Chesnut remarks: "I hope to make something vulnerable in that I am accountable for it, putting it out there and backing it up. Painting for me is a super risky thing and sometimes it comes easily. Other times I have a hard time turning off my mind and am prone to some challenging moments in the studio where I am completely blocked creatively. If I am not in the zone and have too much chatter going on in my mind it is hard to get to that place where I am ok making mistakes. In my experience you need to make tons and tons of mistakes before making anything successful."
Matt Jones interviews painter Kadar Brock about his work and practice.
Brock comments: "I don't think about the body in a direct or traditional sense, but... they are very physical paintings. I make them laying on top of them, pushing into them, scraping away at them, sanding them and so on. And I touch them, a lot. I think a lot about paintings as hugs, as points of empathy. This probably sounds very sappy, but it ties into... a sense of reassurance almost, that I hope to give a viewer with the work. And that's a very physical sensation."
Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology.
Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being the forerunner of process color in printing: Sigmar Polke's dots, Bridget Riley's psy-ops, camouflage, the pixel, inkjets and spray paint. These paintings catch light, maybe freeze movement - I hope. The silhouettes, for instance refer to the look of a photogram, a kind of filmic mood lighting."
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.