Christopher Joy and Zachary Keeting visit the studio of painter Laini Nemett.
Asked about combining disparate views in a single painting, Nemett comments that she wants the composite imagery to "conjure memory" but also to emulate experience of place. "We constantly have all these images and all these places that are shooting through our minds" she remarks, "how we order them in our individual minds are not so linear, they... come to the foreground more or less depending on where you are at that moment or what you're thinking."
Zachary Keeting and Christopher Joy talk with painter Lucy Mink at her exhibition it's got me, it's got you at Giampietro Gallery, New Haven, CT, on view through February 22, 2014.
The press release notes that Mink's "work is an abstract diary that illustrates how she is consumed daily by combinations of color and form. Through many years of experimentation with a variety of techniques and materials, Lucy has developed a unique process of layer addition and subtraction creating an illusion that her painting’s surfaces have been in existence for centuries. Her compositions upon first glace seem deceptively simple which allows the viewer to concentrate on her mastery of texture and color."
In a 2013 essay, Robert Pincus-Witten wrote of Poon's recent paintings: "The nervous, incremental strokes of Poons's 'landscapes' are born of memory-not observation-other than the vigilant observation of the events directly taking place on the canvas itself and the artist's experience of his own self-generating process of painting."
Asked about her more abstract recent paintings Coffey remarks: "It's all figure painting, it's the only thing I do... They're about the figure, they're portraits, and that's what they're about. So, while the image is abstracted and might be thought of as modernist abstraction, at the end of the day they're calling in a way that a portrait can call for an 'I, thou' moment. They're more outward, they're not asking to be looked at, they're asking for a relationship... This is a kind of space which is constructed to move out rather than in."
Zachary Keeting and Christopher Joy talk to painter Angelina Gualdoni at her exhibition Held in Place, Light in Hand at Asya Geisberg Gallery, New York, on view through February 15, 2014.
Gualdoni, whose new work employs pouring and staining techniques honed in earlier abstract paintings to still life subjects, comments on combining a variety of technical approaches in a single work: "Part of it is the dialogue that's created between those different ways of mark-making... that context of what it means to let something happen... it's also about a more elastic formal and artistic vocabulary, one that can grow and change and adapt with you rather than being locked in... so it's flexible."
In the video Gilot comments "When you paint you have to be fast...when you are fast you are better than if you are slow. Because you have to put the energy of your being into the painting - that's the most important." In a beautiful statement published on her website Gilot has written: "if I start a painting from a quasi-embryonic state with forms that I make visible to better exclude them later, I do it mostly to initiate a trajectory. Like the ancient Greek philosophers, I want to prove movement by walking. I feel a kind of vertigo in front of the emptiness of a white canvas, and am ready to do anything to fill its void. But fortunately after my first thrust of energy, a hidden voice within me says, “No, that’s not it at all,” and propels me to make alterations that, even if not valid in their entirety, open the way to more reflections and more imaginative propositions. There is a progression; more and more fragments come into focus and begin to be attuned to one another until the whole purpose clarifies itself and, in an instant of enlightenment, leads to cohesion and unity."
Zachary Keeting and Christopher Joy visit the studio of painter Jen Hitchings.
In the video Hitchings discusses her narrative paintings of which she has written: "once, i found myself situated in a room with about a dozen others all focusing on the outcome of an event unfolding in our presence. that focal point, which consisted of another person and their fate, was the common thread between all of us. the moments spent in that room were ones that no participating party would be able to forget, and it spawned vigorous changes in the relationships of each involved. though my work had already concerned human relationships, from that point on it became a more prevalent, dominating, and undeniable source of content, and slowly manifested itself into visual forms."
James Kalm visits an exhibition of works by Lori Ellison at McKenzie Fine Art, New York, on view through February 16, 2014.
Kalm notes that Ellison "peruses her painting with an obsessive devotion to repeated pattern and compact picture plane design... Reducing most pictures to shades of one color, and simple binary motifs, through hand made distortions Ellison nonetheless creates illusions of warped space and billowing surfaces."
Blog post featuring a video about painter Annie Lapin, posted on the occasion of her exhibition Various Peep Shows at Honor Fraser, Los Angeles, on view through February 22, 2014.
The gallery press release states: "Quick, confident brush strokes appear to rest lightly on the surface of the canvas, operating as pure mark making until the slow burn of an image makes its way to the eye. Loose paint-handling and thin washes of color plot out strange architectures through which implausible landscapes peek at the viewer. Layers of imagery, rows of spray painted lettering, and thick areas of paint seem to float at various layers in relation to each other, creating an odd spatiality. While window like vistas allow the eye to escape to deeper horizons, the shallow relief space that parallels the surface of her canvases serves as a stage for a re-enactment the work's production; choreographed pours, stains, smears and drips act as both deconstructive and constructive moments."
A new film, produced by Jennifer Higgie for Frieze films documents a visit the the studio of painter Rose Wylie.
Wylie comments about being moved by the visual impact of things: "the excitement of what I've seen should be communicated - should be in the painting I make." She also talks about the dialogue between her paintings and film: "I like connection - I like the fact that films are seen by people and they're relatively inexpensive. The painting links into a kind of shared public ideology that we all have and that we all can take part in."
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.