Sloane comments: "I approach each painting as though I have never painted this image before, allowing the works to evolve organically... Every work has a grid drawn onto the surface. Laying in the texture is physically challenging. I like to put down each quadrant during one session – this gives the overall texture of that portion a cohesive conforming surface. Each time I leave the studio and return, there is a slight difference, as my hand adjusts to the pressure of the process... There is an ebb and flow that each painting generates, and I follow its lead. The works all address my interests in language, texture, color and geometry. The juxtaposition between thin and thick, for whatever reason, is particularly attractive to me... I enjoy the play of the painting when it is slightly off square, with square either at dead center or slightly off, anchoring the entire image."
Phillip J. Mellen interviews painter Louise P. Sloane about her work, practice, and development as an artist.
Sloane discusses a wide range of subjects from her intuitive approach to painting, one in which she "fuse[s] geometry, color, and texture," to formative influences including works by Josef Albers, Morris Louis, Gene Davis, and Ad Reinhardt that Slone encountered in the exhibition The Responsive Eye at the Museum of Modern Art. She comments that these works "put me into a very different frame of mind... when I look at these works even today, I'm swooning when I see them. They so deeply influenced me and my regard for color and space and light, that was a moment for me."
Painter Jeffrey Collins posts a video segment from his studio visit with Louise P. Sloane. Collins will edit his series of interviews into a future documentary entitled Who's Afraid of Red Yellow and Blue. In this clip Sloane narrates the development of her recent work.
Rogene Cuerden has written that Sloane "has created richly saturated hues that immediately catch the eye. Upon closer inspection, one discovers a multi-layered, incised surface that offers a tactile experience, as well as a visual encounter. Finally the artist utilizes written words, religious symbols, number codes and abstracted markings to communicate a myriad of ideas…"
Halasz writes that Sloane's paintings are "painstakingly covered with completely straight, narrow rows of somewhat squiggly rows of paint. These have been put in place by a pastry tube, but on top of a base layer of usually contrasting color, and covered over by a third layer, so that the effect is of a lush bed of plants or a richly embroidered fabric."
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.