Lily Kuonen reviews Jered Sprecher: The Hollow That Echoes at Gallery Protocol, Gainesville, Florida, on view through May 29, 2015.
Kuonen writes: "... just as a coherent string of words creates a sentence, or several clicks creates data tracking, an assortment of visual qualities or even strategic marks can be combined to produce an image. This would imply that a similar logical or systematic approach could be used to produce paintings, but that these paintings will be subject to glitches or corruption — as are digital images, files, and even popular phrases. Is there a way to resist this degradation? Jered Sprecher’s paintings seem to employ a form of camouflage as protection. By creating the appearance of inconsistencies, anomalies, and prefabricated layers of irregularity, they dissimulate the process of generation loss."
An interview with painter Jered Sprecher whose exhibition Half Moon Maker is on view at Steven Zevitas Gallery, Boston through May 10, 2014.
Sprecher comments: "When I am working on a painting, I am pushing it toward being a concrete object, yet I want it to maintain poetic possibilities. As I look at a painting, even a line within that painting is evocative of an emotion or thought. This line resembles something in the physical world. It is at peace being a line, yet wants to be more than that. We are animals built to search for meaning in objects, to create images, to speak words, to contemplate, to affect change. As an artist working with painting, I find it holds infinite possibilities. That is what keeps me 'dreaming,' searching, and grasping for things that are in plain sight, and yet just beyond reach. It is interesting that you mention metaphysics. I think of the surface of a painting as a chalkboard at which we hash out meaning, problems, pose questions, rephrase those questions, and even bang our heads against the board. This requires thinking and feeling empathy for what is present in that work of art and by extension the world around us."
Valerie Brennan interviews painter Jered Sprecher about his work and practice. Sprecher's paintings are currently on view in the solo exhibition I Always Lie at Jeff Bailey Gallery, New York through March 23, 2013.
Sprecher comments: "Paintings usually start from two different places. Some paintings begin with a found image, something like a quilt, gemstone, graffiti, architectural photograph, or child’s drawing... The other way that paintings start is less structured and often results from taking left over paint and applying it to empty canvases. It is a strange mix of thrift and feeling around in the dark, trying to find a painting... I find that the two processes often meet somewhere in the middle as paint and image contend with each other on the surface of the canvas. Lately I have been thinking about how these two approaches relate to inductive and deductive reasoning."
Vince Contarino blogs installation photos from the recent exhibition Abstract Kansas City at the Nerman Museum of Contemporary Art in Overland Park, Kansas.
The exhibition showcases the museum's collection including a fantastic selection of paintings and painting inspired work by artists with Kansas City roots, including Dan Christensen, Rachel Hayes, Anne Lindberg, Wilbur Niewald, Warren Rosser, Jered Sprecher, Eric Sall, Brian Fahlstrom, Sharon Patten and Stanley Whitney.
In a review of the show (with more images) in the Kansas City Star, Dana Self writes: "Despite their varied media, generational differences and range of material application, the exhibition artists are linked through their devotion to systems of discovery and, of course, their Kansas City connections. Personal narrative, chaos, metaphysical ideas of the sublime and pure formal processes are the schema through which each artist deploys his or her own sense of self and place."
Michael Rutherford interviews painter Jered Sprecher. About his painting process Sprecher notes: "The paintings are not planned out; in effect I am constantly introducing contingencies to each work. Limits and unexpected occurrences are barriers to be embraced, challenged, and creatively addressed. If I look at the logic that resides in a particular painting or work of art, there is what is known and unknown. It is that play between the two that creates a poetic challenge that we have to wrestle with..."
Sharon Butler posts about "the open proposition in contemporary abstraction." She writes: "There is a studied, passive-aggressive incompleteness to much of the most interesting abstract work that painters are making today. But the subversion of closure isn't their only priority. They also harbor a broader concern with multiple forms of imperfection... The painters take a meta approach that refers... back to the process of painting itself."
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.