Christine Frerichs, The Conversation (#3), 2012-2013, oil and acrylic on canvas, 44 x 34 inches (courtesy gallery|km)
Easton Miller interviews painter Christine Frerichs on the occasion of her exhibition The Conversation at gallery|km, Santa Monica, CA, on view through July 27, 2013.
Frerichs comments: "With this body of work, I wanted to find a way to create abstracted portraits that... describe at once the physical and emotional aspects of oneself through the use of symbolic color, form, and composition. Instead of the body acting as the exterior shell for one's interior thoughts and feelings, I wanted to try flipping it inside out. So the abstracted body form in these paintings is the base layer and superimposed on that textured foundation is imagery and mark-making which oscillate between spontaneous eruptions of color, light, and form as seen into controlled lines and patterns, reflecting the range of form that emotion can take... My use of materials also reflects this idea of a range of self and our capacity for transformation on an emotional level. Oil paint and spray paint are stretched to their physical limits, transmuted into thick clotted dabs, thinned and thrown from a bucket, or carefully layered in translucent veils of glassy color."
Valerie Brennan interviews painter Jered Sprecher about his work and practice. Sprecher's paintings are currently on view in the solo exhibition I Always Lie at Jeff Bailey Gallery, New York through March 23, 2013.
Sprecher comments: "Paintings usually start from two different places. Some paintings begin with a found image, something like a quilt, gemstone, graffiti, architectural photograph, or child’s drawing... The other way that paintings start is less structured and often results from taking left over paint and applying it to empty canvases. It is a strange mix of thrift and feeling around in the dark, trying to find a painting... I find that the two processes often meet somewhere in the middle as paint and image contend with each other on the surface of the canvas. Lately I have been thinking about how these two approaches relate to inductive and deductive reasoning."
Matthew Farina reviews Todd Kelly: Signature Paintings at Asya Geisberg Gallery on view through June 18, 2011. Farina writes, "References to commercial or industrial printing are present alongside more traditional approaches to paint application... The interplay of man and machine-made marks is pronounced... With the constant of the 'signature' in place, Kelly’s formula as a whole actually provides him a license for diversified aesthetics. Each work showcases differing rules in structure and order."
Valerie Brennan interviews painter Rodney Dickson about his work and studio practice.
Dickson comments: "These days I am using a lot of paint, not because I set out with an ambition to have that look of thick paint but because I am constantly changing the painting, in every session I paint the entire surface so the painting looks quite different from one session to the next and the paint thickness builds up because of that. I want to work in this way because I want everything to work together and have a fresh look and be done in that place in time... I would like to be shocked or surprised by my work, but it is almost impossible to be surprised by something you made yourself, so this is why I am constantly changing things, creating and destroying, discounting the familiar and hoping for the painting to become organic and evolve rather than be designed."
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.