Butler notes that "Juxtaposing dimensional space with drawn and painted shapes, Moore's reductive paintings reflect his interest in the illusions perpetrated by photography and linear perspective. Within a single canvas he combines three or more distinct types of space, using flat shapes of color and drawn lines, some of which are deliberately masked out, others are more randomly intuitive."
Oliver Kann and Frederik Frede interview painter Wendy White. The post also includes an extensive photo gallery by Fette Sans.
White, who began her career as a sculptor, comments "I started painting in the early to mid 90's. I just fell in love with the problems of painting, the problems of surface, and capturing things in a two-dimensional surface, but I always wanted it to be a sculpture painting hybrid somehow. So I was making individual works, and they were gaining closer proximity to each other. I would literally do a painting, and a sculpture on a pole, that would sit in front of another painting. I always wanted to break out of the square or the rectangle, so it was always about somehow breaking up the wall space. So, really the paintings have always been super sculptural."
Triming writes that the show "builds the kinds of polyvalent and open relationships between works that I look forward to in an artist-curated show; one of its principle pleasures lying in how the assembled paintings address a clear set of preoccupations without ever consolidating these into a dogmatic argument."
Triming continues "It is this sense of relatedness and dialogue, where paintings work on each other in ways both consistent and inconsistent with established lines of art historical discourse, that builds into a satisfyingly complex weave as the show progesses."
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.