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Lisa Corrine Davis, Andres Ferrandis, and Philly abstractions

Tuesday Night Painting #31

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Lisa Corinne Davis, “Flitting Foundation” (2019), oil on canvas, 40 x 30 inches

Hello painters,


👻 BOO!! 👻 

Did I get you?

This is the
🎃 Halloween 🎃 edition of Tuesday Night Painting.

Today all of the paintings you'll see are going to be only black and orange, to help get you into the mood.

Actually, the more I think about it, that's going to be kind of difficult. Would you settle for just autumn colors? If you look at it a certain way, the painting above by Lisa Corinne Davis could bring to mind falling leaves blown into a semi-circle by the wind.

Okay, for real, this week I have another collection of links for you from all around. Today we're going to take a trip to New York, San Antonio, New York again, and Philly, and we'll also talk about how people are using color to deal with being cooped up at home.

Lisa Corinne Davis, “Notional Norm” (2020), acrylic and oil on panel, 24 x 18 inches
Lisa Corinne Davis, “Deceptive Dimension” (2020), oil on canvas, 20 x 16 inches
First up is All Shook Up, a collection of paintings by Lisa Corrine Davis, on exhibit at Pamela Salisbury Gallery.

Even from the relatively small images on the gallery's website, these paintings have a lot of personality per square inch. The paintings we looked at last week, the Frank Bowlings and Sam Gilliams, were enormous canvases that stretched out sometimes for ten feet, sometimes for ten yards.

These paintings by Davis are more modestly sized, more human in scale. You can take them in more or less at one glance, but like I said, they are packed with so much detail that one glance isn't enough.
Captuous Computation, 2019, oil on canvas, 30 x 40 inches
Schematic Sham, 2020, Acrylic and oil on paper, 14 x 12 inches
Davis is quoted as saying her paintings begin "on canvas, with paint" which might seem like an obvious place to start, but tells us a lot about her working method. There are no sketches or plans or blueprints to these pieces. Davis starts out her compositions, potentially scraping away many beginnings before settling on the direction she wants to head in, occasionally leaving those base layers visible as ghostly images of paintings that will never be.
Davis's paintings can bring up a lot of associations: grids, charts, topographical maps. There are layers to her linework and her colors which weave in and out and on top of each other. There are systems at work here which operate on a scale that is unknowable but we can imagine it to be nearly infinite, the way that the network of lines extends out beyond the edge of the canvas. There's no way to know where they stop, but also no way to decipher what the fragment of code in front of us means.

Similar in theme to the works of Julie Mehretu, with each of Davis's canvas, there's a complex web of information in front of us that mirrors our day to day interaction with technology. The lines on the canvas trace the path of the invisible hand of the artist, but they could easily be tracking movements of data, of people, of Ubers, or whatever else.

You can read a review of Davis's most recent show here at Hyperallergic, visit the gallery's page here, and see more paintings by the artist at her website here
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Next up I wanted to share the work of Andres Ferrandis, a Spanish artist whose found object and wooden sculptures are being doubly featured by the gallery Ruiz Healy. You can view Ferrandis' work if you visit either the San Antonio or the NYC branch of this gallery. 
This specific piece by Ferrandis caught my eye the second I saw it, because it falls squarely in my color palette wheelhouse. I love to see it when artists work in that range of light pinks and yellows and oranges. I love experimenting and working in that range myself.
Painters -- do you have a magic color zone? Is there a color or palette that always turns your head? Everyone had a favorite color when they were little, do you still have one today? Reply back to this email to let me hear about it. 
Ferrandis makes these objects out of a variety of materials:
wood, polycarbonate, found objects, cardboard that has been silkscreened, plus the more traditional acrylic and oil paints. I love that each of these strange junk collages incorporates some sort of frisbee type object. The discarded wood turned art material has a patina of age on it, but the bright lollipop colors still want to shine through. 
And here is your weekly reminder that this newsletter is free but not cheapI've been spending more and more hours each week researching and writing about new artists for me and you to lovingly gaze at.
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If you appreciate this newsletter, send me a few dollars by clicking on the button above. 
Two quick links to leave you with. The first being this review in the Philadelphia Inquirer about a new show at the Woodmere Art Museum.

This show covers a group of abstract artists working contemporaneously with, but separately from, the AbEx artists of NYC. Last week we made mention of the group of colorists in Washington DC led in part by Sam Gilliam. NYC has always overshadowed its neighbors, no matter if they're Philly, DC, Baltimore, Boston, or elsewhere. That's why it's always interesting to see and hear about what else was going on at the same time.

This group of Philly artists were led by the painter Samuel Feinstein, whose work is seen above. Click through to the link above to read the history of Feinstein and the Philly abstract artists he collected around him, and click here to view the online components of the exhibit.
Finally, a piece in Art News discussing the ways people are seeking out chromatherapy at home. Remote workers are looking to reinvigorate or relax themselves, because now they're spending more time than ever in their home office. This article got me thinking about how recently I've been obsessing a little bit over this range of GOLDEN paints that are purely pastels. There's something about Titan Mars Pale and Titan Violet Pale that I think have a soothing effect, but I'm not sure I want to paint a whole wall in my house with that tint just yet. 
That'll do it for this week, painters.

This week I've been really enjoying the tunes of SuperParka and Yeo, which both have a sort of laidback but energetic kind of vibe. These are the tunes for a slacker who likes to get things done.

SuperParka - Girl
SuperParka - You
SuperParka - Ultraviolence

Yeo - Never Wanted That
Yeo - @snackswithyeo

See you next time, and happy painting.
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