Link to Post:
http://paintingperceptions.com/interiors/painting-panoramas-interview-with-matthew-lopas
Larry Groff interviews Matthew Lopas about his panoramic paintings on the occasion of an exhibition of his work at Narthex Gallery at Saint Peter’s Church, New York, on view from May 17 - June 19, 2013.
Asked about painting panoramic views Lopas answers: "The conventional viewfinder produces wonderful compositions, but it is always at a distance from the viewer. I find its frame limiting and alienating. In fact, our field of vision is much wider than the perspectival conventions originating in the Renaissance. My images are truer to the actual experience of what it is like to be in the world rather than to look at the world. A radically expanded field of view enables a profound intimacy with the real act of looking and creates an unmediated gaze of empathic seeing."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/tamara-gonzales-may-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Tamara Gonzales.
Gonzales generously discusses her process which involves lace and spray paint. She shares an interesting perspective on the physically demanding nature of spray painting in relation to traditional oil painting, as well as other differences and advantages the technique offers including speed and a uniform surface. "Even though it's a real additive process," Gonzales remarks, "you don't feel it… they have a certain ease."
Link to Post:
http://youtu.be/qcFvJMlMmVs
James Kalm visits the exhibition James Biederman: Don't Have Red in Sight at Janet Kurnatowski Gallery, Brooklyn, New York, on view through May 26, 2013.
Kalm comments: "Using intimately scaled shaped canvases, and reduced painterly incident, [Biederman's] new work balances ideas of painting and object making that reference masters like Elizabeth Murray and Ellsworth Kelly." The video includes a conversation with James Biederman about the paintings in the show and his shift from gestural abstraction to shaped paintings.
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/alexi-worth-april-2013.html
Christopher Joy and Zachary Keeting visit the studio of painter Alexi Worth.
Worth discusses his recent work: " ...a few years ago I got very interested in the idea of nearness, things that are right up between your hand and your face, so… your own shadow, or an implication or suggestion of it, is designed to push that idea that you're there." He also comments on the technical decision to begin painting on nylon mesh, and the affect it has had on the work: "there's a kind of solid/void difference in the surface - the surface can collaborate with the illusionism."
Alexi Worth: States is on view at DC Moore Gallery, New York, through June 15, 2013.
Link to Post:
http://structureandimagery.blogspot.com/2013/05/in-process-james-erikson.html
As part of his In Process series, Paul Behnke posts a photo-blog about the development of painter James Erikson's Slow Morning (2012).
Of his work Erikson says: "My paintings are abstractions in the sense that at some point in the painting process I’m abstracting from nature, whether consciously at the beginning or through some experience or memory I bring into the studio during the evolution of the painting. Sometimes the painting reminds me of something, a particular mood or memory of a place and it won’t go away -- that becomes the subject of the painting for me."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/clinton-king-april-2013.html
Christopher Joy and Zachary Keeting visit the studio of painter Clinton King.
King discusses the progress of individual paintings and his studio process. On the resolution of individual paintings he comments: " If it's mysterious to me and I really don't know why they look a little uncomfortable and there's a varying degree of response to them, I think they're successful… "
Link to Post:
http://figureground.ca/2013/05/03/a-conversation-with-rebecca-campbell/
Julia Schwartz interviews painter Rebecca Campbell.
Campbell remarks: "There is no illusion I have that I’m inventing anything. I’m returning to something that exists for all of us, so for me, things like death, things like light, because they have happened always does not make them rote or irrelevant. We each have to face death. We don’t get out of that. Nobody gets a free pass. Does that make it not meaningful, like there’s nothing new? The idea of being avant garde or new—Great poetry uses the same set of words, it simply reconfigures them into a way that allows us to be present again with the words. I think that about painting often. People do wonderfully inventive things with form, but there is sort of a finite system that we work within, and I don’t find that to be a downfall."
Link to Post:
http://burnaway.org/2013/05/on-painting-and-rome-interview-with-jackie-saccoccio/
Ridley Howard interviews painter Jackie Saccoccio about her work and experience of painting in Rome.
Asked about the reference to portraitss in her recent paintings, Saccoccio comments: "As a starting point, I focus on portrait painting, mostly works from the 1500-1600’s. The original impetus was going through the Thyssen-Bornemisza Museum in Madrid. The presence elicited by some of those portraits—Holbein, Correggio and Ghirlandaio in particular—just got under my skin. So initially, I make notes about their paintings and then try to translate them into an abstract language with color and liquidity. Once I get painting though, its improvisational. The portraits are like one mark zooming way in, and then through to another space, unrestricted and untethered. Maybe celestial or spiritual, definitely transcendent. By making them more material, they become more psychological."
Link to Post:
http://www.nyartsmagazine.com/?p=9781
Christian Maychack interviews painter Jim Gaylord about his work.
Gaylord comments: "[Rorschach is] a very relevant concept for me right now in terms of the symmetry that’s happening in some of the work. I was thinking about why a Rorschach image is symmetrical, and there seems to be a reference to the body—our bodies and faces are symmetrical, and we’re used to seeing symmetry in life. So, I think a Rorschach image is such a provocative psychological device, and makes sense to us on such an instinctive level, because of that. If we saw half of a Rorschach, it would just be meaningless blotches, but when there is order imposed on it via symmetry, our mind says that it’s something we should recognize, and we make the next leap."
Link to Post:
http://newamericanpaintings.wordpress.com/2013/05/01/a-conversation-cordy-ryman/
Arthur Peña interviews artist Cordy Ryman on the occasion of the exhibition Cordy Ryman: Adaptive Radiation at Dodge Gallery, New York, on view through May 12, 2013.
Ryman comments: " I can say that I’m aware that I’m working with a certain visual language which is shared and not mine exclusively. As I’ve used this language over the last 20 years or so I’ve been amazed that this language has a sort of innate flexibility and infinite scope. It can fit any mood, time, and place and always find its own honest cords without being overly contrived. Over time my own personal vocabulary within that language continues to expand. I’ve gotten technically better at some things, probably. My comfort zone shifts from time to time and I get seduced periodically by certain solutions which is always a danger if I stay too long. But as I continue, more and more solutions come up leaving me with a deeper bag of tricks so to speak. Some moves are like old friends and will ALWAYS look and feel right to me. Other moves are like exciting new acquaintances which I want to see again but don’t know exactly what I think of yet."
