Katy Moran / Carla’s Garden  / 2007

Coming back to a contemporary abstract painter I have written about before, and whose work I was struck by back in the spring at the Andrea Rosen Gallery, I was google-stalking the London based painter Katy Moran. Hoping to find some new work or upcoming shows or something, I came across a video interview on the Tate website for an exhibition back in Feb-April 2008 called Strange Solution. Anyway, I thought Katy had some interesting comments on abstract painting, issues that Paul Ching-Bor and I, along some other painters, have been discussing recently at the Art Students League, particularly working from photos and images and pushing toward abstraction. Around the 1:05 mark she comments that for her it is about finding an image that is interesting enough to get started and then leaving that image at the right point. Check out the video here since I can’t post it to the blog. Below is a snippet of what she had to say.

‘They’re finished when I can see a figurative element in them … through the paint I’m searching for the thing it reminded me of, or suggested to me, and trying to get close to that thing.’ The exuberant spontaneity of the gesture is genuine rather than contrived, Moran comments, ‘When I’m making a painting, I get quite excited by how close to awful I can push it, while getting something quite lovely from it as well’.  {Read More…}

Ron Ehrlich / Emerald Glimpse / 2006 / Oil, mixed media on panel / 59 x 59 inches
© Courtesy of the artist and Gallery Camino Real. www.gallerycaminoreal.net

Excerpt from Gallery Camino Real

American painter Ron Ehrlich achieves rich surfaces and subtleties of tone by melding the three dimensional techniques of vessel-making with the spontaneity and vitality of painting. Working on panel, wielding a blowtorch as well as a brush, the brilliant colorist creates an art both vigorous and contemplative.

Ehrlich attacks his work with an energy that is exciting to behold. Watching him paint is an electrifying experience – marking, gashing, splashing, burning, tossing, scraping, and brushing. Ehrlich moves around his studio with an astonishing vitality: enlisting paint, raw pigment, wax, and marble dust to add to the pastiche of his surface materials. He reaches to add an elegant curving line of crayon, hurls an industrial size brush-load of paint in a sudden graceful arcing toss, then meticulously blowtorches a melting stream of paint, flames trailing his gesture.

With a rare level of skill and this complex methodology he tackles his paintings with a contrasting muscularity and intellectual vigor.

The art of Ron Ehrlich is suffused with the vitality and power of nature, which seems to be his underlying narrative. [Read more...]