Brody writes that "Dickson's steady, sober vision strips the distracting fluff away down to architectural bones that show casinos to be a kind of peopled re-enactment of 20th century abstraction at its most positivist –– from Kandinsky to Frank Stella to Richard Anuszkiewicz –– and maybe all the more despairing for that... But it is Georges Seurat's melting conté crayon studies and his Pointillist artifice that now resonate most deeply in Dickson’s erosion of contour, her sensual treatment of auras of light that simplify figures almost to the point of cartoons, yet short of bruising their essential dignity."
Simon Bayliss interviews painter Gabriella Boyd about her work and process.
Boyd notes: "It’s important for me that the viewer believes in the space enough to imagine being in it. Normally I'll start with quite a solid structure, a much more realistic space, and then gradually break away from that... For my belief in a space that I'm painting, or for my own security even, it's important that it starts with something architecturally sound... I begin by building theatrical installations – rearranging a domestic space, using everyday furniture as well as dramatic props. These sets help me to bridge the gap between reality and the world that I'm painting."
Nathan writes: "while the two mediums have their parallels -- Bonnard's nude photos of his model and future wife Marthe are clearly echoed in many of his painted compositions, for instance -- the show suggests that the influence of photography on these artists’ painting was “diffuse and multifaceted” rather than obvious and direct."
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.