Abbott comments: "I’ll often begin painting with acrylic and brush, or spray paint. Referencing the grid, with stripes, dots, diamonds, etc. I know the 'sweet spot' will be arrived at when these layers, applied relatively quickly, will be overlapped with the perceived accurateness of the tape and slowness of it’s application. Eventually there is a zeroing in, and this is when a loss of time occurs and I find myself concerned only with the success of the image. In that moment, nothing else matters."
Lee comments: "I need to work and not really know that I am making anything in particular. I guess that’s why I work on multiple pieces at the same time. It allows me to keep moving without focusing so much on the act of painting - in the end, I just want to make things. There shouldn’t be any hierarchy in my process. Oil paint is no more important than latex, and linen is no more important than a piece of plywood. When I paint in this manner, the pieces become more interesting to me…I lose track of what is actually occurring."
Zachary Keeting and Christopher Joy visit the studio of painter Sarah Walker.
Walker comments: "I'm trying to allow everything in the painting that's ever been there to still exist visually and compellingly, presently, all at the same time. So, the past in my paintings is always present in some way, and all their movements, and the habits of the paint, and what its done, all the histories are still there, and they're impacting what gets layered on top and woven into that. So that its not just one set of structures, or one narrative, or one history, but all these things together. and I try to strike a balance to where you can read each of them... at the same level of legibility."
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.