Nieuwendijk comments: "With the wall paintings my curiousness is triggered with flatness: I only paint the walls and the image is super flat, but the surroundings do something with that to make it all real space. And, as such, the viewer navigates the space not only with flatness in mind but also becomes very conscious of the volume of space that the wall paintings inhabit. The panels work differently. They draw the viewer in to their little universe. Both the wall work and panel work have the same graphic imagery, but because of scale and a different sense of ‘objectness’ the graphic quality shifts considerably. The panels have all the tools to suck up a viewer. The paint is very matt, not shiny and reflecting, but absorbing. They also, as you said, are wrapped in color. And in that sense edge towards being an object, but are, and still stay in the realm of paintings, not sculpture."
Sam Cornish interviews Lothar Götz on the occasion of the recent exhibition The Line of Beauty at Domobaal, London.
Götz discusses the particular challenges of creating site specific paintings. Asked about how his painting What Makes Boys Dance? altered the environment Götz comments: "What was interesting when we started to paint everything pink, it become not a very pleasant room. It changed from a very, very tasteful grey into something like an institutional colour, perhaps like when it was a lawyer’s office; and then we added the black and it was extremely graphic. We might have left it black – there are lots of stages where you think it can be left. What I find interesting with these site specific pieces is that at every stage is an option, you could do this, or you could do that. I could make a whole series of different pieces for a room and see how it reacts."
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.