Ashley Garrett interviews painter Lisa Sanditz about her work.
Sanditz comments: "Sometimes I make [the paintings] on location... And then I also sometimes work on the studies when I’m trying to figure out how to resolve something... Obviously memory and imagination are both a part of it –there are no faithful photographic renderings in the paintings, not that photographs are faithful either, but there's obviously a lot of interpretation and exaggeration in the work. So for example the drawings that I'm doing right now, the ones that are from here are done on location. I did them on location or I drew them in the studio right when I got back that day, so even if it was from memory it was very close to the experience. Then the drawings of the trees in St Louis are from photographs that my parents took with an iPhone, plus memory and kind of making it up even more than I do in other circumstances. So it's definitely kind of a big soup of all of those things. I’ll find images on the internet if it’s something that I can't really remember and I need to look up something again, but it's not just working from a picture online and then making a painting. Plenty of people do that, it's fine, but for me it's just a part of the process I guess. Lots of input, lots of output."
Jacquelyn Gleisner interviews painter Lisa Sanditz about her work.
Sanditz comments: "I paint what I experience, or read about or see in the landscape that seems to reflect some absurdity, or tension or metaphor for the culture at large. I often seek out places that have a compelling visual element as well. This is because I love to move around and experience the world, go places, meet people, hear their stories—and I also love to paint, no doubt. It’s not in reaction to a highly digitized world, but the refreshing tactile experience of it for me. I get a lot from the real world and hope to put it in the paintings. And I am drawn to this in the work of others. I believe in the power of narrative, whether it’s the narrative in the work or the narrative behind making the work. I am attracted to this in film, photography, and sculpture as well as painting."
A report on a panel discussion about contemporary painting at the exhibition Paradox Maintenance Technicians at the Torrance Art Museum, California, on view through March 9, 2013. The exhibition surveys contemporary painting in Los Angeles and beyond featuring the work of 26 painters.
"Despite some disagreement about whether painting was dead as a medium (or whether that was even a relevant question anymore) all the panelists did seem to agree that a resurgence of painting was taking place today in Los Angeles and elsewhere... 'I think the reason why painting still makes this resurgence time and time again is because it really confirms our humanity in a unique way that no other material can,' said [Caitlin] Moore... 'In the end, we crave something that really has a human touch or a human element to it...I think that's a reason why Los Angeles specifically is moving the way that it is, simply because there are so many avenues and mediums that are diluting that experience. It seems natural to migrate back towards painting...in a society that is so technologically saturated.' "
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.