Cecilia Vissers, Wald L, 2013, anodized aluminum each part, 60x47cm (courtesy of the artist)
Brent Hallard interview with artist Cecilia Vissers, posted here on the occasion of the upcoming exhibition Cecilia Vissers: Wind Swept at Galerie Kunstkabinett Corona Unger, Bremen, Germany, on view from March 16 - April 28, 2013.
Vissers, whose recent relief works engage both sculpture and painting, describes how she uses "chemicals to intensify the colors and patterns sometimes using gunblue to retouch or cover up the scratches on the surface of the metal." She continues: "...the color is in the material and not on the material like paint. Up till now I only use the color orange because of its overpowering quality, it is a very direct color that immediately increases energy levels. Whereas the black can be so deep and absorbing like a sponge. There is this searching for balance and equilibrium between the form, the color and the finish of the material. The preference is for purity, and simplicity: the tension arising between the form, color and the finish of the material. It needs to be perfect."
Brent Hallard interviews painter Suzie Idiens about her work.
Idiens comments: "Product manufacturing processes influence how the pieces are made, but not why they are made – it’s more a means of getting closer to singular form and colour. Initially softening the edges was instinctual, a way of giving the pieces a more sculpted, solid form. Once the high gloss finish was applied it then became a practical element of dealing with the visual continuity of the reflective surface by having a curved edge. As a result it does make them look rather plastic and manufactured, but they retain a certain (visual) weight about them. The deep relief gives the forms a tangible physicality, and the smooth reflective paint finish gives a luminous material quality to the colour, which in turn changes with the naturally transient effect of light and shadow. The paint finish is rather deceptive – though physically very thin it appears to have more depth, so that makes it intangible, gives it an otherness… rather like you try to look ‘into’ the object, but all you are really catching is what is being reflected in the piece."
Joanne Mattera blogs about the exhibition Suzan Frecon: paper at David Zwirner Gallery, New York, on view through March 23, 2013.
Mattera writes: "There's something appealing about seeing small work in a large space. The individual pieces are dwarfed, requiring you to move in close. Intimacy in a large space seems like an oxymoron, but Suzan Frecon's watercolors--reductive compositions on Indian ledger paper--simultaneously assert themselves while letting you in."
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.