Painter Alan Feltus discusses the elusive nature of meaning in his painting 2004 Summer.
Feltus comments: "I tend to focus on the underlying structure, or composition, of my paintings and how I work with that intuitively, not basing the structure on any traditional systems. Composition has always been very important to me. What one can read into the image I leave to the viewer... I want paintings to reveal their meanings slowly, a little at a time, and always changing. That is what I think good paintings do. So, for me meaning should be elusive while at the same time it wants to be known."
Seed writes: "Feltus is a veteran representational artist known for his close-hued paintings of figures who carry an air of self-absorption tinged with melancholy. Remarkably, Feltus works without models and, for years, has used mirrors, referring to himself as the starting point for the faces and bodies of both his male and female figures. Seeing his works together is just a bit uncanny: it's a bit like attending a Feltus family reunion. The upstairs exhibition area at the Lux has 14 Feltus originals on display -- a dozen oils and two drawings -- where they emanate burnished quietude and a hint of august strangeness."
Frank Hobbs blogs a selection of thoughts on painting by Alan Feltus.
On painting's function in society Feltus writes: "I think art wants to be something people can turn to for a kind of meaning in their lives, or for a calm place within the turbulance of our modern world. Art doesn't have to explain our situation within the complexity of a chaotic and unstable society. Art can become social commentary, but it can also serve a much needed purpose providing a place of refuge wherein one can find a reason, or justification, for all the battling we have to do, mentally or physically, most of every day of our lives."
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.