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His quest for Manhattan's natural beauty is ongoing, yielding landscapes that are memorable and well-known. Yet this penchant led him to paint Long Island scenes as well, thus avoiding New York's "unforgiving" way of life. </p> <p class="content">Q: Despite your being known for landscapes, you experienced a very different kind of scene when you were a student.</p> <p class="content">A: Yes, I used to hang out in St. Mark's Place observing homeless people on the street, aging older men. I found them beautiful and sincere, with their weathered looks. I would pay them to pose for me. Oddly enough, my studio is in that same area.</p> <p class="content">Q: What else were you doing at that time?</p> <p class="content">A: I was doing graphic design. As a student I studied philosophy and music at SUNY-New Paltz, transferring to Parsons to major in illustration. I teach at Parsons now.</p> <p class="content">Q: How did that early experience with the homeless influence you?</p> <p class="content">A: I detached myself from the destitution on the street. I was sacrificing monetary gains to devote my work to the homeless.</p> <p class="content">Q: Your subjects are different now. How would you characterize your current style and subjects?</p> <p class="content">A: I'm a traditionalist; I don't think technology and graphic design adhere to the "Old World" style that I respect. As for subject matter, I don't look for social subjects now but for muted scenes like what George Innes would do. I am interested in looking for dark scenes, lighting-wise.</p> <p class="content">Q; Who or what has influenced your art?</p> <p class="content">A: Rembrandt, Odd Nerdrum; I also see my life as a Van Gogh character. I was intrigued about his life after I read Dear Theo.</p> <p class="content">Q: What do you think of conceptual art? Has it inspired you?</p> <p class="content">A: I don't knock it. Even though I'm a traditionalist, I'm okay with all forms of expression.</p> <p class="content">Q: You said you studied music. How has that influenced your life and art?</p> <p class="content">A: I use the idea of cadence, time, rhythms in my art. In art and music you start with a base composition. If composition isn't there, people can't relate to it.</p> <p class="content">Q: You have been very active in music for years, and you have your own band now. How do art and your music interact?</p> <p class="content">A: My music is hard rock. My painting is like classical music with its traditional landscape. I am the sole creator of my music and my images. Laying down tracks is similar in both art and music, too. I can wipe down a whole section of a painting if it's not to my satisfaction. The same with music; I can record for hours and then not use it.</p> <p class="content">Q: Are there any significant differences for you in the art and music process?</p> <p class="content">A: In music, if it takes too long to create, I'm overworking it. I'm not as advanced in the musical process. I like to finish the music in a day. With art, I can embellish it for a month. </p> <p class="content">Q: How do you see the two arts, philosophically?</p> <p class="content">A: With both arts, I am detached from the outcome. I am not looking at the finished product. It's about the journey, not arriving someplace.</p> <p class="content">- Marion Wolberg Weiss</p> <p class="content"> Gavin Spielman can be contacted at: <a href="mailto:gavin@gavinart.com">gavin@gavinart.com</a>. 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