MacGillis comments: "I always paint from life. In the landscape I remove and add where it works best for the painting, but I’m out there. The experience of being physically in the landscape I’m painting is important, the heat, the smells, the sounds of the nearby sheep, the train’s distant horn, the light. I’m convinced that it all plays into the feel of the painting and I react to all this. There is so much to see and the longer you look the more you find. I look for shapes, I forget what object I’m painting, just look and mix and put paint down... I like to simplify what I see, push it into abstraction. I make marks with the palette knife or a large flat brush. I scrape down a lot, mix strange greys, mixing compliments... I work on some paintings for months, others just happen in a couple of sittings. I enjoy the faster paintings most..see I’m painting this very sort of picturesque landscape here, I don’t want to make pretty paintings, so I’m looking at planes and color and trying not too get too hung up with insignificant details."
As part of a series on "emerging perceptual painters who explore inventive possibilities to an old tradition," Larry Groff posts about the work of painter Brian Rego. Groff admires Rego's "vigorous treatment of the paint surface and a gritty abstract structure."
Hershberg remarks: "There is a quality, an essential concrete experience that I wish very much to transmit, but in its various formational stages, I take whatever liberties are necessary for the painting. My finished pictures are not a document of the thing observed -- I'd like them to be a new nature, a registration, if you will, of experience as opposed to record. They must be, first and foremost, paintings. When I am painting a landscape, it's not the nature which captivates me. When looking at a landscape I consider it just as I would any other motif; it's seen through an imposed particularized lens, an accumulated corpus of painterly pictorial desires I have amassed, like the amassing of barnacles on an old ship's hull, it becomes an archetype and one with its own eco-system."
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.