In his work, Munzner relies on jazzy intuition and improvisation in one moment and on scientific logic and structure in the next. This adds depth and charm to his paintings, yet it also makes them difficult to understand. As Munzner riffs on the paradoxical nature of ontogeny and ontology, cosmogeny and cosmology, inner and outer space, the kairos and the chronos, the artist's energy seems to swell while the listener's begins to flag.
"I consider what I do a dance," he says at one point, demonstrating by stepping agilely and making a few imaginary swipes with his brush hand at the painting that sits on the table. "I am always listening to music as I work, and I'm caught up in the moment, always moving. I dance around the painting. Literally, as I paint I make believe I'm a particle, or galaxy, moving through the image. After all, we are all in constant motion on both a micro- and macroscopic level. I look to work with a direct language in the dance of marks, movement, and color...I don't try to create images as I paint. The images just emerge."
We sift through the different periods of his career, all the different experiments, examining drawings as small as 2 inches in width and computer-generated paintings as large as houses. Eventually we go back outside, and are buffeted by the rush of the highway.
"I haven't wanted to pursue an art career before now. I've had small shows here and there, at the Walker and so on. But I think honestly I am just beginning." His face takes on a faraway look, then he recovers in an instant and smiles. "At this point, everything is completely wide open."
Aribert Munzner's current exhibition at the Dolly Fiterman Gallery,Works on Cosmology, continues through October; 623-3300.