Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology.
Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being the forerunner of process color in printing: Sigmar Polke's dots, Bridget Riley's psy-ops, camouflage, the pixel, inkjets and spray paint. These paintings catch light, maybe freeze movement - I hope. The silhouettes, for instance refer to the look of a photogram, a kind of filmic mood lighting."
Haber writes: "A chain-link fence runs through [the paintings], parallel and close to the picture plane, while other barriers to entry run in and out of sight... The fence suggests a point of entry to these 'Profiles in Fugitive Light.' Its patterning occupies a place between nature and culture... Its grid encloses and maps real spaces, just as it demarcates the canvas. Abstraction teaches that large paintings are never devoid of life, because they relate to both the wall and the viewer. So what if one can enter fully only through color and light? McGrath differs only in identifying pictorial space with contested ground outside."
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.