Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.
Churchman seems to be painting as a way to better comprehend his subjects; the canvases feel like dedications, striving to embody someone or something’s true nature.
It is not every day that you can go to Chelsea and see more than 100 paintings by 46 artists within the space of a few blocks.
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.