Ten artists - Graham Boyd, Alice Browne, Jeremy Gilbert-Rolfe, Alan Gouk, Robert Linsley, Jeanne Masoero, Rebecca Norton, Mark Stone, David Sweet, and Gary Wragg offer their thoughts on drawing in abstract painting.
Browne remarks: "When I think about it, drawing seems to be an innately abstract act: reducing matter and ideas to a series of lines and symbols for something that we may understand (such as these letters), or simply a trace of the movement a marking tool has taken, presumably at the end of a human hand... lines can be reminiscent of string, wire or fabric, but most often of outlines of a suggested form. They leave space for the imagination to fill, as well as being unequivocal. Drawing for me usually involves instantaneous decision-making between eye/mind and hand, which can be rewarding. On the flip-side, initiating this bold directive can be destructive and very hard to renege on. Drawings can be persistent; no matter how many times I paint over, they remain."
Andy Parkinson blogs about the exhibition New Possibilities: Abstract Paintings from the Seventies at The Piper Gallery, on view through December 21, 2012.
Parkinson writes: "In the seventies abstract painting in Britain was in crisis. At least that’s how it seemed to some. If during the sixties it had become hegemonic that privileged position was on the wane. Peter Fuller would shortly declare American abstraction to be not much more than a CIA plot, within the discipline of painting figuration was in resurgence, whilst outside it performance art and conceptualism were fast becoming the dominant art forms, leading to the stagnation of abstract painting. The exhibition... of fourteen painters from the period (all still painting today)... counters this viewpoint, demonstrating that instead abstraction in this decade was vibrant and varied."
Wragg writes: "I am fascinated by Twombly’s compulsion, shared with many recent and current painters, for urgency, here-ness, enveloping near-ness, and close-ness, beyond composition. Concomitant with science’s understanding of the expanding evolution and nature of the universe, I find it interesting to see how the mark-making of Turner, Monet and Twombly evolved successively bigger, nearer and more emphatically tactile from one to the other over the span of three centuries. Twombly’s application of paint is more splashy, gungy and physical than Monet’s, whereas Monet’s is more systematically flattened and emphasised across the surface than Turner’s. Nowadays bonkers erratic in your face scribblings and splashings or heightened-colour-flatness stems from a very real need for possession, for being thrown out, in and around, and gripped by a simultaneously in out of kilter connectivity. The spectator becomes a magnet catching the memory of fleeting sensations of being in the studio and has an empathy with the artist working directly with painting. The overriding power of making and resolution seems to arise in spirit as much as in feeling, in the hand; it is central to the experience of most of the paintings in this exhibition, that seem of their time yet as timeless as the first handprint in pigment on a cave wall, made forty seven thousand years ago."
Samuel Cornish considers the work of painter Gary Wragg in relation to provisional painting.
Cornish writes "Wragg is also an artist who avoids heroic, definitive or authoritative statements, who posits a vision of art which is as circular, or perhaps labyrinthine, as it is progressive. In all these senses he is provisional, almost with a capital P. Where Wragg differs – or at least the most crucial of the many ways in which he differs – from those artists gathered under Rubinstein's rubric is in his evident and overriding belief in art, and in abstract art, as a place of meaningful and compelling visual experience."
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.