Zachary Keeting and Christopher Joy visit the studio of painter Paul Pagk.
Pagk comments: "The experience I'm going for is different than what happens when I'm painting them... I'm trying to get to a place I don't know ... then it can capture my attention... I don't want paintings to arrive at final ideas too fast."
Adrian Dannatt reviews Paul Pagk: Oeuvres Récentes at Galerie Eric Dupont, Paris, on view through October 26, 2014.
Dannat writes: "A painting by Pagk is almost an exercise in thinking aloud. They allow us to see the artist slowly make up his mind and then shift, like a giant ocean liner changing course, leaving the rich wake of its decision trailing through blue water, the long process of composition left as a physical presence... The Pagk Paradox remains: work that is both seemingly casual, gestural, spontaneous yet also deeply pondered, solemnly crafted, weighted, freighted with their own history. ... his work seems at first rooted in a long tradition of old-school abstraction (American AbEx and European movements from Constructivism to Support-Surface) but then reveals itself to be an open system of free-floating signifiers altogether appropriate to the contemporary digital environment... But these are handcrafted, infinitely meticulous and altogether human screens porting the presence of all the many stages of their making. Pagk plays between the 'worked' and the provisional, mistake and certainty, the heroic and the throwaway, the build up and the letdown. As a result, his work contains a kind of layered time, a deep map of its own making."
Stout writes: "The drawings are all wonderful; however, the new painting, keenly titled Double Entente, stands out as the high point of the exhibition. [Gallery Director Lawrence] Greenberg describes Double Entente as, 'A large painting of cadmium maroon and white … divided by two white parallel elements. The strict, incised forms strike like austere hieroglyphs through the thickly layered skin of the ground. Image, surface and linear activity are equally subjects of the composition for Pagk.'"
Sharon Butler posts installation photos from the exhibition Emergence at Hôtel de Sauroy, Paris, on view through April 27, 2013. The show features works by Eve Aschheim, A.T Biltereyst, Katrin Bremermann, Sharon Butler, Claire Chesnier, Clem Crosby, Fieroza Doorsen, Amy Feldman, Yifat Gat, Kevin Monot, Erin Lawlor, Paul Pagk, Marine Pages, Andrew Seto, Radu Tuian, Richard Van der Aa, Don Voisine, and Michael Voss.
The exhibition, co-curated by Katrin Bremermann, Erin Lawlor, and Yifat Gat presents work that investigates "the way complex systems and patterns arise out of a multiplicity of relatively simple interactions."
Mario Naves posts his catalogue essay for the exhibition Wit, curated by Joanne Freeman, at The Painting Center, New York through February 23, 2013. The exhibition features works by Marina Adams, Polly Apfelbaum, Joanne Freeman, Joe Fyfe, Barbara Gallucci, Phillis Ideal, Jonathan Lasker, Sarah Lutz, Doreen McCarthy, Mario Naves, Thomas Nozkowski, Paul Pagk, Ruth Root, Fran Shalom, and Stephen Westfall.
Naves writes: "Eschewing the purity that was once abstraction’s sine qua non, the artists featured in Wit opt for an almost promiscuous inclusivity. No inspiration is suspect. High-flown ambitions–sure, we got ‘em; historical cognizance, too. But these artists are also characterized by a willingness to embrace a veritable laundry list of references: nature, narrative, comics, design, technology, science, representation and, not least, humor. Not that humor has been entirely absent from the history of abstract art: Malevich pranked Mona Lisa five years before Duchamp and Mondrian paid winning homage, in oil and canvas, to his beloved boogie-woogie music. Still, abstraction nowadays is more and more a repository of quirks, tics and pictorial double entendres, having as much in common with Buster Keaton, say, as Neo-Plasticism."
Interview with painter Paul Pagk about his work and studio practice.
Pagk says: "I spend my time painting even in those moments I am not physically painting... [in the studio] ... I will be thinking about the last paintings I have just worked on or brought to a level from where I am able to move on to the next work. I spend my time adding and removing from the painting, finding the color, the light, removing an element, adding to remove once more, allowing the painting to slowly define it’s self."
Chris Ashley writes about Paul Pagk's drawings and their relationship to his paintings. Ashley writes: "Each work’s image... a combination of field, diagram, and gesture, is a definite structural place ... both intimate and monolithic... intentionally ambiguous and open for the purpose of varied personal and public experience."
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.