Painters on Paintings is a conversation between contemporary artists and their influences across time.
In Self-Portrait on Bed, made in 1973-74, Gregory Gillespie paints himself as a not-quite young man, some years older than I am as I write this. He sits on a mattress that sags toward the floor.
When I saw “The Enamored Mage” in person I was completely transfixed. Painted with heavy impasto, the protrusions of paint gush out of the surface, some following the image, some swelling under it.
…her cast of characters played out dramas on a stage that is both circus and life as she knows it…
Regarding the Other in horror and finding that Other in myself, it’s impossible to look at “Study of a Baboon” and not be sucked into a vortex of abjection and a struggle for empathy.
While both Murphy and Byrd use form as a means to make narrative works, they also create paintings that exist on a spectrum between solidity and erasure.
The cool confident stare of Marshall’s “Nat Turner” speaks directly to me as a painter, saying to accept without regret the task at hand and rewrite the master script of possibility.
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
They are simple yet complex, erotic yet spiritual, wildly designed yet perfectly rendered to fit both the scale of the object and the place in architecture.