Susan Jane Walp, Apple with Tangle of Black Thread, 2001 8.75 x 9inches, oil on linen (courtesy of the artist and Tibor de Nagy Gallery)
Larry Groff interviews painter Susan Jane Walp about her work, her thoughts on painting, and her development as an artist.
Walp remarks "that the concentration of working from observation can be similar to a meditation practice. And perhaps with still life even more so than working from the figure or landscape, because the distractions are reduced to a minimum, the objects are still, can’t engage you in conversation, don’t need to take breaks, aren’t subject to changing weather."
De Jong writes: "Walp’s paintings evince the imperative to ‘get the right eyes’, how nature can only be truly viewed through long and deliberate trial. Her choice of still life painting is a reflection of that imperative. Her objects, mostly humble and a few, such as a bubble gum wrapper and a barcode, point to the contemporary world. Otherwise Walp’s still life art is one of reflection and nuance."
Altoon Sultan blogs a photo essay about surfaces in painting.
Sultan writes: "We often think of 'surface' as a word that demeans; it is the opposite of depth. But an intense focus on things can be a way to explore their form and meaning: it can be a celebration of life. When I went to the Metropolitan Museum of Art last month, I first spent time in the amazing exhibition of Indian painting... marvelously detailed paintings, full of careful attention to the smallest things of the world. So when I did my usual tour of the permanent collection of Northern European paintings, what caught my notice was the intense focus of those painters on the surfaces and textures of ordinary things..."
Neil Plotkin interviews painter Sydney Licht about her work and process.
Licht notes that "Well, with each painting it's a different story, like a different puzzle to solve. What shows through from underneath is the result of the process of finding the right hue and value relationships as a natural part of making the painting work. It's not premeditated. I don't paint on a colored ground. I start a painting with a palette knife, and that enables me to not get bogged down in details too quickly."
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.