Matthias Zinn Window 2011-12 oil on canvas 59.5" x 43.30"
matthiaszinn.de
I don't know why Zinn's painting feels so right when it looks to be so wrong. The over painted element in white just pulls me into this composition. I love it when a painting does this. Does any one else feel this way?
Joanna Pousette-Dart Red Desert # 2 (diptych) 2005-06 acrylic on canvas over wood panel 66.5" x 87"
texgal.com
Martin Lukac Rural Pattern 2013 acrylic, enamel paint on plaster on burlap
lukacmartin.com
Milton Avery (1893-1965) Sunday Riders 1929 oil on canvas 30" x 25"
www.neuberger.org
What could be better than Milton Avery for a Fall day? Always one of my favorite painters for his observational skills and straight forward paint handling.
Chris Martin Untitled 2014 oil, glitter, aluminum foil on canvas 64 1/4" x 59 1/4"
antonkerngallery.com
Martin continues his inventive abstraction with a new group of paintings incorporating glitter, foil as well as traditional oil paint. He seems to mashing up pictorial elements of Schnabel and Kelly with low brow aesthetics to form his own painting vernacular. Quite effectively I might add.
Despina Stokou Acknowledgements 1 2012 mixed media on canvas 63.25" x 48"
derekeller.com
Using obfuscated text combined with performative paint application, Stokou sets up a discourse with the viewer of her paintings. Allusions to personal and art world dialogues with supple paint handling are nothing new but Stokou's work strikes a chord that is familiar yet strange. I get the sense that I am looking at the genetic thread of Twombly and Basquiat weaving its way as she navigates through her work.
Joe Bradley Horse Thief 2011 oil on canvas 78" x 89 4/5"
gavinbrown.biz
Frank Lentini Untitled 2011 oil on wood 24" x 18"
franklentini.com
I like what Lentini doesn't say in his paintings. He alludes to many elements
without defining any specific one. This allusion allows him to illustrate the
unknowable as he mines his imagination through his painting.
Becky Yazdan 2013 Big Dipper 2013 oil on panel 12" x 9"
beckyyazdan.com
Yazdan's paintings give evidence that small work can pack a large punch.
Almost all of the work she produces is smaller that 18" x 24". Each
painting seems much larger with her use of line, color and texture taking the
viewer to an abstract vision that is evocative and profound.
Sharon Horvath Calvino's Blood Sea 2010-2014 pigment, ink and polymer on paper on canvas 52" x 71"
loribookstein.com
Janne Raisanen Skin Flick 2012 oil on canvas 23.62" x 15.75"
www.anhava.com
David Hendren Shade in Red, Brown and Magenta 2012 enamel on jute 60" x 50"
davidhendrenart.com
Brian Cypher Branching Body 2012 oil on canvas 24" x 30"
briancypher.com
Cypher is a self taught painter from the Northwest. He lived in my area of So. Cal. before he moved at a young age with his family up north. I am drawn to his use of line, form and color to define a undefinable place where extemporaneous thoughts and feelings meet on the canvas. Interesting things happen when you have an unencumbered mind.
Magalie Guerin Untitled (Hat-Wood) 2013 oil on canvas 16" x 20"
magalieguerin.com
Guerin is a recent graduate from the SAIC painting and drawing program. I like the way she continues the investigation of paintings history with her individuated approach to abstraction. Her sense of color and choice of subject matter make me want to see more of this special young talent. Her work gives evidence to the special programs that SAIC provides painters today. I can see the influence of many who came before her like Elizabeth Murry, Mary Heilman, Charlene Von Heyl, Tomma Abts. However, she holds her own with her emotive paintings.
Ludovic Dervillez Untitled 2014 acrylic on canvas 31.5" x 23.62"
ludovicdervillez.wix.com/book
Dervillez is a painter from France and a FB friend. I have been watching his posts for a while now and have noticed a decided shift in his approach to his work. This new series of paintings caught my attention because of the simple complexity of his effort. Laying down acrylic paint on the canvas and removing it. Building while taking away giving the viewer an opportunity to see the performative process develop into an elegant result.
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