Hit Parade 1981, Premiere, continued...
"Well, I went to Parsons School of Design for two years," Resnicoff accomodates us, "and then I
started working for Fairchild Publications with Women's Wear Daily. I had a staff job there for almost
seven years. Then I left them and sort of tried to put everything I had ever learned into perspective.
For a year, I didn't do much of anything. I went back to school to study sculpture and I started drawing
people in the streets. I was sort of trying to deal with reality after a life of illusion." Resnicoff pauses
to smile at himself before going on. "After awhile, I fell back into place. I think everybody should
disconnect from society for a time--because I really beleive that from the minute you're born, you're
brainwashed. A lot of times you're not in touch with your true feelings about yourself. You go from
school into a job and you never take the time to connect with anything. What I did was to pull out all
the plugs and to an extent I was totally on my own.... All of it means that I had to rethink whatever I
had learned to think -- which was good for me as an artist. I ended up setting my own standards.
There's a slow-burning passion stroking his words. All around the cool faces on the cocked heads of
Resnicoff's figures seem to wait and listen for something far away. Echoes of Modigliani, Whispers of
Matisse. He turns to consider them.
"Before my work was really neurotic. If I was depressed, the girls were depressed. They were suicidal!
Now I feel there's a lot of strength in my work, a lot of character. I think that's important. For me it
was a matter of do or die," Resnicoff states. "Because that's all I could do is to draw. It's great to do
something you love and survive."
Click here to return to Home Page
"Well, I went to Parsons School of Design for two years," Resnicoff accomodates us, "and then I
started working for Fairchild Publications with Women's Wear Daily. I had a staff job there for almost
seven years. Then I left them and sort of tried to put everything I had ever learned into perspective.
For a year, I didn't do much of anything. I went back to school to study sculpture and I started drawing
people in the streets. I was sort of trying to deal with reality after a life of illusion." Resnicoff pauses
to smile at himself before going on. "After awhile, I fell back into place. I think everybody should
disconnect from society for a time--because I really beleive that from the minute you're born, you're
brainwashed. A lot of times you're not in touch with your true feelings about yourself. You go from
school into a job and you never take the time to connect with anything. What I did was to pull out all
the plugs and to an extent I was totally on my own.... All of it means that I had to rethink whatever I
had learned to think -- which was good for me as an artist. I ended up setting my own standards.
There's a slow-burning passion stroking his words. All around the cool faces on the cocked heads of
Resnicoff's figures seem to wait and listen for something far away. Echoes of Modigliani, Whispers of
Matisse. He turns to consider them.
"Before my work was really neurotic. If I was depressed, the girls were depressed. They were suicidal!
Now I feel there's a lot of strength in my work, a lot of character. I think that's important. For me it
was a matter of do or die," Resnicoff states. "Because that's all I could do is to draw. It's great to do
something you love and survive."
Click here to return to Home Page
