Painters on Paintings is a conversation between contemporary artists and their influences across time.
A small painting: 12 inches wide by 16 inches high. Thin, lightly touched scrapes and dabs of paint in ochres, viridian greens, and a flurry of blues.
I love this image. And have for many years. Actually, it’s less about one painting and more about a book of images. I chose this one at random.
Before I can grasp it with my mind, this painting has already saturated and immobilized me. What am I looking at? Not so much a painting as a force.
The tension between the bodies of mother and child builds up until the moment of physical separation with the delivery of a new entity in the world. Bourgeois depicts that moment using transparent skins of juicy crimson.
El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.