An Artists Artist, Classically trained Schulman can paint in any style or medium. Rooted in Jewish traditions, song, art, theater and design, genetically talented, he grew up surrounded by Masterpieces, Emerging Master, Street Artists, love and support from his Grandparents, teachers, peers and contemporaries. An Art Historian, a foundation of the Golden Means, a geometric grid, used by the Old Masters as a foundation in his work.
Artists and Designer insiders know you to make something new you always take from the past. Known to burst into song, when working in the studio he works with such confidence and precision, so elegant with ease it's like watching Mikhail Baryshnikov dance.
Wildly colorful kinetic, exuberant and at times visually tense, Schulman’s stand body of work spans a lifetime of testing his and the boundaries of art. Called “Fracturing”, Schulman unique style was first inspired by the patterns created from photographs strewn cut pieces of paper on the floor when making the Bronx Series. Referring to old master paintings for color and form result in a kaleidoscope of layers of shapes and colors of Schulman’s own symbols used repeatedly, he refers to as mark making, which map out a landscape his stories and fables of love, faith, hope and courage.
An exceptional colorist and master technician, often adding 24Kt gold, palladium and lapiz azul, said to open the third eye and red clay from Sedona in his work. The twists and turns, ins and outs of the picture plane, Schulman’s exaggerated forms, colors and textures take viewers on a crazy ride. Not unlike the Synthetic Cubism of Picasso, Willem de Kooning, the impressionist painters Seurat and Van Gogh and lifelong friend, teacher and mentor Artist Knox Martin, whose own work transformed through the works of his elders’ the Action Painters, though they exist in flattened spaces. Schulman’s work is far from flat.
Schulman’s Paintings are emotionally explosive linear dances on twisting whirlwinds in the unexpected palettes. Underlying everything is a Golden Section of grid work, establishing a foundation of mathematical or proportional harmonies much like music chords.
Shapes and patterns sometimes appear to be a spider like web of strings or a lathe of dots traveling the grid, like snowflakes arriving to start their own patterned loam. Other times, colorful wefts and warps thrown like patchwork quilts with their colliding areas of fabric patterns moving in cross current tides, fanning in and out in all different directions.
In 2009 George’s travels took him to Sedona, Arizona where its rugged red-clay, high-desert, rock-mountains, cactus and exaggerated plant forms totally ignited his already explosive appetite for natural forms.Underlying everything is a Golden Section grid-work, which helps align the shapes’ appearance to be in tension with the picture plane, and establishes a foundation for mathematical or proportional, harmonies, much like chords in music.
The shapes and patterns are inspired by floral motifs, which sometimes appear to be a spider-like web of strings, or a lathe of dots traveling the grid like snowflakes arriving to start their own patterned loam, and other times there are colorful wefts and warps thrown like patch-work quilts with their colliding areas of fabric patterns moving in cross-current tides fanning out in all directions.These then, are paintings which fluctuate between using elements of mathematical logic and the harmony of Apollonian planning, and emotionally explosive linear dances on twisting whirlwinds in the unexpected palettes of Dionysius.
Written by George Parrino, Professor and Former Dean, Purchase College School of Art and Design. Former President, Kansas City Art Institute.