One would think that, in making paintings about pattern, there would be a defined beginning and end, an image that’s certain and void of breathing room. But that’s wrong. I feel as if I never know the ending. “Nocturne II,” graphite, oil and venetian plaster on panel, 7.5 x 9.5 inches, 2013. © Alison Hall. […]

Aspiring to express subtler layers of reality in his art, he gradually liberated himself from the limitations of an overt political agenda. Arnold Mesches, “Shock and Awe 23,” 2012. A/c, 80 x 104 in. © Arnold Mesches. Courtesy of the artist. The shock of his first encounter with Franz Kline’s paintings back in the fifties […]

I feel the work in my body. I feel it. I don’t know how to exactly express that, how to translate that into language. But most people confuse emotions in art with sentiment, and I’m out to crack that one. Dorothea Rockburne, “Scalar,” 1971. © 2014 Dorothea Rockburne / Artists Rights Society (ARS), New York. […]

I began thinking that something else was happening, and that something else had to be brought into my thinking as a social realist painter — how the hell can I bring that into my thinking as an image maker? Arnold Mesches, “Eternal Return,” 2013, acrylic on canvas and paper on canvas. 50 x 60 in. […]

…its failure reveals the exact element I want to express. In this sense I want to focus on drawing’s inherent nature of being intimate and immediate, unstable, alive. This quality of drawing, exposed through revealing the process, opens space for the viewer to experience an organic moment of tension, just like every moment in nature. […]