Tony reacts to negative space created by inspiring elements of process he builds around emotionally charged objects, like wine spilled into books (relating to a singular experience of a specific novel) or the negative spaces between his own fingers. About his intentions, Just has said: “Using elements of abstraction, representation, illustration and duplication I try to produce paintings which show the infinite possibilities of interpretation. The magic of seeing images revealed or dissolved. To move the viewer just a little bit closer to seeing something they may have missed.”
Artforum says Winston’s newest are “Light and dark, dry and wet, reflective and absorptive, these qualities give the different multiples of the painting a distinct visual rhythm… What at first seems quite simple turns out to be very complex upon closer inspection. Layers of color unfold an optical effect that lifts color from its surroundings to conceal the materiality of the carrier almost to the point of invisibility.”
Hyperallergic notes about Joan’s newest “ …few artists unlock black’s buzzing potential better than Joan…” (I also think of Pierre when I contemplate the use of the chroma black).
Dorothy (who is no longer with us) made works which “are too rich to be minimal, too spare to be expressionist. They deal with color and expansive space, yet they are too gestured and incidented to be straight colorfield works. They are adventures in form dealing with color as an expressive agent rather than as a mere phenomenon.”
Uta has been shown in the same context as abstractionists due to the similarities with formalism in her photographic strategies- I think it’s clear she shares an interest with “us” in the visual and phenomenal qualities of art viewing.
(for other photographic work click on the hashtag “photography” for this post)
Stephen says about below as a series that “conveying paint to canvas by means of a system that uses printing plates instead of brushes would save a lot of time and trouble. This indirect, intentionally imprecise production method yields the great pleasure of surprise while providing a concrete way to think about color, surface, scale, seriality, figure/ground, original/copy, and the psychology of visual perception.”
Since I’ve written about banal formalist modalities a couple of times recently I figured three times is the trick? Croatian artist Julije Knifer responded to the post-revolutionary socialist aestheticism (asceticism?) of the ’50s and ’60s “with black irony, riffing on geometric abstraction in “anti-paintings” characterized by a deliberately meaningless monotony.”
As I was writing a piece about Susan recently, her methodology for producing work based on a data set which she did not control echos somewhat I think in the “systems” of some of the Zombie Formalists, a movement which slightly predates my return to painting and apparently was worth missing entirely Instead of cashing in though, Lucien pivoted.
When I was searching Pinterest for images to blog on Robert the algorithm threw up an image of Paul’s– I’ve followed him on IG for a while as should you! I’m really drawn to the crevices (probably some association on my part with early-generation video games or landscape rendering from ’80s cartoons).