Götz comments: "The works are all about tension or discrepancy between the reality of the space and an abstract idea. I see the space, and I design this abstract painting in my studio, which then changes again completely because of the reality of the space. The moment it’s painted onto a wall, it becomes part of the space - part of reality, never completely abstract. There is a transition between abstraction and the real space; it’s this play that interests me."
Barosh observes: "In Soul Bolt, Reeves’s immaterial figures present different degrees of psychological anguish and absurdity. The diminutive beings, cobbled together accumulations of painted debris, play out silent scenes of operatic grandeur or teeter on the edge, in parody of the Sublime. A new level of mystery is introduced when Reeves begins to pair the figures with photographed landscapes, placing the iconography of the dream world onto a representation of the real, replicating the inside-out feeling of terminal illness... Jennifer Wynne Reeves lived every moment of her life for art, sustained to the very end by creativity in its purest form, emotional honesty, and a striving for spiritual transcendence. Her work lives on reflecting her graceful humility and passionate spirit..."
Mendelsohn writes that Remington's paintings are works in which "purely visual elements feel both tangible and psychologically compelling. She paints hieratic forms that suggest machined devices, architectural diagrams, interiors of the body, shields, and emblems. In their ambiguity, the possibilities inherent in the imagery keep opening up multiple readings of exposed cross-sections, places of refuge, routes of escape, and at times, majestic flowerings... In all of Remington’s work we are confronted by the mystery of a psychic urgency charged with myriad impulses: the mechanistic, the sexual, the claustrophobic, along with the display of beauty and power."
Smith begins: "The longer I look at Mondrian’s paintings, the more I see in them. This applies to lots of art, but I think Mondrian built real time into his paintings. They unfold with unusual deliberation in a semblance of symmetry and order that is actually precarious, even volatile. This is especially true of his mature works from the late 1920s to the early 1940s, with their tensile fusions of glowing white backgrounds, black scaffoldings and blocks of bright primaries. Everything about them, the tiniest decision, is evident and has visual repercussions."
Browing comments: "There is never a plan or study for a piece in the beginning. That is just not a system that works for me. I’ve tried it, but I quickly realized that intuition, instinct, accident—whatever you want to call it—is the main driver of my work and the only way I get a piece that is “successful” to my eye. So for me, it’s pretty much the classic Abstract Expressionist approach: 'Make a mark, respond to that mark, etcetera.' So I would say at least 75 percent of each painting is made by trusting my gut and putting down colors and marks without really thinking them through. The other 25 percent of the process is where I will let a layer sit for a while and just look at it over a period of days, plotting my next move. That calculated choice may or may not remain in the final piece, but it is still an important part of the process. So in the end, the painting contains a cumulative effect of thoughtful decisions and purely felt acts."
Rhodes writes: "In their rows of rounded shapes and loosely brushed compartments Whitney’s earlier paintings resemble shelves or cavities, reading like sections of a catacomb or stacked fruit. Stacking is significant as the paintings are evidently constructed to accommodate color building with units or blocks of color; this has, indeed, become foundational to all his painting since the1990s... The structure in the earliest of the large oil paintings at Karma, Radical Openness, (1991) evinces an already begun absorption in image making that combines drawing and painting through repetition and difference. By this I mean that, rather than change a basic structure from one painting to the next, the basic structure remains the same: graphic invention and shifts in color space become the painting’s subject. Though continued right through to the present day, there is no sign of this structure inhibiting or reducing the possibilities of emotional or intellectual expression, of inquiry through color and line. In fact, it becomes indexical of changes along the way."
Noting that some of Gear's work bears resemblance to some contemporary abstract painting, Greenwood observes: "Gear does not do ‘casual’ or ‘provisional’ or even gestural. In fact, it is hard to find in all of his oeuvre a genuinely relaxed-looking moment, when the assumed dignities and diligences of being a fine-art easel painter are abandoned in favour of something more loose and instinctive. Even the more contingent of his images look pondered and preened, fully worked-up and over-worked... I get the sense that he strongly aspired to get his paintings to summon some kind of particularised feeling – a sense of a landscape, perhaps, which he himself had felt and experienced, and which he desired to capture, and which would be built into the work by him, rather than casually attributed at a later date by the viewer. I admire the specificness and determination of that vision, but I think the results fall short, for reasons both of his inflexible sensibility, and for the crude state of development in abstract painting at that time..."
Kennedy notes that the show will feature "15 major paintings ... that show the artist’s attempts to capture the bright blue sky and light and the harsh lines of the jagged coast. They were all painted in the few years of intense creativity after Lanyon looked up one day while walking along a Cornish clifftop, saw three gliders pass silently overhead, and pledged to join them."
Alexander writes: "One of the most striking aspects of Deininger's work is her sensitivity to the nuances of her materials -- her ability to achieve a wonderful variety of surface and edge within a highly reduced vocabulary. She does this with utmost subtlety, employing soft color contrasts, and shapes and lines that both adhere to and slide away from the grid."
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.