Helen Frankenthaler once said, “I don’t start with a color order but find the color as I go. I’d rather risk an ugly surprise then rely on things I know I can do.”
Likewise, we get the sense that LA based artist Caitlin Lonegan’s process is similar. Her color palette (collected here) meditates on the bravery of a spontaneous stark of brightness erupting from the murk. Yet, there is also an overall resonating calm sense of vibrancy that is truly understated, not forced.
As viewers, we can’t help but embrace the comfort and excitement of well laid paint in seemingly simplistic guttural compositions.
Artist Josefina Concha, with the aid of a sewing machine in lieu of a brush, weaves her work into being. Full of texture and threaded messy shapes of color, her stitching fascinatingly harkens back to Mark Tobey’s thoughts on abstract expressionism: “A painting should be a textile, a texture. That’s enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that’s what I’d rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up. Bringing it up. That’s what is difficult.”
However, of her own approach, Concha strives not just to simulate, but replace painting with crafting techniques, a medium formerly equated primarily with domestic labor. She explains, “The building of my work is articulated through the investment of a material (the thread) on a piece of cloth, and the time dedicated to sew it. This is made visible in the superimposition of weaves that in short will generate a thickness (body) and a sensation of volume, dominated by the treatment of color and optical mixtures, to which I turn to with the eagerness of creating suggestive images that appeal to the ephemeral.”
Trey Speegle just opened Good Luck With That, a solo show at Benrimon Contemporary in Manhattan. Speegle plays with familiar paint-by-number formulas in semi-abstract works full of color and personal significance. A few works in the show feature silhouetted horses among other elements that exist within a recognizable context, but the real star here is the artist’s subdued, flat application of color. The show will be up until October 20th, so if you’re out here, be sure to roll through.
NYC artist Jose Parla is known for bringing the most subtle graff references to his abstract expressionist paintings. Tags and drips meld seamlessly with texture and scale in his atmospheric work, eschewing the familiar graffiti-aesthetic-as-gimmick-syndrome.