The first painting in this series, Work No. 508 (Black Painting) 2006 is composed of a stack of horizontal rectangular bands similar to Work No. 1103 except that the sequence of
painted strokes reverses so that the thinnest band is at the bottom with the strokes getting thicker towards the top.
Not exact matches
Peter Schjeldahl writes in the October 9th, 2017 issue of The New Yorker, «The happiest surprise in Trigger is a trend in
painting that takes inspiration from ideas of indeterminate sexuality for revived formal invention... Christina Quarles... rhymes ambiguous imagery of gyrating bodies with dynamics of disparate pictorial techniques... The wholes and parts of bodies in Quarles's cheerfully orgiastic pictures entangle in alternating styles of line,
stroke, stain, and smear... called to mind early nineteen - forties Arshile Gorky and Willem de Kooning, who fractured Picassoesque figuration on the way to physically engaging abstraction... Quarles playing that process in
reverse, adapting abstract aesthetics to carnal representation.
Using thinned out
paint and working from the
reverse of the canvas, Hood's
painting technique recalls Van Gogh's painterly
strokes and Color Field abstractions.
Using printmaking and photo transfer methods in tandem with newfound digital imaging technology, the Anagrams saw Rauschenberg literally
painting with images (
reversing the brush
stroke towards final image progression) as early as 1992.
For the
reverse - stencil stripes, use a sponge brush that is the same width of the stripes to
paint a smooth, even line in one
stroke.