James Kalm visits the exhibition Linda Francis, John O'Connor, Ken Weathersby at Suite 217, Bushwick, Brooklyn, on view through July 15, 2013.
Kalm notes that the three artists are "some of today's most 'obsessed' pattern followers and list makers." In the exhibition essay, Michele Alpern writes: "The exhibition that joins works by Linda Francis, John O’Connor, and Ken Weathersby similarly makes me think about how artists can have a critical relationship to the near-omnipresent forces of the commodity market, in a culture of capital that has expanded even further over the past few decades. The artworks here provoke questions about the flow of capital exchange that seems to saturate every aspect of our lives." Read the full essay here.
Hassell writes: "To put it simply, Francis’s work is something of an intellectual feast. She is one of those people whose baffling understanding paired with a grasp of such a wide range of ideas allows her to distil profound notions into rather approachable terms. Seemingly simplistic at first, when prodded to explain, her thought process becomes clear in such a way that the truth of her statements seems inescapable. Her work is very similar, which makes perfect sense. The abstractions she chooses to pursue are derived of massively relatable notions reduced down to concise forms, which then open back up to their originally far-reaching impact given a little investigation by the viewer."
Ben La Rocco interviews painter Linda Francis on the occasion of the upcoming exhibition Linda Francis: We Can Build You at Minus Space, Brooklyn, on view from February 15 – March 23, 2013.
Asked about her newest work, Francis comments: "I digitize the images then I see all this other stuff happening on the computer—fantastic—and what’s fantastic about it is that I get the computer noise: the stuff on the computer that wasn’t there in the image. So in a certain sense it became a brush to me. So here, this image started to have things that were there because of the tool that I was using and I really love seeing this invisible stuff that I never knew existed. So I decide to incorporate it into the image. It’s a structure, you know. The closer you look at it the more you realize it’s an on/off structure. There are sort of substructures that happen. Certain kinds of rectangles, certain types of squares, certain kinds of dots. I’m not just talking about pixels, but things that happen to build up to other patterns."
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.