Groff introduces Tompkins work noting: "What is remarkable about these paintings isn’t just the amazing technical skills in achieving these monumental structures but in how he makes it seem like it’s all such great fun. There is musicality in how intervals of placement, color notes and scale juxtapositions along the relentless horizontal and vertical thrusts that seem to mash up Bach fugues and Phillip Glass with Spike Jones and Captain Beefheart. Perhaps most of all I was enchanted by his color. The delights of color here isn’t just for it’s descriptive pitch accuracy, or even for the many satisfying moments where you feel the rightness of the sensations of one color plane vibrating against another. What got me most was the magic of feeling I was listening in on conversations between color groupings—how the reds and blues seemed to be speaking (or perhaps singing) in slightly different dialects of the same paint language, some mute or just whispering, other maniacally chatty, muttering or even yelling bloody murder—all which keeps your eye moving back and forth trying to figure out what it all means."
Reddicliffe notes: "I’m endlessly fascinated by the idea of taking... a real three-dimensional object or objects and translating them on to a flat surface so that clearly the reality of the object I’m actually making (the painting) is that surface, and the flat shapes on it. And the illusion is how those flat shapes can be reassembled into some reference to the original subject that I started with. And I’ve done everything I possibly could think of to try and conflate the two, in the painting process, so that one is reminded constantly of the fact that no matter how persuasive the illusion might end up being, if it works, it is finally only a bunch of patches of color. And simultaneously, when that’s being pushed—when the idea of these two-dimensional relationships has taken primary focus in a painting—it’s very important to try to do nothing that would undercut the viewer’s ability to still read these shapes as a very specific illusion of equally specific three-dimensional forms. So there are a lot of conscious decisions in lots of the paintings to create a real visual pun."
Dunbar writes: "In preparation for my visit I went onto [the gallery] website to get an idea of the work I would be analyzing. Online I saw large, thick brush strokes and bright, bold colors. Naturally (and maybe this is just me), I expected to walk into the gallery and be presented with incredibly large canvases covered with chunky colors and geometric shadowing. Instead, I stepped into the Howard Yezerski Gallery and came face to face with some of the tiniest canvases I had ever seen. It was breathtaking ... There is something oxymoronic about Kehoe’s paintings. You see these large, thick strokes and yet each painting has so much life and detail. From far away it appears that you only see a few bright colors but up close you find that there are many shades both bold and neutral. Between the level of detail and the small size of the canvas you feel that you have to walk up to the paintings."
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.