http://andrewseto.com
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Dragica Carlin
artist statement :
Of the Surface of Things In my room, the world is beyond my understanding; But when I walk I see that it consists of three or four hills and a cloud. From my balcony, I survey the yellow air, Reading where I have written, “The spring is like a belle undressing”. The gold tree is blue; The singer has pulled his cloak over his head. Wallace Stevens (1875-1955): Collected Poems (Harmonium 1923)
http://www.dragicacarlin.com/
Katrina Blannin
Artist's Statement
Recent work follows an evolving methodology. Squared grids provide the starting point for a kind of 'diagram' or 'mosaic' of tessellated triangular forms and hexads. It is a reflexive, systematic approach: which searches for a lucid, visual sense, something Mary Martin would describe as 'internal logic'. When making a triptych or a diptych I have the idea of mirroring or ghost images in mind. The starting points are objective explorations of the simple mathematics of symmetry, sequence and the possible disruptions of asymmetry. But this is only part of the journey. The aim is to achieve, through a paring down of visual ideas, something which investigates perception, intelligibility or clarity. During the process instinct and experience play a role in relation to weight of tone; colour nuance, consonance and dissonance. Painted panels are applied in glazes, either multi-layered or in much thinner washes. In others metallic or multi-coloured under-painting is revealed which, with the texture and weave of the linen, creates a kind of two-tone effect, becoming integral to the tonal composition. Whatever the intention, the finished work is never entirely as envisaged. It is the power of surprise is important: its Gestalt, or ability to be more than the sum of its parts.
Andrew Bick
http://abstractcritical.com/article/andrew-bick-and-mel-gooding-a-conversation-at-hales-gallery-january-8-2013/
http://www.halesgallery.com/artists/9-Andrew-Bick/overview/
http://insight.glos.ac.uk/academicschools/dad/research/staffresearchprofiles/pages/andrewbick.aspx
Gregory Montreuil by Amanda Church
Gregory Montreuil
“Control Alt Delete,” Galerie du Tableau, Marseille
July 14-31, 2014
Gregory Montreuil's abstract paintings have long been composed of smoky tendrils of shades of black and white, gestures that could indicate thoughts and events, both actual and imagined. He has excluded color from his work for over 10 years but his reductive palette still manages to conveymyriad associations. In his current installation, "Control Alt Delete" atGalerie du Tableau in Marseille, Montreuil mounted a group of small-scale paintings to a grid of cut newspapers adhered to the wall with bits of tape. He painted this wall a dusky pale yellow to match the color of the tape and also the yellow of faded newspapers. Some of the paintings include the collaged elements -- tape, tinfoil, string, and newspaper -- that the artist has been using off and on over the years. Here, the newspapers on the wall have been cut precisely so that all the photos have been removed, leaving only the headlines and stories along with the yellow squares and rectangles of the wall that show through where the photos were cut out,popping through as monochromatic paintings themselves. Somehow this real-world backdrop merges seamlessly with the paintings' brushy gestures which in spite of their fluidity at times seem to lurch across the canvas. InIci Maintenant (2014), a slender, elongated triangle of torn newspaper juts upward from the bottom right, piercing the soft grey and leaving what looks like a plume of white smoke in its wake. Montreuil’s minimalist version of action painting reinvigorates the tradition while enacting a synthesis of content and the language of abstraction.
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