Rob de Oude, Opposites Delineate the In Between, 2011, oil and acrylic on panel, 16 x 16 inches (courtesy of the artist)
Katarina Hybenova interviews painter Rob de Oude about his work and process.
De Oude remarks: "The patterns [in my paintings] are completely random. That's a funny thing. I work with many opposites, like the perfection of the line combined with the fact that I do it by hand. It seems very mechanical but actually the opposite is true. The decision-making within the painting is something that a lot of times I don’t know and many times I don't have a clue about where I’m going... My technique is very mechanical and repetitive in some ways, but the decision making is very random; the sense of color as well. A lot of times the color choices are based on what I’m seeing and how I’m responding to that."
Stanczak notes: "my primary interest is color - the energy of the different wavelengths of light and their juxtapositions. The primary drive of colors is to give birth to light. But light always changes; it is evasive. I use the energy of this flux because it offers me great plasticity of action on the canvas... Color is abstract, universal - yet personal and private in experience. It primarily affects us emotionally, not logically as do tangible things."
Steven Alexander blogs about Gene Davis' small works from 1958-1960.
Alexander writes that Davis began "in 1958 to make very small paintings that employed vertical stripes and explored elemental rhythms and color resonances. The purity and potency of these first canvases is extraordinary, and their direct simplicity gives way by 1961 to the highly complex arrays and huge scale for which Davis is best known."
Golden notes a "curious element to these artworks that may at first elude notice, so infrequently is it a factor: they are 100% flat. In his famous 1955 essay 'Modernist Painting', Clement Greenberg suggested that to move forward painting should eschew the traditional depiction of space in favor of embracing the reality of the essential flatness of the painting surface. Yet while this concept has found a secure place in the practice of art, it is hard to name abstract painters from Greenberg's time to ours whose paintings actually appear without any illusion of visual depth."
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.