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On the boardwalk

L - . ' :- :: r ..,r:rr]ri r-.lks rilr or:r gil a].,

: :: -- - . -,ril l-ri-s rrtistic carccr. Hr:. n.-rr'rsr

:ir,ilrL oi paintings ar Sue Greenuoocl Fir-ie

r:: Ln Lagur-r:1 Bcach ri-ilI fiatr-ue nerv examples of:ir:sc n orks along s irh some oi his urban scenes.

It's prob.iblr- il-re rl-ring I'r'e done rhc most and

the lonsest and rs detinireh- t.hat I startcd with," savs

Lir.ingston. "\tars aqr.. I lir"ed in the Bal, Area andrn,ould go do* n ro L.irie r likc Santir (iruz beach and

irang out tl-rcr.. I .l:rir.l kroking at the boardrvalk

it sas rh,, lar. -t ls-and it .i.a-s pretff run clolvr-r

and look,-.i : L.rr lrki (l,rner'lshnd :rt the tirnc."Li., ir-rssron r. rs ar:1.,-.rc.l io rhese areas because

oi rhe l.righr col,rrs ;',nrrls,rd uith the naturalcolors oi rhc beaci-r .t: ,.;ll a: rhc appcal ol secinq

such pl,rcc. in \-arioLi: :.rr:.) Lrl di\fepair.

ELr-rier,r,, -ilk, r.erc ro,rgher places in those cla1.s,

-.r .- ' -kt ,h:r in:tead of even-thing iust Lreing

Di:::cr n.-.t. ,aIs Lri tlgsrc.n, 'Thcrc arcnt ntanvbc.ar.ir., alk, lcli nt,l. L.iLr rhis .rr,e ]-racl ti-re o1cl rollercoasrer ,rn.l all oi thar charlcrer. I n'as .rble to see

the conrrasr be nleen tl-ie slncl. rhe boardwalk.the amusetnent par:k rides ancl rhe pcople on the

boardr.valk; the combination of :rl1 tl'rose elementsis rvhat intrigued me. So i startcd doing paintingsof that, then rvent to Neu, York, sarv Coney Isl:urd,

and started painting those too."Vhile Lir.ingston u,as interesred in the

nosra]gic elernent of the areas :rnd possibly theidea of the clisr:epair of the once beautiful objects,

these ir.nages dicln't provide a link to his childhoodexperiencc u.itir sirnilar objects.

-I'hough he adn-rits

to probabh'fa,rt:rsizir-rg about such plirces as a child,the be:run'of rhese pl:rces to hjm is directlv related

*::i:.€.,:a-; 'n- 14..

t:

Trxro Toxr, orI- ()N PANEL, 9 x 12

to the architectural shapes and pictorialpuzzles they present.

"The colors, the architectural space,

the 1930s, 40s and 50s buildings, allof this interested me," says Livingston.'A lot of my work always goes back toarchitectural shapes, especially the olderarchitecture from past eras. I like to

experiment with color quite a bit, and

rvhen I start a piece, I dont have an1'thing

in mind. The best thing for me to do is tokeep it fairly undefined so I'm not settlingon one direction early on."

Livingstont current boardwalk pieces

are more composites of many differentsites instead of recreations of one. Hebelieves that this process allows the vierver

to relate more to their own direct personal

experience."When I started doing these again.

I started combining them; Id take, sar', the\Tonderwheel in Coney Island, put part ofthe roller coaster in Santa Cruz and then

something from the Lakeside amusement

Park in Denver and just combine the

diflerent things and build my own theme,

my own world," says Livingston. "\7henpeople see it, they say it reminds themof Coney Island or somewhere else

and that's satisfi.ing to me because I'mcreating the world I'm painting and ittakes them off to these different places.

This is also very iiberating to me because

there's a real sense ofcreation there. I'mnot just confined to exactly what I see.

And I think that is how memory worksas well."

Along with the boardwalk pieces,

Livingston will include several movietheater paintings in this new show whichalso come from his love of old architecturalsrructures and design.

"I like the simplification, the

beautiful design and the lines of these art

deco pieces, and I really gravitate to those

thearers," says Livingston. "'W{hen I paintrhem I like to imagine what they were like

-n rheir hevday, so they really feel alive. I'llri-: it ro another fantasy realm and make

i: -.;.m like there is activity at the theater.

\,r: people but possibly a 1930s car in::L-:rr- h's the memory of the theater thatl'::- irr and rvhat people respond to." r

Crusr Nrcnr, ort- oN BoARD, 36 x 36"

ii.zer lirk to thetxltibiting gallerl go

Crcrorr. oIL oN PANEL, tzxtz"

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