“Sometimes doing 24 hours continual painting, the artist’s brush becomes a complete extension of his inner soul. His declared aim is to arrive at a state of ecstasy where all knowledge of the past is absent and he can achieve a total symbiosis with the moment. The visual complexity, richness of brush strokes and vibrant colours draw us in gradually so that it is possible for the viewer to attain an almost trance like state as we, little by little, enter the artist’s visual universe. The endless brush strokes create a further effect of staring into a spider’s web and losing oneself in a new and rarefied world.”
Judith Foosaner’s unique combine works begin with black and white linear drawings on paper, which are then cut, rearranged, and collaged onto the canvas. Guided by the lines, Foosaner applies paint to the collaged surface, resulting in complex compositions that enter into a new formal relationship. In a choreographic gesture, the works investigate line, surface, and movement. The work of Judith Foosaner encapsulates energy and fervor as line and form dance across the surface of the composition, resulting in dynamic and gestural abstractions.
via Breaking and Entering: Solo exhibition by Bay Area artist Judith Foosaner at Brian Gross Fine Art.
Roberto Matta, L’homme descend du signe, 1975, Courtesy The Pace Gallery
Roberto Matta at Pace Gallery by Donald Kuspit – artnet Magazine
In the prevailing philosophy of the Orient, the immeasurable (i.e. that which cannot be named, described, or understood through any form of reason) is regarded as the primary reality. . . . To Western society, as it derives from the Greeks, measure, with all that this word implies, is the very essence of reality, or at least the key to this essence, in the East measure has now come to be regarded commonly as being in some way false and deceitful. …more
via artnet Magazine
The Onyx of Electra, Roberto Matta (Chilean, 1911-2002), 1944, Oil on canvas (from the collection at MoMA)
About the artist – Roberto Matta biography
Term used in an art context in several ways: in general for processes of imagemaking in which only some of the visual elements usually ascribed to ‘the natural world’ are extracted i.e. ‘to abstract’, and also for the description of certain works that fall only partially, if at all, into what is commonly understood to be representational. MOMA defines the term Abstraction read full description
via Abstract Critical.
Charline von Heyl’s paintings are irrepressible, and indefinable, and defy categorisation. More about her exhibition at Tate Liverpool.
Optimistic abstraction | Tate.
Great video about the work Charline von Heyl.
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