Wren comments: "I have always liked the idea that in painting you can make space visible. It’s something that you just move through without thinking about in real life, but in painting, it can be an actual thing. It is a color. It is a feeling. I think of the space in my paintings as a tangible presence, as real of a thing as an object... My experience of nature is usually what makes me want to paint. Specific moments outdoors will spark something that I want to explore in paint. Sometimes that initial inspiration carries all the way through and sometimes it’s only a beginning point and the painting takes off in another direction. But it always feels important to have a connection to some sort of lived experience outside of the studio."
Larry Groff interviews painter Kyle Staver about her work and career.
Staver comments: "Composition is the delivery system, there are lots of different aspects of how the painting delivers its message. You need to have the horse firmly in hand or else you can’t do it. Composition helps me contain it and release the message in the way I want it... I think of the canvas as an arena… I set up my rules, something going to happen and the painting must resolve, I don’t leave them hanging. Everything has to be accounted for, every piece of the painting has to be introduced and informed and in working order with the rest of the painting. There is nothing casual about the components of my painting’s relationships to everything else. There is nothing that I’ll let go. It’s like cat’s cradle and I’m in charge. How do I know if it’s working or not? It’s not a plan as if I were dismembering a bomb or something. You can read all you want about composition but until you’re there and you have your hands on; you can’t know. So it’s only in knowing the painting, so I feel my way through and I trust that. That’s my job."
Megan Liu Kincheloe visits the studio of painter Daniel Herr.
Herr comments that "some of [the paintings] actually just start as a crude drawing of a figure, or a crude object, or a word, or I’ll have a picture I took some place to begin with as a compositional set piece. There’s kind of everything in every painting. It’s sort of absurd. I will start with an idea, and I’ll try forcing and forcing it, then I’ll just abandon it, and ride the wave to somewhere else. Ultimately, it becomes a different thing ... paint and the interaction between two wet colors has always been what I’ve been most interested in—the 'chord changes.' That said, I’m really into the way of thinking associated with collage—the randomness, the everyday, Dada, stream-of-consciousness, disorienting subject matter, and turning something on its head."
Zachary Keeting and Christopher Joy visit the studio of painter John L. Moore.
Writing about Moore's work in 2002, critic Lilly Wei noted: "New York artist John L. Moore continues to elaborate on his theme of mirrors and water in his recent paintings... There is an aspect of roughed-up Pop in his style, his sketchy, schematized imagery forcefully blunt, his painting technique spontaneous and expressive. Scaled to his height - Moore's signature format is 80 x 67" - his canvases contain enigmatic ovoid shapes he calls mirrors, floating on the surface as if on water. However, they are blank, reflecting whatever the viewer might bring to them. These mirrors can also be read as eyes or openings into the painting, holes in the fabric of illusion, personal and impersonal witnesses, implicating perception and events: how we see, what we see, if we see."
Zachary Keeting and Christopher Joy visit the studio of painter Margrit Lewczuk.
After a studio fire destroyed twenty-five years worth of work, Lewczuk re-invented her entire approach to painting. In the video she shows a surviving example of her earlier densely painted oil paintings and discusses how her painting process has evolved.
Zachary Keeting and Christopher Joy visit the studio of painter Lennart Anderson.
Giving a tour of his studio, Anderson discusses a range of topics from the painting currently on his easel, to a painting he has been working on for 30 years, to working in spite of diminishing eye sight. "The idea that my eyes are bad makes one think that you're going to paint like an expressionist or sloppy or something," he comments, "but I found it was just the opposite. I was closer to Ingres than I was to Soutine or Kokoschka... it's very intense holding on to the line that has been measured."
Anne Russinof photo blogs a visit to the studio of painter Russell Roberts.
Writing about Roberts work for a show at Heskin Contemporary, Jennifer Riley has noted: "Using fragments, layers, lines, drips, washes and erasures [Roberts'] oil paintings depict a stratified and changing world in which multiple formal differences and often opposing elements conjoin to form new and integrated identities. In his complex structures, he collides organic irregularity with geometric and biomorphic shapes, and articulates stretches of canvas with an expansive range of unpredictable and constantly surprising color. Whether intuitive or willed, these dissimilar elements are applied in an endless play of chance imagery that becomes a principle order - where the primary subject is the intesity of multiplicity itself."
Paul Behnke visits the studio of painter Brian Wood whose work will be on view in the three person show Spin Zero at Novella Gallery, New York, September 11 - October 5, 2014. The show will also feature works by Max Razdow and John Newman.
Behnke writes: "Wood's work gives phantasmagorical form to experience and memory. Making use of brilliant color, and extremely varied paint application/surface quality, Wood's compositions coalesce into portals giving view to surreal, sublime, and visceral insights. Often a single work combines the dreamlike and the beatifically atmospheric with a sharp corporeal shock. The large works stagger the viewer and all present an exploration of an individual experience while giving the impression of a universal consciousness that permeates all."
Zachary Keeting and Christopher Joy visit the studio of painter Ashley Garrett.
Garrett discusses her work and her interest the ability of painting to uncover and activate the interrelationship of objects and memories. She comments: "Maybe painting is more alive than real life ... painting has the possibilities of everything that anybody could ever imagine and ever think of." She notes that a thing as it is in the world is "confirmed in its form for now, but painting is completely open, you can start from zero."
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.