the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Describing Komarin's process of work in her essay for the 2012 catalog "The Road to Dialoro", Carol Diehl writes:For most artists there is no eureka moment; instead ideas develop through practice and over time, one thing leading to the next, and Gary Komarin is particularly sensitive to this intuitive process. If his marks appear awkward and childlike, it's because he has learned over the years how to turn off his internal critic and work from a place of detachment that allows for freshness, newness, and authenticity. Komarin has built into his working method ways of keeping himself from over-thinking or becoming too precious — techniques that allow him to get out of the way and almost let the painting paint itself. "When I have to become involved," he says, "is when it can feel burdensome." Komarin keeps things fresh and loose by doing several paintings at a time, working quickly on the floor on large squares of untreated, raw, canvas — sometimes even drop cloths — with big, inexpensive brushes and open buckets of latex enamel and other copious materials such as house paint or Spackle. There's an element of control, of course, but the paint may drip, splash or bleed in unexpected ways, gifts of accident that the artist may choose to keep or not. Those decisions, while still intuitive, draw on a stored knowledge base, a liftetime of observing and evaluating form, color, and line, so that when something happens, for better or worse, he recognizes it. Komarin sees this activity as a direct engagement with his materials, an exchange rather like collaboration, where he's not making something happen so much as encouraging it to happen. As he says, "I like to be surprised by my own work."Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life” curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue