Veiled Blind Spot

DISCOVER THE SELECTION:

"I’d say there exists in Ana Neifeld’s work a special energy. She once told me that to her, a painting wants to live: that a painting is a radiant object, and for it to come alive, she must listen to it, converse with it. Which figures: paintings like Ana’s could not be coerced or foisted or instructed into being. On the contrary, only the keenest sense of freedom, an openness to experience, and the will to circumvent tradition in favour of something bigger, will do. I think this approach has great strength: not only is the outcome thrilling, but it also tells me that in painting, anything is possible."

M Train Passing

Like There Was a Door

Pinball

Cathedral

Mia Lee:

"In the 1880s-1890s Ensor, Hammershoi, Bonnard, Vuillard and others began painting the backs of chairs, the corners of tables and empty rooms. Like little poems of something and nothing, sometimes in such work a great tension is felt. In contemporary painting, artists are again being drawn to the strange possibility. I think about this when I see the work of Jackson Joyce (although his work encapsulates much more). There is a quietness and a gravity too, of a life seen in glimpses- isn’t that how we so often remember things?- and the paintings grip me with a mysterious power, something like memory."

The Decoy

Messenger in the Storm

Only Sleeping

The Pond

Hiding

Milo Matthieu:

"Dagny Bock’s work has a certain character which speaks to beauty in my eyes. She attends to the weather and the seasons and geography in the company of great Canadian landscape painters. But also there is something unconventional going on, a certain rhythm or movement relating to shape or form, which continues in the tradition of modern painters such as Marsden Hartley and Arthur Dove. In the trees, skies and rounded edges, there is something so pure, it seems not terribly human; could it then become a matter of the soul?"

Pink Cloud

Fall on the Rio Grande

Malcolm

Fall (From the Window)

The Garden

Tariq Oliver:

"I like painting that vacillates at the edge of the possible, especially in terms of space: creating it, flattening it, obscuring elements lest they restrain us in an illusion of dimensionality. There is so much to enjoy in Zack Rosebrugh’s work, the mood, the colours, a lightness of touch and a sense of humour, but my intrigue is held in those impossible spaces. In this regard it seems Rosebrugh, who came to painting via illustration, has the idea to follow Matisse and Diebenkorn in taking up the serious challenge of exploring what paint can achieve in and out of rooms."

Mary in Studio

Red Studio Sitter

Dark Studio with Stretched Canvas

Studio Chair with Bottle and Floral Fabric

Studio Cart

Window View  #1

Murjoni Merriweather:

"I think being in a room full of Peter Gehrig ’s paintings would be the most beautiful day of my life. When I see Peter’s paintings, I want to look out of the window with Peter, take a walk with him, go on a trip with Peter, sit by the table with him and enjoy flowers and objects and maybe eat a meal if we get hungry. One does not often see paintings with such tenderness, so elegant but so humble: and altogether somehow, life-affirming."

BRANDON CHUBB

CURATED WITH:

BRANDON CHUBB