I currently have three oil paintings on display at the Ridley-Tree Museum of Art at Westmont College, where I had the honor of winning best of show amid a strong collection of art pieces. The curator, Meg Cranston, is chair of Fine Arts at the Otis College of Art and Design in Los Angeles. Critic Josef Woodard, who writes on music, film and the fine arts for many publications, including the Los Angeles Times, Rolling Stone, Entertainment Weekly, Musician, and Artweek says of my work:
"The 'Best in Show' winner (which this critic concurs with) is 'House on a Knoll,' by the ruggedly expressive and interesting painter Randal Working, whose work can't be easily confined to a definitive 'ism' or attitude--to its credit That canvas, along with 'Swerving truck' and 'Barbarian at the Gate,' bear titles suggestive of narrative and situational subjects-at-hand, but for paintings where a fervent spirit of abstractionism interweaves and complicates the inherently recognizable elements. Gruff expressionistic pictorialism is the upshot."
Here is the artist's statement I included for the show:
I paint in order to bring expression to the inner experience and my response to the world. My motivation is not to lift up the self as primary. Instead it is to voice creation’s praise for its maker and to reflect that primal act of worship, articulating human joys, pains, and spiritual seeking. Undergirding my work is the premise that God made the world and called it good; that this good creation has been marred; that God entered into creation in order to save it from death; and that God will come again to restore all things.
My work is painterly and vigorous, with brushstrokes both shrouding and unveiling the process of creation itself. Layers of paint give texture and a patina, sometimes with collage material, like posters on an old wall that have been plastered up and torn down over many years. This suggests enduring values that can be obscured but that tend to re-emerge. Sometimes drawing ties together the work, and I incorporate and orchestrate accidental elements into the finished product. At other times, the work is mostly abstract color composition, with only a hint at drawing and underlying structure. My work includes historical, mythological, biblical, and architectural referents. Artists of particular interest to me, influences in varying degrees, have been Robert Rauschenberg, the German Expressionists, the Abstract Expressionists, Van Gogh, and Antoni Clave, to name a few.
I’m intrigued by the interplay between word and image, as this echoes a sacramental worldview wherein God enters our reality and speaks through the tangible matter of life. Since God is the ultimate reality behind the material order, so the things we see become in some way symbols, and even means of grace, for the divine redemptive work. We need revelation to explicate creation, history, and the meaning of our own experience.