In some works the thick
application of paint seems to tantalizingly obscure, while in other works, Katy's removal of the painterly gesture, with rags dipped in varnish or even by sanding, further complicates and deepens our reading of the expression.
Not exact matches
Richter obscured the details
of each image using thick, heavy
applications of paint, making the canvases
seem ominous and spectral, sinister remnants
of memories from an undefined past.
No Accidents is an intriguing name for work whose creamy
application seems characterized by an excessive amount
of paint.
From Joan Mitchell's loaded brushwork in Before, Again IV (1985) to Wayne Thiebaud's
painting Candy Counter (1962), in which lush pigment
seems to frost the images
of cakes, a tactile
application of paint energizes both abstract and figurative canvases.
The imagery is not without importance, but what
seems to spur her creative process is the
application of her hand to the material (be it
paint, the printmaking plate or, in the case
of her sole sculpture project with Gemini, the clay used to generate her series
of 17 Heads, ultimately made
of solid silver).
In the catalogue for his 1978 Arts Council, Hayward Gallery exhibition, an art critic wrote: «in spite
of the excessive piling on
of paint, the effect
of these works on the mind is
of images recovered and reconceived in the barest and most particular light, the same light that
seems to glow through the late, great, thin Turners... an unpremeditated manifestation arising from the constant
application of true draughtsmanship.»