the good stuff
Brent: Lines have been your thing from when I can first remember – and probably before that too. And for you, the lines and their infinite variety is the motivating bee in your bonnet, with a focus that is almost too obsessive, but it is what is for you – mostly. There is a … Continue reading
BH: Emma, what hit me when I first came across your work, and I’m thinking the in situ installation pieces, was the strength of the color and forms you had used. And then there was that space – never completely adding up while offering a convincing cohort with the architectural elements that you chose to work … Continue reading
BH: Deceptively simple, singularly shaped and formed, canvases bloom from the wall each in a different color. Hung together they suggest a word, a string of them, arranged to convey the written form, though any attempt to decipher or push this further only adds umbrage. Instead, when the syntactic muscle relaxes, the color forms open to the … Continue reading
Visual: You know I’ve always loved the idea of making a white painting, a monochrome, a square, white, monochrome painting. And a lot of my colleagues have had that love too. And I think we’ve all tried our hand at it. I remember when we got close, when we thought it was time, we could … Continue reading
I’m really involved in this idea of states-of-change. I see no real end to it. All of our discussions here relating to the formal aspects are fine, and that is whats possible at this time, but I have always felt that all I do is stare into a void. Continue reading
Brent: If a big slab of red, blue, even yellow or orange came out of nowhere and found home on top of one of your paintings, we’d be set aghast. But I guess you, the maker, get that all the time and cover it up so our experience is different? Add the scale, a work is … Continue reading
Brent: Behind every good story lurks a liar: a borrower, a truth teller, and a lark. First and foremost you are a painter. And the work you make is painted flat. The surfaces hold the legacy of hard-edge painting and color abstraction, and this is true whether you are creating large wall paintings in situ, … Continue reading
