” I have never thought of myself as a geometric painter, but I have always thought of myself as an improviser. The geometry in my work has increased over the years and I’m not completely sure why this is so. It isn’t by conscious intent, I can assure you. Improvisation, however, is essential to my work. I want my ideas to be located at the tip of my brush. I want my materials to talk back to me. I want to be surprised.”
“Every artist has little rules or devices that enables them to move a painting forward. I’m not thinking of great and meaningful exercises of desire, but simple, quotidian, almost mechanical procedures. I mean, one of the strategies that I’ve always used in different permutations is to, as a first step, go to the opposite of what the logical move would be. So if a painting would seem to have a source that is anthropomorphic or organic, you know, start geometrically. If a painting has a source in a city and architecture in the urban, let’s do it with curves and juicy paint running all over the place. And this is not out of perversity, but out of a desire to challenge any kind of received wisdom. In other words, if a city has to be geometric, well, okay, let it prove itself, let it become geometric in the process, in the procedure of thinking about these things. This interests me—looking for the core of things. What is essential? What is at the bottom of it?”
-Thomas Nozkowski, in conversation with John Yau, just prior to his exhibition at The Pace Gallery, NYC, The Brooklyn Rail, November 5, 2010
The Incubator 