Bernardini writes that Owens is "exploring with humor and skill the possibilities of paintings. It doesn't wholly make sense just to isolate a single work — these feel entirely intended to be seen and felt together as a single exhibition. (They're all untitled). To peel one off the pack is to miss the point. In one painting there's a childish clipper ship, each sail with its own pattern, hanging next to a multilayered abstraction of intersecting grids over a lavender wash, then top-layered with big beautiful swirls of a pale violet painted like idle doodles. Adulterated with other vibrant hues, the huge licks of pink and mint paint curling across the surface resemble more a Photoshop paint tool than an actual brush. These two paintings and all the ones around them are held together by recurring phrases, a distinct palette, and a formal style (in writing it's called a voice) that brings all the seemingly disparate elements into a satisfying whole."
Kherbek writes: "It isn’t easy making interesting paintings these days, what with even good artists thinking that a few squiggles on their iPhone converted into oils suffices to become 'Now', but Owens’ works manage the elusive trick of meaningful dialogue with predecessors and intense realisation of individual vision. It’s a marvel that they escape history so deftly, not least given the fact that the works use classified adverts from the 1960s and 70s as a strange species of almost Cartesian grounding for granules of volcanic rock and strips of heavily worked paint... The adverts are interesting as anthropology, but have an impressive way of melting into near abstraction underneath the paint."
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.