While the brushstroke motif has been embraced over by artists ranging from Roy Lichtenstein to James Nares, Martiny takes a singular approach. Each smear of paint is full of flecks of multiple colors, giving the impression that they were created with massive paintbrushes. To create the highly palpable textures, Martiny mixes polymers and pigments until he reaches a desirable viscosity. He then dries the surface using industrial fans and, finally, affixes the finished work to sheets of aluminum. He once described his artistic practice as “a dance trapped in paint,” and his dynamic, gestural works are surely a testament to this active process. He has also described his works as self-portraits, because, in his words, “brushstrokes are very specific to an artist.” Indeed, the impasto lines, swirled streaks, and overwhelmingly tactile quality found along the surfaces of his paintings reflect Martiny’s physical movements. Important projects include two monumental paintings for permanent installation at One World Trade Center, where over 20,000 people pass thru the lobby every day.