Beer writes: "At first glance the modestly sized abstract works appear to be inside strange wooden frames; a thick black line outlining each painting. With a closer look it becomes clear that the frame and painting are in fact one and the same. The only thing separating ‘frame’ from image is a wobbly router line painted black. What appears kitchy is surprisingly the opposite – this is not the same collage sensibility trending in painting for the past 15 years, this is an honest investigation into the intricacies of both the image and its context."
Ed Schad writes about two exhibitions: Kaz Oshiro, Home Anthology 2 at Las Cienegas Projects and Steve Wolfe on Paper at Los Angeles County Museum of Art. Both artists work in trompe l'oeil. Schad writes "There is something about trompe-l'œil ... that strikes to the core of art, its illusions both interesting and slightly disappointing. On one hand, it’s innocuous, on another hand, dangerous enough for Socrates to kick painters out of the Republic for their crimes."
Jonathan Beer interviews painter Jochen Plogsties about his work and development as an artist.
Plogsties, whose practice includes appropriation and re-interpreting existing paintings, comments: "the more I want to make an accurate copy, the more I see my individuality. The closer I get, the farther away I feel. Before I started making this work, I had a pretty clear definition of what a copy was. But the more I do now, I become more and more unsure. Is it even possible to make a copy of a painting? Everyone talks as if that is a possibility but I think it really isn’t possible. You could never really figure out the layering or the materials. There are so many ways to get close to the original, and if ten different people can do it differently, the question arises of whether there might be way to actually copy something."
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.