Kalm writes: "With this exhibition, the artist appears to be thinning down her paint, exercising a more virtuosic and slippery brush stroke, and striving for a fresher and more spontaneous style. Melding a goofy figuration with painterly abstraction, viewers are given a choice to appreciate the narrative or the process with which these pictures are fabricated."
Kalm notes: "Considered as an exotic and tragic figure with a cult following, during his brief career, Müller was generally recognized as the first of the Hans Hofmann students to return to the mythic and physiological complexities of figurative imagery. Using the vernacular of Abstract-Expressionism he nonetheless began a vibrant legacy of post abstract painting that continues today."
Yau writes: "The structure that Webster is here exploring is a stepped form that owes something to Navaho blankets. He uses a thick line to make the form’s border, appendages and interior lines. The thickness of the line confers gravity, as well as a sense of slow forcefulness... For all of its weight, the forms seem animated, as if they might pick up and move elsewhere. By focusing on one form, which he never repeats exactly, I got the sense that the artist is trying to consolidate what he knows and attempting to learn something else at the same time. Webster certainly knows how to make an interesting and often mysterious form, but he has seldom put it somewhere believable. Now it seems that he wants to expand the premise of his work, to go beyond the realm of mysterious things and make places where such things might exist."
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.