If, then, in its broad definition, abstraction serves to reveal the unseen, for both DeFeo and Grotjahn, it perversely serves as a material diary of intense meditations whose specific revelations remain as impenetrable as their characteristically
opaque surface marks.
If we adopt the screen then as the emblem of the contemporary optic, we presumably regard contemporary painting as somehow
marking a return to a quasi-classical conception of its task as one of illusionistic affect... The intelligence lies in suggesting that materiality can persist as a key affective dimension of painting only if its terms are re-written... Recent paintings, like Michael Stubbs's work towards a diminished materiality, resulting in something more akin to the continuous
surface associated with the varnished skin of an Old Master painting than to the
opaque porosity of a Hofmann or Still.
Close - ups of Gianna Commito's abstract painting reveal the textured
mark making that results from taping the
surface and layering translucent and
opaque paints.