Beattie comments: "I get to the studio early and begin by looking at works made at my last visit, I start trying to make them better, maybe cutting them up and re-gluing them back together in an alternative configuration, or just spray painting over the whole thing and starting again. When the work interests me enough, I stop playing with it and put it away. Sometimes it's a fast process and the painting's surface will be flat, other times they are very layered and have gone through many transformations before they achieve any sort of quality. I generally have no idea how a painting is going to look finished when I start it. I work on multiple pieces at the same time, so aesthetics will be shared among a certain grouping and then fade away when I have a new idea, or get bored with a mood."
Matthew Marchand reviews work by Evan Nesbit & Kate Bonner, two artists in the group show Practicing To Pretend at Alter Space, San Francisco, on view through August 17, 2013. The show also includes work by David Bayus, Rebekah Goldstein, Nikki Painter, and Jonah Susskind.
Marchand writes: "The artists / curators seem to be suggesting that the flat surface of the painting is no longer reserved for the singular presentation of two dimensional space, but instead like the familiar screens and monitors provides a conduit between real and virtual space. This is especially evident in the work of Evan Nesbit and Kate Bonner, as they take on the surface in separate and complimentary ways. Nesbit’s work engages painting as endpoint,object and continuum while Bonner’s work does the same with the viewer. The effect is work that is both discrete and immersive."
Sam Cornish considers the collages of Francis Davison on view at Austin/Desmond, London through May 31, 2012.
Cornish writes: "Across media the presence of collage can be felt in startlingly inexplicable presentation and dissonant juxtaposition. [Francis] Davison differs in that the separate elements in his collages worked toward coherence rather than dislocation. His aim, aided by the tonal and textural similarity of the papers he worked with, was integration, the creation of total, comprehensible images; instead of suggesting a shocking or unnerving entrance heightened by incongruity and incompleteness, he posited restraint, an ordered and perhaps faintly melancholy withdrawal."
"Berg's work is fast, active, and smooth. She has described her work as being about an 'indulgent painterly lust.' For Berg, the space of the surface of a painting is 'performative' and her process an energetic jumping back and forth from canvas to canvas. On the other hand, Nesbit's process appears slower, with a strong relation to gravity. It feels organic, tactile, methodical, and philosophical. His distinctive method strives to subvert traditional picture making by painting the canvas the wrong way, pushing paint from the back towards the front."
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.