Kathy Barry

Kathy Barry's work has also interested me as I have been experimenting a lot with water colours and different ways they dry depending on the pigment there may be a very sharp edged form while other pigments can be very transparent and not set with any water stain.

the way in which Kathy Barry outlines the imperfections of the watercolour i find most interesting, the use of pencil to manipulate the forms was a subtle process as it does not stand out upon the colours it sits in gently emphasising the quietness of the painting.

Charline Von Heyl

"Painting was a revelation, because it made me realize that mystical texts do create an abstract space of silence in the mind, which is what I want abstract painting to do. I am interested in the violated perception that forces the mind into a state of wonder, into a bewildered silence."

"You see the image one way and then slowly it dissolves, it deconstructs itself, and then reconstructs itself in another way. By showing everything, he makes one see nothing – only rhythm and pattern."

"If I discovered a reference to something that was familiar in my paintings I would erase it, wanting the painting to be something completely new, completely unexpected."

 

These references i consider very important taken from the book 'Oranges and Sardines' an Exhibition for each selected artist - one that i found of great interest was Charline Von Heyl an artist that uses layering of painting covering and revealing paints of the works, creating transparency. These quotes are how Charline Von Heyl describes her practice, what she finds most important as she talks about artist that she admires and strengthens her practice.

Jack Whitten

" Obsessive mark making is an attempted to find painting's zero degree to see if it will give away to another kind of activity and, if not, find the most reduced gesture that still comprises a work - to find fullness by emptying out"
Butler, H.C. (1999) After Image. Cambridge, Massachusetts: The MIT Press.

I find this quote interesting in terms of my practice I am considering how to manipulate positive and negative spaces on the colour field, through mark making. "Attempt to find painting's zero degree" is an interesting way to approach this, by etching away the surface of paint and paper you become more aware of the negative and positive spaces. I approach this in away that both positive and negative spaces interact with each other.

" Marking Time." This was another approach to the work of mine that i am interested in. Robert Irwin discusses the marking of time in his works, the way i approach time is a slow etching process, the viewer when encountering the works can be overwhelmed by the excessive marks and time then becomes a big part of the works.

" At a distance the shadows were in tangible, appearing merely as abstract shapes or smears. Only for the inquisitive viewer do they gain shape or substance. For under close inspection, different shadows materialised and then disappeared as one veil fell and another parted, activated by the play of light across the paintings' surface." Kristy Gorman, Govett - Brewster Art Gallery.

http://artweekauckland.co.nz/artzine/review/hedge-andrew-barber-at-hopkinson-cundy-gallery

Andrew Barber: Exhibition at Hopkinson Cundy Gallery was great. The works ranged from large scale canvas cloth (free standing) where you could view the work as objects, to smaller painted canvas works. Depending on the time of day the large scale works transformed from the natural light, making the wooden strainers cast shadows through the cloth. The shadows then interacted with the pattern of stitched canvas. I am interested in the way Barber uses the natural light to create an illusion of shadow and form, which is a big part of my focus at the moment in studio.

Here is another link to the Hopkinson Cundy gallery exhibition: http://ocula.com/art-exhibitions/hedge/

Kristy Gorman

http://www.melanierogergallery.com/?action=artist_details&id=7

I found Kristy Gorman's work interesting because of the fluidity of shape and mark. this has a strong relationship to my art practice. I am looking at the way she arranges her shape and forms as she usually creates a sort of "in between" form from fluid to geometric in pastel colours, by putting these two kinds of forms together it creates an interesting contrast between line, mark and form.