Dan Roach, Aye Takeuder, oil, acrylic, and whiting on panel (courtesy of the artist and Pluspace)
Andy Parkinson reviews the exhibtion the exhibition Without an Edge There is no Middle at Pluspace, Coventry, UK, on view through September 8, 2013. The show features works by Katrina Blannin, Julian Brown, Gordon Dalton, Andrew Graves, Terry Greene, Mark Kennard, Hannah Knox, Mali Morris, Joanna Phelps, Dan Roach, David Ryan, Andrew Seto, and David Webb.
Parkinson writes that the exhibition "captures, if just for a moment, that determined if sometimes gradual, pushing out towards the edge of what painting can be and do. No longer a 'progression' as it might once have seemed, and inevitably including repetition or recommencement, there is also a faltering 'progress' of sorts, a wending of different ways towards one end."
Andy Parkinson reviews the exhibition Meditations at Pluspace, Coventry, on view through July 7, 2013. The show features paintings by Karl Bielik, Lisa Denyer, Rachael Macarthur, Matthew Macaulay, Sarah McNulty, Phoebe Mitchell, Joe Packer, and Melanie Russell.
Parkinson writes that Bielik's "Spy looks like the support could once have been the lid of an old school desk, the hinges are still attached and the ground might be the distressed varnish upon which I imagine that Bielik has painted his main motif, a series of lozenge shapes in a net formation. I have the sense that I am looking through it to the picture plane and also looking through it to memories of lifting my school desk to create cover for an illicit conversation with a friend. Meditating on paintings can elicit this kind of age regression, bringing to mind memories and associations that may have been long forgotten, and in this evocation of youth, amongst these new abstract paintings (all less than than three years old and most of them made in 2013) I get the impression that abstraction could still be in its infancy, as if Bielik’s Curtains that cleverly close the show also, at the same time suggest future openings."
Andy Parkinson blogs about the paintings of Rachael Macarthur on view in the group exhibition Meditations at Pluspace, Coventry, on view through July 7, 2013.
Parkinson writes that Macarthur's paintings "could be experiments in form, the drawing looking like it came from the inside out, as if the shapes evolved from within the painting process rather than being imposed from the outside by the artist’s hand. Tabula Rasa, looks like a red/terracotta ground was laid down first and then an image was allowed to generate itself almost unconsciously by applying brushstrokes, lighter in tone than the ground and in impasto, towards the centre of the paper, resulting in an abstract portrait... The painting is audaciously simple, yet any more work on it would be too much, it would become something else, and the purity of the image would be lost. Similarly, to transcribe it into paint on canvas or into a larger scale would be to lose the spontaneity and directness that seems to come so easily in this format."
Greene comments: "I’m engaged with drawing and allowing paint to be paint on the taught or loose plane of the support. This is the initial attempt to begin to open up a space for a dialogue. One piece generally captures and holds my interest and I concentrate on that one usually for the rest of the session. I'm not trying to resolve anything; I attempt to maintain a level of distance and ambivalence towards the painting. The practice is one of trying to be in the moment during the act of applying, removing and the adjustment of liquid colour over the surface - just being present that instant when some form of dialogue begins within each work."
Valerie Brennan interviews painter Dan Roach about his work and process.
Roach comments: "I seldom have a pre-conceived idea of what any painting will end up looking like. Paintings are started then paintings falter or grind to a halt altogether; this prompts a continual adjustment and re-evaluation of compositional concerns as well as issues regarding the physical construction of the work. Often, I will obliterate what I’ve been working on for a few months because the essence of the search has been lost; by this, I mean the failure of certain images is essential to resolving others."
Parkinson writes: "In Mali Morris' little works on paper, gem-like in their luminosity, colour seems to become independent and brilliantly assertive. The modernist abstract tradition where the words 'big' and 'abstract' belong together has clear resonance with Morris' work, yet in these little paintings she almost turns the theory of colour-field abstraction on its head."
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.