Steven Cox, Where It Belongs, 2012, oil on canvas, 23.6 x 31.5 inches (courtesy of the artist)
Michael Rutherford interviews painter Steven Cox about his work and process.
Cox remarks: "At base, I am influenced by the notion of temporality, where the inevitability of change unpredictably alters the appearance and formation of an item. I tend to apply this understanding of temporality to how I approach the making of my work whilst openly abandoning the notion of creative preciousness... there is a significant balancing act between the control / chance dichotomy. An unplanned mistake or occurrence can lead to an unexpected surprise, which is of course critically enjoyable to respond to. I thrive on this happening, though if it doesn’t, I do feel that the work was subconsciously planned or perhaps too safe. I do what I can to make each work a bit of an experiment. Perhaps at best, I want the work to feel like a stranger to me by the end."
Steven Cox interviews painter David Ostrowski about the work in his recent shows at Peres Projects, Berlin.
Cox introduces the interview by writing: "Ostrowski’s approach to painting therefore involves a simultaneous abandoning and re-inventing of historical tropes; concurrently creating what are essentially process-based abstractions. The F paintings are not created to please or conform; they are ballsy works that negate notions of perfection. Within this series, Ostrowski produces irreverent works that slyly mock and joke at both respected historical art figures and movements. For instance the paper ripped surface of F (Deutscher Film In Russland) 2013, can be interpreted as hinting at both Nouveu Realisme and Russian Constructivism, whilst such gestural Yves Klein Blue spray-painted marks within F (Diagramm) bring to mind elements akin to early 80’s Basquiat and of course Yves Klein."
Asked about process, Ceulers comments: "What I was really fascinated about was just the idea of the image in it, that just because you go from the diagonals and then doubling it, you suddenly arrive at the whole idea of modernism through the grid. For me, it is more about the process rather than the final image, but yet everyone reads it and perceives it as an image despite it being abstract. I always think it is interesting, for me being a young painter, I am not scared about the politics in it, but I am interested in the possibilities of abstract painting because it is politically dead. It failed, it’s like the idea of Malevich going from the peasants to the black square then going back again. So there is not really much to say, but because of that there is a possibility to explore that and then you really move towards that idea of modernism being what it is and there is nothing more, and you are already at that point of 0 degrees, which I think is really interesting to work with."
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.