Lita Barrie writes about the paintings of Lisa Adams whose works are on view at Miami Project, CB1 Gallery, booth #215, December 3-8, 2013.
Barrie notes that "Adams’ recent melancholic paintings, do not represent melancholy in obvious themes and iconography they exhale it through enigmas - created by combining different emotions and different painting styles of abstraction and semi-representation... Adams’ forlorn landscapes, condense voluminous feeling through imaginative metaphors based on real things she has seen which, paradoxically, convey both hopelessness and hopefulness - the contradictory feelings that create melancholy. In downtown Los Angeles where Adams lives - and under-developed foreign countries she has visited - she discovers ' things worth looking at amidst tragedy and pollution.' As Adams explains, 'I like distressed, forgotten places and then see amidst the bereft scenario a field of flowers.' It is these 'moments of joy' that spark her imagination and allow Adams to 'reconstruct the world in my own terms.' This imaginative transformation of actual things and places she has seen in the real world, allows Adams to visualize melancholy, rather like Giorgio de Chirico - to make incomprehensible feelings, tangible."
Holly Myers reviews the exhibition Lisa Adams: Second Life at CB1 Gallery, Los Angeles, on view through May 12, 2013.
Myers writes that "If painting can be said to live at the threshold between the external visual world of objects and the internal visual world of the imagination, the relative pull of either pole varies widely from artist to artist." In Adams recent paintings, Myers continues, "the tug of war is palpable... It is not a shift from representation to abstraction — Adams has always moved between the two — so much as the loosening of a hold on representational objects, with all their advantages and limitations, and a self-conscious embrace of the more nebulous terms of imaginative space."
Julia Schwartz interviews painter Lisa Adams about her work.
Adams comments: "I usually work off of visions—almost like hallucinations. Sometimes the visions come in multiples but usually they appear one at a time. I go with that image, make a quick thumbnail sketch and work out from there, adding to and/or making modifications. I also compose the beginnings of a painting on the computer but I don’t paint those images verbatim. I’m mostly just interested in composition at that point. I love using the computer as one tool in my process."
Lily Simonson interviews curators Kristin Calabrese and Joshua Aster about the exhibition Unfinished Paintings at LACE - Los Angeles Contemporary Exhibitions on view through August 28, 2011. The exhibition features "paintings by 38 different artists at various stages of completion" illuminating the process and decision making that occur in the development of a painting.
Calabrese says: "I look at painting as a container that has the flexibility to address multiple layers of meaning, dependent only on the intention of the artist. A painting is complete in itself and carries itself with you, wherever you put it..."
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.