Desmarais writes: "Papering the walls with large hand-printed sheets, she has created a vast picture of layers of images in various stages of dissipation. Gaseous clouds of pixels and picture-parts unravel, carrying along image-objects from the artist’s past and present like celestial bodies in an expanding universe, or rending in giant tears and splits. It’s an all-over work of multiple print techniques, piled one atop another; troweled-on schmears of paint in pastel colors build out physically from trompe l’oeil spaces and structures, all coming together as an environment loosely bound by an irregular grid — faux posts and beams that mimic the supports of gallery walls and ceilings."
Keeting comments: "Improvisation is huge, but there’s careful organization going on as well; these two polarities are sometimes at odds, sometimes complimentary. The proportions of synthesis and discord vary from piece to piece. Slurries of difference excite me, and keep the painting process difficult. Toggling between the impulsive and the strategic is as much psychological as it is physical."
Robin Greenwod reflects on future directions in abstraction.
Greenwood writes: "... once abstract art takes upon itself a full measure of human content, the counter-intuitive sense of this proposition – of abstract content as human content – inverts. Remember, we are not trying to illustrate human values, we are trying to “make” them anew. The apparent realism of the ambition is to be entirely transmuted into plastic and spatial values. This in itself is not a new idea; psychological values have always been sought in, and made concrete by, the plastic and spatial properties of art, whether figurative or not. New and advanced abstract art just takes this further, and does so without subject-matter or prejudgement."
Tim Keane writes about the paintings of Stanley Boxer which were recently on view at Berry Campbell Gallery, New York.
Keane observes: "If there is a single identifiable subject to his resolutely abstract works, it is coalescence — the gradual coming together of disparate colors, textures and granules. As a result, the paintings frequently suggest organic processes other than artmaking. Some seem like bird’s-eye views on to the rocky, color-rich striations of a riverbed. Others resemble magnified still images of plasma and blood cells. Still others could be close-ups of rough-hewn, jewel-like coral reefs."
Zachary Keeting and Christopher Joy visit the studio of painter Andrea Belag.
Belag remarks: "How important is it to be strictly abstract? That's something that's on my mind. These teeter towards something else and how much of that am I going to let in? ... I'm suspending rules and beliefs right now to see how far I can go suggesting an experience, and still have it be my language and my work."
Roth writes that "[Burckhardt's] off-kilter compositions, found in the moment of their creation, fully command the space they inhabit. Part of their strength rests with how the artist deploys strong and sometimes clashing colors... The tensions are eye-grabbing. When it comes to paint handling, Burckhardt leans toward flatness. Yet between the surface and the sometimes-visible weave of painted linen there are plenty of painterly effects, evidenced in washes, drips and semi-opaque sections where different layers intermingle. Burckhardt isn’t much moved by the hands-off ethos of Postmodernism; he values labor and hard-won results too much for that."
Sharon Butler interviews painter Justine Hill whose exhibition They Just Behave Differently will be on view at Denny Gallery, New York from May 19 - June 30, 2016.
Hill remarks: "I’ve been working on shaped canvases for about a year, playing with this idea and working on ways to break out of the rectangle. I wanted to engage with the wall. It’s hard to get rectangles to interact with the space around them so I started piecing rectangles together and building composite images from separate paintings, I also tried things like drawing directly on the wall. And then I started to pull shapes out from the rectangles, which is where the cut-outs came from. I always defined myself as a landscape painter and when I started using shape canvases, they began to feel more like creatures. I liked that. I felt as though the forms were exactly the same, but changing the format, once they were separated from their rectangular environment, changed the way they behaved. And they moved around more, they had a freedom."
Cohen writes: "Process in these 'black' paintings hovers between deletion and accretion. The eye quickly becomes attuned to the survival of obscured, subcutaneous shapes and zones, and indeed colors, without compromising the surface’s serenely achieved sheerness. In this respect, the enigmatic black paintings of Ad Reinhardt, with their cruciform substructures, inevitably come to mind, as do the contingent emerging complexity of Suzan Frecon’s irregular geometries. In Provosty’s case, in counterpoint to the play of glossy bent shape against allover matt ground, an off-kilter vertical axis serves to further destabilize monochrome finality, adding uneven slivers of exposed canvas to outer edges of the rectangle to give resulting shape to what would otherwise have been merely accepted as a given, a field. These are complicatedly simple pictures."
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.