… she only painted the parts of her body that she could physically feel in the moment…
Most alluring to me is her enviable touch—the delicately notched antennae, chomped and curled leaves, or gooey-pale larvae casting shadows as they inch along.
…the evidence of his happiness made me happy, and for that I was grateful.
… Even as invented portraits, they have that quality that “someone is home.”
He has skirted being defined by tradition, modernism or post-modernism by replacing theory and ideology with personal expression.
But with Hartung it felt different. He did what I am currently trying to do.
…Her work is a portal for the viewer to step into as the room transforms into a theatre of the mind.
…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.