Matthew Deleget, They Don't Love You Like I Love You, 2009, Silver monochromes, silver acrylic paint on 4 panels, hit with a hammer 16 x 60 inches overall, each panel 16 x 12 inches (courtesy of the artist)
Meier writes that the exhibitions "show that painting is still being utilized by young artists for experimentation, even if they have to totally destroy the canvas with a hammer or fill it with cement... all [of the shows] have a sampling of emerging artists who are both breaking and adhering to traditional techniques."
Sharon Butler posts about "the open proposition in contemporary abstraction." She writes: "There is a studied, passive-aggressive incompleteness to much of the most interesting abstract work that painters are making today. But the subversion of closure isn't their only priority. They also harbor a broader concern with multiple forms of imperfection... The painters take a meta approach that refers... back to the process of painting itself."
Looking at Gaskill's paintings, Calandra "found there to be a vast amount of visual navigation to do on the viewer's part. Does this corner's formation mirror that of the others'? Does the center act as a mandala or are there breaks in its repetition? How is the white used? If not as a background, then as its own color? Tricking my eyes with its twists and turns, I occasionally arrived at somewhat familiar imagery. It was as though I was finally making sense of the pattern, the colors themselves subtly bringing to mind palettes from another era, the forms reminiscent of graphics familiar yet elusive."
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.