Lisa Sanditz, Pizza Farms, 2011, oil on canvas, 16 x 20 inches (courtesy of the artist)
Jacquelyn Gleisner interviews painter Lisa Sanditz about her work.
Sanditz comments: "I paint what I experience, or read about or see in the landscape that seems to reflect some absurdity, or tension or metaphor for the culture at large. I often seek out places that have a compelling visual element as well. This is because I love to move around and experience the world, go places, meet people, hear their stories—and I also love to paint, no doubt. It’s not in reaction to a highly digitized world, but the refreshing tactile experience of it for me. I get a lot from the real world and hope to put it in the paintings. And I am drawn to this in the work of others. I believe in the power of narrative, whether it’s the narrative in the work or the narrative behind making the work. I am attracted to this in film, photography, and sculpture as well as painting."
Thoughts on connections between the paintings of Amy Lincoln and works by Henri Rousseau:
"There are some striking formal parallels between [Lincoln's] and Rousseau’s work. The luscious plants bursting with color (Lincoln’s more so) and elegantly oscillating between flatness and roundness... Every single leaf that we see in 'Spring Trees with Rain' has been modeled and shaped to stand out on its own, ripe with volume and heightened plasticity. Her surfaces are covered in individual marks that assume various objects: blades of grass, leafs, rain drops. Maybe I should take back what I said in the beginning when I called her work 'reductive.' In Lincoln’s and to the same degree in Rousseau’s paintings, it is not so much a reduction of the visible world that fascinates me; it is its compression into a more comprehensible form. In other words: when thin layers of paint finally thicken into the objects they describe."
Julia Schwartz interviews painter Lisa Adams about her work.
Adams comments: "I usually work off of visions—almost like hallucinations. Sometimes the visions come in multiples but usually they appear one at a time. I go with that image, make a quick thumbnail sketch and work out from there, adding to and/or making modifications. I also compose the beginnings of a painting on the computer but I don’t paint those images verbatim. I’m mostly just interested in composition at that point. I love using the computer as one tool in my process."
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.