Michael Hopkins interviews painter Tim Tozer about his recent work.
Tozer comments: "Initially the idea of mass [in the paintings' titles] refers to visual weight (or the lack of it), although I’m aware it could also have religious connotations; I wouldn’t desire or reject that connection if it were made. I think part of what brings me back to abstraction are the subliminal references that I create or bump into... When it works, this mix of planned and uncontrolled relationships can manifest the kind of tension I’m looking for in the work: perhaps this could even act as a metaphor for the conscious and unconscious mind. However, all the paintings are the result of long consideration, so it’s hard to claim the presence of anything authentically unconscious. The accidents in the process of making them are a way for me to sneak up on myself, and to access subconscious desires that I cannot otherwise will into being."
Christopher Joy and Zachary Keeting visit the studio of painter Albert Kresch.
Kresch comments: "Light is maybe the second most important thing in a painting for me... space [is first] ... I studied very early with [Hofmann] I was 18 in 1942 and 43... Push and pull didn't interest me... I wanted to hurl the spectator off the surface [into] space."
Zachary Keeting and Christopher Joy visit the studio of painter Joan Waltemath.
Discussing her Torso/Roots paintings, Waltemath comments: "They're roughly based on the torso proportions of the body, so that you can have a physical interaction with them as opposed to an intellectual or an image-based response... the physical being in the world is a primary way of knowing the world... I'm really interested in how the body understands the world and how we perceive through movement. It's not a static thing. Photography privileges the single viewpoint but for my work I need multiple viewpoints for you to see it... for me it's a way to keep... your audience awake..." She continues noting the significance of percieving the paintings from multiple viewpoints and in different light: "... you're going to notice that something's different and you'll see it, because when things stay the same in your environment they just become a function of memory and not of perception."
Zachary Keeting and Christopher Joy visit the studio of painter Annie Lapin.
Lapin shows her recent paintings which achieve a delicate balance between found and willed form. Having been inspired by cave paintings, she combines a rorschach-like technical approach with a sensibility for creating complex images that results in compositions that feel specific, surprising and alive.
Zachary Keeting and Christopher Joy visit the studio of artist Mandy Lyn Ford.
In her artist statement Ford writes: "My paintings are remnants of my life, tactile diaries. I beat them into submission by working them over and over and over; laying them on the floor, and dragging them, and applying and unapplying, cutting into and copiously giving to. They become strong and tuff and solid. I treat them aggressively until they prove they are worth being paid attention to and softly labored over. And sometimes the loving touches cause them to fail and have to begin again."
Zachary Keeting and Christopher Joy visit the studio of painter Michael David.
David remarks: "I came up from the roots of AbEx and from punk and I learned all the academics but my goal was to make paintings that when they went on the wall were undeniable. And your experience with them was not well behaved. And that they owned the room, and that they made you think."
Maria Calandra visits the studio of painter Matt Phillips whose show Comfort Inn is on view at Steven Harvey Fine Art Projects, New York through February 6, 2016.
Calandra writes: "With multiple points of entry, Phillips' work is generously made. The larger canvases, which often depict familiar fantastical structures straight out of a sixties psychedelic animation, beg for being climbed on and around, making a playground for the eye. The paint that is applied to fill these shapes, in both the larger and smaller paintings, pools together at their edges creating rivers of vivid color. The organic quality of these ridges gently persuades you to take time to look, resting your eye on their furry details."
Group discussion: Anne Smart, Anthony Smart, John Pollard, Alexandra Harley, Nick Moore, Robin Greenwood, Sarah Greenwood, Hilde Skilton, Mark Skilton, Noela James, Patrick Jones, Ben Wiedel-Kaufmann, Matthew Dennis, Andrew Revell, Bob Aldous, Fred Pollock discuss the collages of artist John Bunker.
Opening the discussion with a short statement, Bunker comments: "For me [scale] a bit of a bugbear about collage. The history of collage has had at different times in history a kind of domesticated realm about it; it can be quite diaristic; it can be personal and quite small... [but] I'm also interested in trying to make collages that are very big... exploring the relationship between the materials on a very small level and then materials on a big level is something that's really excited me."
Maddocks writes: "[Wylie's] eclectic inspirations include Almodovar and Tarantino, as well as Egyptian art, Pompeii, fashion, jewels, regalia, uniforms. She has also painted, less typically since pastoral is not her usual mode, the field with sheep beyond the garden in a work called Willow Tree (2015). 'I paint what I can see. This is what I see. It takes me a long time to do it, though people think it looks easy...' "
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.