“The thing that’s fascinating me now more than anything, is when a painting is right. What makes a painting right?”
“No matter what I tried, what fit best was work that involved my love of something small-scale and intimate.”
“There is an emotional narrative to the way that the paintings are touched,” the artist tells us. “If my body touches the surface aggressively or lightly, smearing or sanding, it creates different emotional notes, different speeds, and different focal points.
“Although I think authorship is questionable, I am interested in inventing my own language.”
“There is an outer world of violent chaos, and an inside world that is the paradise of being an artist.”
“How could I make work that was sexual from a woman’s point of view, that would not turn a woman off, as so much of pornography did?”
“I look at where things accumulate, where people leave things. Every house has a corner like that.”
Pensato’s work is about grand gestures and not backing down.
Wilson warns me that her studio never looks impressive — a hazard of making meticulous, intimately scaled work.
Essenhigh and Mumford — who live together and work in adjoining studios on the Lower East Side — are unafraid to make declarations about what motivates the other.
Uttech tells stories through the metaphoric possibilities of paint.
An artist couple talks about paintings with a punch line and a street full of rats.