Leslie Wayne, One Big Love # 74, oil on panel, 10 x 14.5 inches, 2012 (courtesy of the artist)
Valerie Brennan interviews painter Leslie Wayne about her work and process.
Wayne comments: "I start with the given shape of a panel, which quite honestly determines nothing. But it gives me a starting point, which is more dynamic and demanding than a square or a rectangle. I tend to build up several layers of color over time, and once dry to the touch but still soft underneath, I’ll manipulate them in various ways. This is the point at which the painting begins to demand a resolution. If I can’t resolve it, I’ll scrape the whole thing off, or parts of it off and keep the paint for future use as collage material for another painting. While I may have ideas or intentions in mind that relate to geology or gravity for example, or perhaps even the work of another artist, I find that my conceptual foundation solidifies and clarifies itself as a result of working over time and allowing the process be fluid. Otherwise I risk the seduction of staying in my comfort zone and that gets stale fast. It’s a balancing act of maintaining that perfect tension between anticipation, control and letting it go."
Amy Mercer interviews painter Leslie Wayne about her work. Wayne's abstract paintings,which are strongly influenced by landscape painting, layer "vibrant and dissonant colors built through the structural qualities of paint..." cutting, flipping and sculpting... "the material to evoke the power of the natural world." Recent Work by Leslie Wayne is on view at the Halsey Institute of Contemporary Art in Charleston, SC through March 12, 2011.
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.