Zachary Keeting and Christopher Joy visit the studio of painter Annie Lapin.
Lapin shows her recent paintings which achieve a delicate balance between found and willed form. Having been inspired by cave paintings, she combines a rorschach-like technical approach with a sensibility for creating complex images that results in compositions that feel specific, surprising and alive.
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."
Christopher Howard reviews an exhibition of works by Annie Lapin at the Weatherspoon Art Museum, Greensboro, North Carolina, on view through January 5, 2014.
Howard writes that Lapin's paintings are defined by dualities, they "are mostly abstract but allude to representation. They have an unfinished look but are carefully made, and are steeped in art history but very much of the moment. Lapin wants to have it both ways, and often does exactly that... In the newer work, Lapin has all but smudged out the figurative and representational elements. The level of abstraction... makes it difficult to identify any subject—but it hardly matters anyway. For Lapin, ambiguity is strength."
Holland writes that both Lapin and James are artists who "make ostensibly abstract paintings, but who use the art of the past in a self-consciously Post-Modern sort of way. They quote it, in other words, deconstruct it, 'employ it', to use James’ utilitarian terminology, 'as a tactic.' ... both artist use the language of strategies, of doing things like reconfiguring our notions of art history and referring, as is more or less obligatory now, to Deleuze..." "Intriguing paintings" happen, Holland argues, when these strategies fail.
James Kalm visits two exhibitions: Five from LA at Galerie Lelong and Kassay, Overton, Morris at Mitchell-Innes and Nash. Five from LA "features paintings by... Whitney Bedford, Kirsten Everberg, Alexandra Grant, Iva Gueorguieva and Annie Lapin... all California based painters who meld representation with abstraction or the mediation of pigment... Mitchell-Innes & Nash presents works by a trio of reductive abstract artists that blur the boundaries between painting sculpture and installation."
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.