Photo : Guy L’Heureux permission de l’artiste | courtesy of the artist
Painting Deployed
While the codes of painting, whether figurative or non-representational, have been amply revisited in the last forty years or so, no less productive and fecund research is taking place on how exactly paint is applied. It is as if interest in materiality and application were to directly interrogate the fabrication of the painting and turn the very application of the material into a locus of thought. That, at least, is what I observe among some emerging painters who have attracted particular attention in the last five years and who, in their methodologies, have shown a desire to take a closer look. In their inventiveness, they forgo the painter’s conventional artillery (brushes, spatulas) in order to get closer still to the material, to gain better control over it in some circumstances.
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