Mary Jones interviews painter Amy Feldman whose exhibition Grey Area was recently on view at Sorry We're Closed, Brussels.
In her introduction Jones writes: "With simple and strong contrast, Feldman’s forms activate the ground, dispelling any metaphors of the mechanical. Expressive, letter-like cartoon and carnal shapes drive Feldman’s unique, psychologically charged language. The rigorous simplicity of the work embraces the fundamental elements of painting, a barebones approach of all or nothing, without revisions or second layers."
Asked about figure/ground relationships in her work, Feldman comments that she is "obsessed with figure/ground relationships and negotiating the space between them, the space that flips between something and nothing—an attentive and imprudent flip. When the works get large, a chunk of figure that you could almost hold onto becomes ground, and vice versa. I am interested in highlighting the areas between figure and ground that might be ignored. These are the areas that the drip embodies. The drips are completely accidental, but I see them as integral to the overall image structure."
Jonathan Chapline and Lorraine Nam visit the Chelsea studio of painter Mary Jones.
Jones comments that in her paintings "there’s an implied figure and its usually sort of a very ancient prehistoric Greek Cycladic reference. I wanted to reference something prehistoric and from the beginning of human history to sort of connect with that primal part of art making. I think in terms of gestural painting, it roots them in another kind of impulse-the desire to find form in something and find form in chaos and to make it in this case, pretty literal."
Max Estenger visits the studio of painter Mary Jones.
Estenger writes that Jones' recent painting "are her most muscular paintings with form and mass dominating where once thin washes of paint predominated. Her introduction a few years ago of spray paint is now incorporated seamlessly and some of the schematic ghosts from her earliest work have reappeared. Despite the fact that these paintings contain more traditional figure/ground relationships, color continues to play an important role. The newest paintings have large swaths of paint applied with a roller, but not so much rolled as troweled."
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.