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Mr. Schink earned his B.A. in Fine Arts from Stanford University, and also
studied a the California college of Arts and Crafts. In addition, he studied
privately with Rex Brandt, Barse Miller, and Edward Betts. He is an elected
member of the National Watercolor Society, the Federation of Canadian
Artists, and more.
He has taught throughout the U.S. and in Canada, Mexico, Europe,
and Australia. Schink is also in demand as a judge for national and
international painting exhibitions, including Watercolor West and more.
Café Series:
I began my “Café Series” some 8 years ago with the idea of
conveying in the simplest of settings images of a variety of people
observed in a public place. Although the setting was public, the
feelings I wanted to suggest were private and introspective.
I initially called this my “French Café Series” because I thought
that sounded sexier, but there is nothing especially French or exotic
about the places and people I depict in these works. I don’t intend
these images to be portraits or narratives. I leave it to the viewer
to identify the subjects and provide their own story.
Because I want to convey a stronger feeling of individual
character or personality, I use a more realistic approach and a
greater emphasis on facial expression in these paintings than I do in
my “Jazz Series.”
However, none of these figures are based on actual people or an
observed scene; the paintings are wholly the product of my imagination.
Chef Series:
My “Chef Series” seems to be a natural outgrowth of my “Café Series,”
a glimpse of what goes on behind those kitchen doors. But I take a
different approach in these works: I try to suggest a feeling of
greater energy and activity, the hustle and bustle of chefs and
waiters as they move about the kitchen.
The color range I employ in my “Chef Series” is less somber, more
exuberant; the figures are more animated, their expressions less
introspective, more open. However, my basic design approach remains
the same—a use of geometry to simplify shapes and a consistently
shallow treatment of pictorial space. I want these paintings to be
expressive of the subject and identifiably mine.
Jazz Series:
Music—and jazz in particular—is one of my great passions and, for me,
a perfect subject for painting. The mood of the music, whether
exciting, joyful, or sad, along with the involvement and interplay of
the musicians, and the colorful settings all offer inspiration for
expressive painting.
I worked for many years as a professional musician, playing
casuals and in local clubs. From that experience, I know how a
musician stands, how he holds and plays his instrument, the
expressions he makes. I try to convey these things in my paintings.
I employ in my “Jazz Series” simplified forms and a basic
geometry that characterizes all of my work. The figures I use are not
intended as portraits of any specific musician. My goal is to suggest
with color, shape and gesture the feeling of this creative musical form.
Classical Music Series:
Classical music doesn’t sound like jazz and shouldn’t look like jazz.
The images I create of classical musicians are less stylized. The
feeling I want is more restrained, somber, even stately.
Whatever the style or kind of music, musicians (if they’re any
good) all have one thing in common: a deep involvement in the
creation and performance of their form of musical expression. It’s
that involvement and the relationship between performing musicians
that I try to convey in my paintings.
As with all my work, I use a basic geometry to simplify shapes,
but in the classical paintings I soften the edges and sharp
definitions to give the paintings a more flowing quality.
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Pelican Art Gallery