Scholz writes: "The word gestural comes to mind when looking at Lawlor’s wide, flowing sweeps of paint, but the cumulative effect is more inevitable than personal, like the gradual impact of erosion or the incremental growth of a tree. The pieces are all oil on canvas, but the paint has been so intensely thinned with clear spirits that the surfaces are chalky, matte, and light-absorbing, producing a tension with the wet, flowing brushwork and causing the remarkably intense colors to at first seem muted."
Baker writes: "A century ago painters started to abandon the long tradition of picturing enterable spaces in which to stage narratives of events or observation. Yet the question where painting gets its content still haunts abstract work such as that of Erin Lawlor and Jenny Bloomfield... [Finnis'] odd artifacts draw meaning from echoes of Op art's dizzying patterns, from their use of arbitrary ready-made surfaces and from references - at which their titles hint - to obsolete or enduring computer technology."
Yifat Gat posts an interview with painter Julie Torres, curator of What I Like About You at Parallel Art Space. The exhibition which opens during Bushwick Open Studios weekend features a work by 19 international artists who have each selected an artist from Brooklyn to participate in the show.
Torres comments that "it never hurts to surround yourself with inspiring artists...... and LOTS of them. When a big group of wonderful people get together, the energy is palpable and the possibilities seem limitless. I think it makes my own work braver, less timid, and more joyful. It definitely gets me out of my own head. It's exhilarating. [The stylistic groupings] happened pretty organically... I naturally gravitate toward other painters, specifically those who radiate in a very human, very raw exuberant way. Since those are the artists I follow online, those are the folks I invited. Not everyone I invited could come, but it's a very exciting group. And because they are each selecting a Brooklyn artist to showcase, it will expand further from there."
The must-see exhibition includes work by Julie Alexander, Jamie Powell, Karl Bielik, Henry Samelson Valerie Brennan, Rodney Dickson, Brian Cypher, Michael Voss, Jack Davidson, Frank Holliday, Brian Edmonds, Patricia Satterlee, Justine Frischmann, Clinton King, Erin Lawlor, Lael Marshall, David T Miller, Brooke Moyse, Lucy Mink, Chris Moss, Sean Montgomery, Yadir Quintana, Melanie Parke, EJ Hauser, Julia Schwartz, Sharon Butler, Peter Shear, Katherine Bradford, Wilma Vissers, Tatiana Berg, Ian White Williams, Paul Behnke, Douglas Witmer, Alex Paik, Pier Wright, Lipke, Stephen Wright, Ky Anderson, Liz Ainslie, Lauren Collings, and Saira Mclaren.
Sharon Butler posts installation photos from the exhibition Emergence at Hôtel de Sauroy, Paris, on view through April 27, 2013. The show features works by Eve Aschheim, A.T Biltereyst, Katrin Bremermann, Sharon Butler, Claire Chesnier, Clem Crosby, Fieroza Doorsen, Amy Feldman, Yifat Gat, Kevin Monot, Erin Lawlor, Paul Pagk, Marine Pages, Andrew Seto, Radu Tuian, Richard Van der Aa, Don Voisine, and Michael Voss.
The exhibition, co-curated by Katrin Bremermann, Erin Lawlor, and Yifat Gat presents work that investigates "the way complex systems and patterns arise out of a multiplicity of relatively simple interactions."
Valerie Brennan interviews painter Erin Lawlor about her work and process.
Lawlor comments: "One painting very much leads to another. There's a certain amount of background work that goes on before I get down to the nitty-gritty, so that takes the pressure off the starting point, helps the warming-up process. It's not that these don't matter- they do, in terms of initial choices of format, tonal values, but it's a build-up over days or weeks. There's a gradual build-up before the culminating phase of work. I think it was de Kooning who said that painting a picture was like crossing the road, and at some point I find I have to just have to propel myself into it and take the leap. In that final phase it's more a question of being attentive to what's going on in the canvas for me, there's an internal logic that's takes over, the moment Guston described as leaving even yourself at the door. And of course I never know it is the final phase. Despite the quick drying times there's a few days when I can still erase the whole thing and start over, and I do that constantly. It's only over time that I ever know if I think a piece is really finished. And even then, not so much finished, as satisfactory, if it has life of its own, and one that interests me. I self-edit constantly, destroy a lot, I'm very wary of complacency."
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.