The Painting's Life

The group exhibition The Painting’s Life: Examining Abstraction highlights the aesthetics of abstract paintings by artists Brad Robertson, Barrett Edwards, and Sergey Fedotov. The opening reception for the exhibition will take place at Atlanta gallery, R Alexander Fine Art on Friday, October 2nd, from 6-8pm,and the exhibition will be on display through November 2nd, 2015.

The roots of Abstract Expressionism grew from a post-war climate when artists strayed from traditional modes of representation in order to create art that relied on the interaction between self and materials – a spontaneous endeavor that aimed not to express or reproduce a space, but to capture an event or a series of “actions.”  Jackson Pollock once declared in regards to his work that, “The painting has a life of its own.  I try to let it come through.”  Using Pollock’s statement as inspiration, the show intends to explore the process and effect of abstract painting.

Brad Robertson’s uses abstraction to challenge notions of depth and space. In his horizon and portal pieces, he chooses two bold, contrasting colors to create a visceral visual effect while layering the surface with pigment and mixed media that add a three-dimensional quality to the work. Combined efforts of color and texture create the illusion of looking out into an expanse. Robertson says, “I want my paintings to give the impression of looking out into the distance but further than what’s in front of you. My aim is always to express a feeling more than a physical object.”

Barrett Edwards’s landscapes are filled with flecks of light and color that arise from quick yet textured brushstrokes. She lends herself to the moment to convey the beautiful spontaneity of nature and the universe: “I prefer to approach a new canvas with no preconceived notion of how it should look when completed; the painting itself leads me along.”

Sergey Fedotov’s vibrant swirls of thick paint transcend earthly elements and transform into cosmic creations. When looking closely at one of his works, one visualizes the artistic process of spreading paint across the canvas, layering the paint to manipulate surface texture, and the movement of each brushstroke. The process, to Fedotov, is what is physically left on the canvas — therefore, it is as important as the final image.