Walker writes that "a new aspect emerging in Pardee’s most recent work work adds a new layer, beyond plein air, in the artistic process. After his open-air observations he returns to the studio to add a different sort of color, color made from pieces of paper in generic shapes. He hand paints and then collages pieces of paper onto the surface of his established image... In the process he moves away from observation and works with the materials and the surface. In this way he is returning to his roots, both to Albers’ teaching as well as his love of Cézanne. What he seeks is the distinctiveness of motif as each painting – no longer a 'hodgepodge of colors' but a painting made into something more personal – approaches memories of things past."
Daubert begins: "The paintings from the mid-80s follow [Pardee's] travels around the United States, from Maine to New Mexico, where the landscape itself expands and the sky opens. They also show a shift in his brushwork and composition. Always a vigorous painter, Pardee employed an even stronger gesture and richer palette to interpret the interaction between the land and the sky in these new locations. No longer interconnected, these two elements coexist instead, each defined by separate strong directional brushwork that almost acts like the wind blowing through the territory. With the earth and sky in their relative locations, terrestrial and celestial, Pardee was free to explore the dynamics of color and texture, with individual forms: trees, mountains, clouds, each aggressively rendered and defined in straightforward passages, color against color, light against dark."
Neil Plotkin interviews painter Janice Nowinski about her recent work and painting process.
Nowinski comments: "what draws me back in [to paintings] is that they don't feel right. I know that Reclining Nude 2012 was very quick, but it happened after a tremendous amount of work on other paintings. There were a couple of paintings that I didn’t resolve in time for the show. Those are the ones I'm working on right now. There was one painting in particular that was completely driving me crazy. It really felt like the linchpin for this show. I was having one of those bang my head against the brick wall days. Then, on an entirely different canvas, it all began to make sense. In a rush of clarity I painted [Reclining Nude 2012]. I was shocked when the painting resolved so quickly. I was thinking, I have to respect that, and I’m going to leave it. I feel like whenever something happens, it's an accumulation of other things you’ve done. The fruit of the labor can come out in a different painting."
Neal writes that Marburg's paintings "favor eccentricity over grandiosity, depicting figure/ground fields that either stay put, stacked in small solidly brushed complexes of activity, or awash drifting by, images appearing and disappearing through gauzy skins of paint... much of the incident in the paintings emerge through the portals of surrounding shapes often bisected or colliding."
Neal continues noting that "Baxter's high key palette and ability to create abstract tapestries from recognizable sources shares a sensibility with the Nabis albeit looking in the opposite direction from their intimate interiors. Baxter overlays complementary colors building to convincing depictions of light on surface whether it is the hot pinks and yellows of noonday sun hitting a building or the electric blues of night sky."
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.