Cornish begins: "despite how much [Smith's works] play with the physical conventions of painting, in terms of the stretcher etc., they remained something which to me was like an image... they read instantaneously, they read on a flat plane, as a whole thing, and that part of that instantaneousness was the presence of illusion; particularly with the cross works there was a thing, the cross, that existed in a sequence of twisting illusionistic spaces; and that even the things which are most physical, most outside the conventions of the rectangle, i.e the twisted shape of the works, the protruding bars and the falling string, all felt to me like they were caught up in this singular, illusionistic, instantaneously read ‘thing’, even as it sort exploded onto the wall."
Callery remarks: "my challenge was to be aware of the geology under foot, to recognize its impact on the character and use of the landscape and importantly to work out how this might influence the paintings. There is a very vital equation that needs to be made absolutely clear in this situation and that is how the experience of landscape impacts on painting. Since I don’t use painting as a way of depicting the surface appearance of landscape it is the experience of the material landscape that I go to for clues to develop my paintings. I see it as how the experience of landscape can serve the needs of painting rather than how painting can serve to represent landscape."
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.