…when performing actions they do so with zombie-like disaffection like flies stunned by a bug lamp, jerking sporadically into and out of states of repose.
If we were to think about the image in terms of language, it would be a noun or a verb.
The thin screens of constructed space, which I wade through at a sluggish speed, feel like the layers of a person you’re getting to know.
There’s an unabashed honesty in the way Henry Taylor paints a picture.
This is an instructive demonstration of using the right shapes and shadows to conjure story and character to visualize the contents of psyche and soul.
The blade may be in front of the self-portrait of the axe man… but it serves to slice the man into numerous pieces.
In his mature works the portraits are literally portraits of the walking dead.
It’s a curious thing to feel an immediate and unflagging connection and respect for a fellow painter’s work
They depict a psychological violence resulting from a basic cold-heartedness in human nature.
Greenbergian Modernism… has put nails in the coffins of all sorts of serious and interesting representational artists for most of my lifetime.
Beauty disguises her devilry; she represents the other half of hell.
The bare-breasted heroine, the apparent caretaker of the heap, wielding a chainsaw…