Yerebakan writes that: "Hallucinatory and subliminal arrangements of forms and colors create absorbing works of art, in which the artist delivers his viewers the freedom to build their own interpretations and narratives rather than imposing thematic restraints. The objective and uncharged nature of colors, building themselves up from a series of minimal intersections, bears unexpected and ever-changing correlations with the light of the space surrounding them."
Ashley Garrett interviews painter Lisa Sanditz about her work.
Sanditz comments: "Sometimes I make [the paintings] on location... And then I also sometimes work on the studies when I’m trying to figure out how to resolve something... Obviously memory and imagination are both a part of it –there are no faithful photographic renderings in the paintings, not that photographs are faithful either, but there's obviously a lot of interpretation and exaggeration in the work. So for example the drawings that I'm doing right now, the ones that are from here are done on location. I did them on location or I drew them in the studio right when I got back that day, so even if it was from memory it was very close to the experience. Then the drawings of the trees in St Louis are from photographs that my parents took with an iPhone, plus memory and kind of making it up even more than I do in other circumstances. So it's definitely kind of a big soup of all of those things. I’ll find images on the internet if it’s something that I can't really remember and I need to look up something again, but it's not just working from a picture online and then making a painting. Plenty of people do that, it's fine, but for me it's just a part of the process I guess. Lots of input, lots of output."
John Bunker, Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, Alexandra Harley, Patrick Jones, Sam Cornish, Mark Skilton, Hilde Skilton, and Nick Moore visit the studio of painter Emyr Williams.
Alexandra Harley: The "passage of colour isn’t just pure. It may be a pure colour all the way through but the juxtapositions of the other colours around it are changing that colour immensely."
Anne Smart: "I know [Williams' paintings] are going to be about colour, but If I try to forget that, what comes out really strongly is how they make me feel… and I’m minded to think of a painting that relates to both of them: Monet’s 1860 “Women the Garden”, and what that does for me, and what I have always felt strongly about, is the light in it; and both these paintings articulate what light does, and I feel a strong presence of that light and what that sensation can give you spatially."
Robin Greenwood: "The elements in the painting are so much more demanding than one stripe next to another. I feel I’ve seen that sort of thing before – you know, beautifully coloured stripes… but here, I’ve never seen anything quite like this before."
Richard Benari interviews painter Daniel Levine about his monochrome paintings.
Levine comments: "I tend to work in groups, and also different applications. By groups I would mean the same paint - the titanium group by 'x' brand... the titanium group by 'y' brand... the titanium group by 'z' brand. Then there would be the zincs. There'd be many, many, many different types of whites. And then different mediums as well... In each session I ... generally work on one type of paint, one brand... but they're all individual pieces.. different scales, different surfaces, different applications, different tones, different depths of the the canvas, so [it's] a narrative, jumping from one to the next to the next."
In a new video by Carol Saft, painter Katherine Bradford discusses her recent "shelf" paintings on view at Arts+Leisure, New York from November 15 - December 14, 2014. Bradford remarks that the shelf element developed out of an interest in developing the "sense of weight and gravity" in her work.
The gallery materials note that "as is always the case with [Bradford's] work, the real subject is invariably paint itself, in all its multi-hued, crusty, clunky, gooey, crumbly, smeared and expressed glory. Her shelf paintings reference the horizons and brute forms of Philip Guston as much as the armature and palette of Howard Hodgkin, and the distortion and nautical humor of Malcolm Morley; her palette blows hot and cool but her signature playful line and irreverent charm shine through consistently in every piece."
Peter Simpson reviews Jack Bush at The National Gallery of Canada, on view through February 22, 2015.
Simpson writes that the show is "an expansive demonstration of what painting can be. Dozens of paintings, gleaned from over 50 years of Bush’s career, come together as a journey through the evolution of his style and vision. While walking through room after room of Bush’s work, visitors see how he worked through his key influences, from realism to expressionism to the specific impact of the Group of Seven and its contemporaries... As a sequence, Bush’s paintings are like a tour of the possibilities of painting, the directions it can go in and the ideas it can illuminate. Additionally, the exhibition is a primer in how to look at abstract art — it reveals how styles relate, and how one can lead to, and help make sense of, another."
David Rhodes reviews works by Bettina Blohm at Marc Strauss Gallery, New York, on view through December 12, 2014.
Rhodes writes: "Great Escape (2014), which... measures 68 x 84 inches, has black curved strokes that change direction from one square to the next appear to possess a restless energy — like a flickering diagram. In counterpoint, the squares each tilt at a shallow angle, maintaining the rhythmic shifting of both space and surface. Matisse certainly comes to mind in the red, black and white color range and the way in which the black curved lines recall the body, albeit indirectly. The degree to which decorative effect and broken pattern proliferate changes from painting to painting."
Asked about abandoning paintings Morris replies: "I try not to. Instead, I will turn a painting around to face the wall and wait on it. I am actually waiting on myself to catch up to the painting. I can erase things, but I need to decide to do that immediately, to really remove it and its trace. I want to be careful though, because every time you do something new and weird, the gut reaction can be to decide it’s not good. It is the “shock of the new” element. So, instead, if it’s really weird, I will try to leave it. I leave a lot of stuff that makes me uncomfortable. There is something exciting about making a choice and having to stick with it. I think that painting is all about this idea of regrouping. How do you incorporate your mistakes or your failures? It is endemic to painting: learning to live with those experiences, or engaging your process to figure out what is working. It is shifting all the time. I love the feeling of potential – of not knowing what I’m going to do, how to solve the problem, how it’s going to turn out."
John Walker: Recent Paintings on view at Alexandre Gallery, New York, from October 2 - November 15, 2014.
Tomorrow (November 15) is the last day to see an exhibition of recent paintings by John Walker at Alexandre Gallery, New York. If you haven’t seen the show yet, you should. On view are the latest in Walker’s series of plein air sketches and abstract landscapes.
John Walker, Drift, 2014, 84 x 66 inches (courtesy of Alexandre Gallery)
An ostensibly abstract painter, Walker has been painting the same spot in Maine for years, revitalizing abstraction through intense, prolonged immersion in nature. He has dirtied abstraction up with mud and salt air, exposed it to the rain, snow, and frigid wind. And with incredible results - never have abstract shapes been infused with such particular light and material specifics. Walker’s forms exist at a particular time on a particular day.
Samuel Jablon interviews painter Tamara Gonzales on the occasion of her exhibition Winter is Coming at Klaus von Nichtssagend Gallery, New York, on view through December 8, 2014.
Asked about how the "forms relate to the patterns" in her work, Gonzales responds: "Partial abstractions? Non perspective art? While I don’t consider myself a formalist in that my primary concerns are all about a certain color or line doing a certain thing with regards to the other things contained in the picture plane—all those activities are going on in the background when I am painting, and I have a good understanding of color so they are very important considerations. The patterns are like different brushes…a palette of there own. For instance with the lunar skywalkers there is a figure ground relationship and the right foot steps forward. A right footed Kouros emerging from a pattern with a sense that he or she or it can easily dissolve back into the pattern. There is a youthfulness conveyed. Hopefully a playfulness too. Within the context of Winter is Coming I like to think of the sound fresh snow crunching underfoot."
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.