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...' "
Calandra notes: "Coates is a painter's painter. She evokes the chaos of Pollock's drips in one canvas and divides a grilled cheese or doughnut down the middle like Barnett Newman's 'zips' in another, while the landscape between two cookies of an ice-cream sandwich oozes with the same visceral qualities of a Joan Mitchell. Jennifer is analyzing the abstract in the everyday and making it more bewitching as she does so."
Sharon Butler photoblogs a visit to the studio of painter Hermine Ford.
Butler writes: "Innovative and expansive on multiple levels – line, color, shape, surface – her own work is uniquely prepossessing and only rewards further contemplation. Building irregularly shaped, sometimes even jagged, oil paintings from exquisite smaller watercolor studies (one is pictured above), Ford forges subtle connections that may at first seem fanciful, yet are grounded in real-world blessings and fears."
Zachary Keeting and Christopher Joy visit the studio of painter Georgia Elrod.
Elrod remarks her interest in examining and presenting an inside-out view of the body, "in a way that hopefully anybody can see and understand... then it becomes a poetic space." The press release for Elrod's 2014 exhibition at Novella Gallery notes that her "paintings have become extrapolations, bearing witness to a history through allusion and suggestion. They attempt to include the viewer in the conversation as they both fill in the blanks and create new ones. In this recent work there lingers the anticipation of potential narratives."
Lampert writes: "With a portrait his aim is not exactly to convey likeness, more an experience: how the person looks (including under the skin); what’s going on in their life (and his); the conditions of that evening. Like an apparition, something totally unforeseen, possibly lasting for just seconds, may spring from making a few brush strokes, establishing an area of truth which ‘might actually expand into a whole truth’. The goal is a set of connections between the masses, the space, the sensations and a picture with a tense surface character."
Steven Alexander visits the studio of painter Paul Pagk.
Alexander notes that "[Pagk] makes his own paint with ground pigments to achieve extraordinarily nuanced color. The entire space and its contents reflect Paul's relentless visual, intellectual and intuitive explorations - probing painting's endless possibilities."
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.