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."
Zachary Keeting and Christopher Joy visit the studio of painter Jason Duval.
Duval remarks: "The things that are really important to me are materiality, the sense of an object and a picture that was made by a person in real time. And also that the finished painting, that the picture itself, is in a sense a kind of world, or a window onto a world whhere things happen, forms are in motion, there are states of balance and imbalance. Ideally when they're working well there's a sense of time, enough of something real and human that the viewer can identify and step inside of it."
In a new installment of the Brancaster Chronicles, Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, John Bunker, Alexandra Harley, Patrick Jones, Helga Joergens-Lendrum, David Lendrum, Mark Skilton, Hilde Skilton, and Noela James discuss a group of recent works by painter John Pollard.
In a new video by Molly Davies, Pat Steir discusses her work while painting in her Vermont studio.
Steir addresses both her use of the drip as image:
"The idea of pouring the paint of the waterfall paintings was to use the icon of abstract painting, which is a drippy brushstroke, and make that abstract icon make an image all by itself. And that's what it did, it made an image of the waterfall... "
and painting as performance:
"The performative aspect, especially of the splash up paintings, is extreme. It's really a dance. It's really a ballet. And the picture is the record of the movement. It's a direct record of the movement."
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.