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."
James Kalm visits the exhibition Anke Weyer: Du at CANADA Gallery, New York, on view through January 26, 2014.
Kalm notes that Weyer's new paintings "are human scaled, reflecting a performative relationship between the canvas and the artist's body and its physical gestures. Using a freewheeling mixture of acrylics and oil paint, and a 'provisional' approach to presentation, Weyer extends a legacy of Abstract Expressionism with a "new media" aesthetic, at once knowing yet distanced through time and virtual information."
The gallery press release states that through "her role as a journalist that [von Wiegand] met Dutch modernist Piet Mondrian. Their meeting led to a close friendship, and through Mondrian, von Wiegand re-kindled her interest in Theosophy. For eighteen months, she also stopped painting in order to embark on a study of neoplasticism, after which she concluded that Mondrian’s art was not analytical, but intuitive. This insight led to her fascination with the potential of neoplastic theory. After Mondrian’s death in 1944, von Wiegand decided to dedicate her time to painting. She incorporated Mondrian’s iconic grid but jettisoned the constraints of pure neoplasticism and embraced a variety of influences and practices. Her search for spiritual enlightenment led her to Buddhism... Von Wiegand regarded all of her art as spiritual, but the work from these decades is explicitly so. Many compositions incorporate metaphysical images and symbols drawn from Theosophical prismatic color charts, Chinese astrology, tantric yoga, and Buddhism."
Christopher Joy and Zachary Keeting visit the studio of painter Sam Messer.
Messer draws while discussing his work including his portrait paintings. He notes that "they're kind of traditional, classical paintings - symbolic portraiture... I'm not interested in the likeness, I'm interested in the feeling - and that feeling, the way I work, comes across in the making, something happens and that's what I stay with... I'm not trying to get a specific image or specific likeness. I'm trying to find some relationship between that and the form, so therefore it can stay open."
Christopher Joy and Zachary Keeting visit the studio of painter Matt Phillips.
Asked about the interaction between the image and support edge, Phillips comments: "I like that the image itself is a form... as you start to make the painting, you're given the rectangle, but that it doesn't necessarily have to live withing that arbitrary shape. It also comes out of an interest in quilts and textiles where you have these image/objects but... the object itself when you put it on the wall is contending with real gravity. So, I think about how would this thing feel on its own outside the rectangle, how does the image droop and sag even though it's rooted in a hard-line geometric sensibility."
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.