Faruqee comments: "I’ve always been interested in knowledge that’s not passively received, but actively experienced. I guess that’s why I make paintings—or why I believe in making paintings—because the act of making the painting presents the question." She continues: "These are very optical paintings, some more than others. You look at them and see them very much as image and illusion. There are a lot of things happening with color in the moiré patterns that are kind of illusionistic. Yet I don’t want the materiality to be lost. The materiality is important, even though it’s sublimated somewhat. I feel like I’m sublimating the materiality for the optical experience, and so much of what you are seeing are traces or residues of material events. "
Walker writes: "Faruqee’s paintings are constructed using 'comb-like notched trowels' that she pulls through wet paint, 'kind of like raking sand in a zen garden.' As the layers of colors interact, they form the optical interference that creates the Moiré pattern. Though the paintings are technically done free-hand, Faruqee’s comb tool directs her designs and makes them appear digitally constructed. The tool creates a kind of rudimentary cyborg relationship that is responsible for the work. However, Faruqee has pointedly left behind many 'mistakes' that become traces of the artist’s presence. For instance, she does not tape off the canvas’ edges and there are places where her paints do not match up perfectly near the edges of her patterns."
James Wagner visits a novel exhibition of painting, "Battle of the Brush" in Bryant Park, NYC. The show pits "abstract" painters vs. "realist" painters in a tongue-in-cheek mock battle; a clash as obviously senseless as any taking place around the world today. Wagner remarks that the show is "one of the most creative art shows of the year... The work is on view in closed, retrofitted and climate-controlled vitrines (actually, two of the booths which had recently housed The Holiday Shops at Bryant Park). Visitors will be able to see the art, en plein-air, until February 2."
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.