently visits, with verve, confidence and a keen sense of direct observation. To my eye, there is always a touch of wildness in his work, a sense that the painter has just barely contained the energy and light of the scene.
Ten years ago, Sandusky confronted another kind of wildness, when his response to the devastation of Hurricane Katrina was that of both a new Orleans resident and a painter, and he painted a series of remarkable views of the aftermath of the storm, that were eventually collected into a book, Painting Katrina. These were painted with simultaneous compassion and equanimity, partly with the eye of a painter and partly with the clear observation of a reporter.
Sandusky will be giving a slide presentation about his experiences painting those works on this Friday, August 28, 2015, one day before the 10 year anniversary of the storm, at the New Orleans Academy of Fine Art.
Cole Pratt Gallery
Phil Sandusky (update 2014)
3 Replies to “Phil Sandusky (update 2015)”
These paintings could’ve been yours, Charley. More or less the same style, however. What’s the connection?
Interesting thought, thanks Ælle. No connection other than I like his style and sometimes take on similar subjects.
I agree with your thought on his paintings of Hurricane Katrina. Recording the aftermath of such a devastating disaster is a tricky subject, at least where the general public is concerned. But as you say it is that touch of compassion in them that makes it work and one that maybe only a resident could do.
There is also a quality in his work that we don’t often see and goes beyond plein air painting. That quality of a viscosity to all the forms and surfaces, the air, the water, the light, even the structures and ground. It is in the paint.
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