Maddocks writes: "[Wylie's] eclectic inspirations include Almodovar and Tarantino, as well as Egyptian art, Pompeii, fashion, jewels, regalia, uniforms. She has also painted, less typically since pastoral is not her usual mode, the field with sheep beyond the garden in a work called Willow Tree (2015). 'I paint what I can see. This is what I see. It takes me a long time to do it, though people think it looks easy...' "
Jennifer Higgie interviews eight artists - Ellen Altfest, Apostolos Georgiou, Imran Qureshi, Helen Johnson, Henry Taylor, Mark Sadler, Rose Wylie, and Lynette Yiadom-Boakye - about "the whys and wherefores of figurative painting."
Altfest notes: "Why paint? There’s no good reason. It’s something I’m driven to do. I’d like to make something that is both of its time and that stands outside of it. Traditional painting is a handmade process built over time and has a physical presence. It is an accumulation of gestures, colours and textures. The painted mark is at once a thing in itself and the thing that it describes. In this way, a viewer is always conscious of the painting’s making. The speed of the mark, fast or slow, and the time it takes to make a work become part of its meaning. Looking over a long time is like an attempt to merge with something outside of oneself. The dense accumulation of visual information, which is the product of this kind of looking, is different from how the lens and the eye usually see the world."
A new film, produced by Jennifer Higgie for Frieze films documents a visit the the studio of painter Rose Wylie.
Wylie comments about being moved by the visual impact of things: "the excitement of what I've seen should be communicated - should be in the painting I make." She also talks about the dialogue between her paintings and film: "I like connection - I like the fact that films are seen by people and they're relatively inexpensive. The painting links into a kind of shared public ideology that we all have and that we all can take part in."
Joanne Mattera blogs an in-depth look at the painting on view at Art Basel Miami Beach 2012.
Mattera comments: "There was more painting at ABMB than I can ever remember--and this was my seventh fair... The Tornabuoni Art booth dedicated to the work of Lucio Fontana was stellar. And wait until you see the geometry of the very contemporary Carmen Herrera (now 90-something) with the work of John McLaughlin and Jo Baer from the Sixties... I made a real effort to look beyond my personal geometric preferences. I even put some figurative work into the mix. The order is visually fluid, looping into and out of geometry, and there are some interesting material surprises. In another post I'll show painting from the other fairs--because there was a lot of painting everywhere.
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.