Deborah Brown, Slag, 2013, oil on canvas, 70 x 80 inches (courtesy of the artist)
In the first post in a new blog series "focusing on process oriented painters," Paul Behnke showcases the development of a painting by Deborah Brown, "an accomplished painter who's works explore the industrial landscape of car salvage lots, scrap metal yards and fabrication shops in Bushwick..."
Brown comments on her process: "While I am working, I often turn the paintings upside down and work on them from another vantage point, which provides me with a fresh perspective and subverts the choices I make habitually and uncritically. This was the case with 'Slag,' which changed orientation, color and spatial organization many times. I use vigorous additive and subtractive paint application to alter, conceal and reveal traces of the painting’s history. What emerges is a hybrid of the mechanical the organic—a metaphor for contemporary human reality."
Kalm notes: "Brown has transformed her neighborhood views into near fantasy scenes that conflates science-fiction landscapes with Color-Field abstraction. Tall stacks of flattened cars on towers recall the scaffolds of Indian burial platforms, and the hulking vertical tanks of cement factories loom large as temple steeples."
A James Kalm Report via Two Coats of Paint. Kalm visits Deborah Brown's exhibition at Lesley Heller Gallery. Sharon Butler notes that Kalm "compares Brown's paintings to those of Loren MacIver, who depicted the objects and incidents of her daily life in a fragile, ethereal style reminiscent of Marc Chagall and Paul Klee."
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.