Lisa Breslow, From the High Line, 2012, oil and pencil on panel, 24 x 24 inches (courtesy of Kathryn Markel Fine Arts)
John Seed interviews painter Lisa Breslow on the occasion of her exhibition at Kathryn Markel Fine Arts, New York, on view through December 15, 2012.
Asked about balancing abstraction and representation in her work, Breslow comments: " I'm always searching for the perfect balance between the two. In creating the urban scenes, my photographs enable me to capture a specific moment in time, and serve as studies. The painting that follows is very much about a real place and a real environment. It is equally about paring the subject down to its visual essence, a visceral, intuitive process of working and reworking the surface and losing oneself in the paint. I constantly rotate the painting to free up my vision and open up fresh perspectives. When the painting speaks to me on both levels, I know it is complete."
Elisabeth Condon blogs images from a studio visit with painter Olive Ahens.
Condon writes: "In 1996 I flipped over an Olive Ayhens painting at DC Moore for its painterly facture and humorous drawing portraying a traffic jam of cars falling between rocks as if water. The serendipitous combination of real elements and imaginary landscape delighted the eye and engaged thoughts on time, place and how they are experienced and remembered."
Jennifer Samet talks with painter Clintel Steed about his work and the experience of painting from life.
Steed remarks: "Painting is being open to what’s around you. But you are imagining, you are coming up with an idea, and you give in to ideas. It is always a push and pull. To me it’s like the computers. It’s the opportunity to make something epic. You ride the wave of the text until you get to the moment. The way we live life right now is that there is a lot of jumbling. Everything becomes fractured. Like how music now is different from what it was in the 1980s. Then, every song was five minutes. There was time to take a breath. Now they are all 2-3 minutes, and that seems long. But, I was reading this book about the sublime. The sublime is now. I think that everybody, when they are making a painting, is trying to be in the sublime: that moment when they are not thinking, but in the present."
Bascove looks at the work of Valeri Larko whose paintings are on view in the exhibition Keeping it Real at J. Cacciola Gallery, New York through July 28, 2012.
Bascove writes: "This exhibit particularly reflects the rich material Larko has explored in the Bronx. 'Bronx Drawbridge' is a powerful example of an image that evokes in the viewer the history of hard labor. Again, Larko uses a series of diagonals, from the worn machinery, to the broken lines of a parking lot, a fence topped with razor wire, and broken steps, to reinvigorate the original dynamic energy of the site. She shows how it's now been transformed into a rusted canvas for the younger [graffiti] artists of the area."
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.