Monica Tap, Six Ways From Sunday (Wednesday), 2011, Oil on canvas, 60 x 100 inches (courtesy of the artist)
Sally McKay writes about the work of painter Monica Tap.
McKay notes: "Tap collects source material for her large, lush paintings by shooting highly compressed digital video through the side window of a fast-moving car... All the depth and luminance is carefully rendered in thick paint. The paintings seem to emit light, like a screen, not because lighter areas are shining through from behind, but because Tap has paid close attention to the kinds of colours captured by the camera. Likewise, the digital-look and feel emerges through Tap’s precise, measured manipulation of the visual language of paint... indeed, all the blurriness is painstakingly constructed with discrete, detailed brushstrokes and nuanced colour combinations."
Panero notes: "Ms. Quinlan starts with Giorgio Morandi's iconic etchings and recasts them in oil, painting her own hatch-marks. The work has an intimate, cool feel, with unexpected colors in place of Morandi's black and white... [Hoffman's] landscapes might border on chinoiserie, but the spare beauty of 'Japanese Maple' (2010) rises above pastiche with its simple beauty."
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.