Cora Cohen, Nomad (revised), 2013, 34 x 38 inches, acrylic, flashe, oil, spray enamel, tape, wood veneer on linen (courtesy of the artist)
Samuel Jablon interviews painter Cora Cohen about her work.
Cohen comments that her "curtain and drawing paintings... begin with the act of seeing, when things are first glimpsed, before logic and rationality take over. The uncertainties I experience in seeing filter into them. They are informed by my unsureness of what I have seen and what I am painting... Logic doesn’t get in the way exactly. I try not to let it. When we look at something, we tend almost automatically to organize our impressions into rational, acceptable forms – according to pre-existing models. I attempt to work from my experience of first sight, when things are first glimpsed and are rather disjointed. The results are often as disparate and disjointed as my first impressions... My curtain and drawing paintings are my attempts to allow perceiving and making become the work. Questioning is a topic within the painting."
Kohler writes: "The resonant quiet of [Cohen's] work allows the viewer to contemplate and appreciate the various moves and counter moves that the artist chooses. First, she usually chooses to stretch her paintings on shallow frames that reduce their presence as an object on the wall. Second, in many of the paintings she builds a dense, and very physical textured ground reasserting their material presence. Third, over this she may brush washes of pigment and graphite dispersed in water, so thin and diffuse that they barely register any physical paint depth, if at all. Out of this non-presence an illusory and allusive pictorial depth emerges. That is not to say that the artist is purposefully painting an image, because she is most emphatically not; yet, with the barest means a world not quite of this world is suggested."
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.