Chris Hyndman, Mizuno, 2012, acrylic and tissue on paper on canvas, 32 x 24 inches (courtesy of Susanne Hilberry Gallery)
Ron Scott interviews painter Chris Hyndman on the occasion of his solo exhibition Susanne Hilberry Gallery, Michigan, on view through March 30, 2013.
Hyndman comments: "I’m very interested in digital surfaces, screen technology surfaces, and the way they give us imagery. They have a particular kind of texture, color, and a thinness, which produces a kind of intensity, but also a frailty... Although my work is grounded in many respects in digital technology — I couldn’t make these paintings without it — I’m also skeptical of it. I don’t have an endless belief in it. So, larger but at the same time lighter and fragile."
Rhodes writes: "As real to the eye as it is fictive to thought, the effect here of Reed’s color and surface establishes a place only possible in painting. The physical layering of paint – its removal sometimes leaving an abraded surface in contrast to areas of paint applied by brush or knife and left as is – leaves time running in both directions. This process occurs in unknown sequence, directing us away from the certainties of unmediated paint accumulations. Often this feels unsettling and dynamic – like the staggered freeze-framing of the explosion in Antonioni’s Zabriskie Point (1970). Such a sense of this fractured cinematic process of delay and acceleration is typified in # 350, 1996, its color seeming to expand, both floating and falling in and across the painted surface."
David Sweet reviews two exhibitions Robert Holyhead at Peer Gallery, London (through July 7, 2012) and Geoffrey Rigden at Poussin Gallery, London (through June 30, 2012).
Sweet writes that "outside of the issues of art criticism of a formalist sort, one might end up wondering about the contemporary positioning of these two painters and the politics of the different surfaces that each produce. Rigden's crustiness harks back to the rough finish of 20th century canvasses while Holyhead's smooth and shiny glazing evokes the uninterrupted texture of photography and screen based media."
David Sweet looks at the role of detail in abstract painting through the work of Robert Holyhead, Mali Morris, and Juan Usle.
Sweet writes that unlike these painters "there are plenty of current practitioners whose work, which is abstract by default, contains lots of superimposed, busy, ornamental passages, but who treat detail casually, as though it is a relatively trivial matter. In an era of high definition, however, the resolution which detail brings, whether handled intelligently or not, appears to be an increasingly important, even essential part of a contemporary pictorial strategy."
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.