Divorcing Platitudes: Painting as Pure Sentiment
Our latest Diary entry comes from London-based writer Issey Scott, who explores Diva’s Lounge, an exhibition by Zurich-based artist Jasmine Gregory at Sophie Tappeiner in Vienna. In her piece, Scott delves into Where dreams become reality, a work that treads a precarious line between the sexy and chaotic; comprised of oil, glitter, studio floor dirt, and Gucci lipstick.
Tim Wilson, Nightstand IX, 2024
Our latest Long-Form entry again comes from London-based writer Issey Scott, who embarks on the first in a new series that asks writers to respond directly to a single painting, seen and experienced first-hand. In her piece, written during her Painting Diary residency in Vienna, Scott responds to a painting by Tim Wilson (b. 1970) titled Nightstand IX, 2024.
This piece was created by Wilson during his residence in 2024 and thus creates an extended dialogue between two Painting Diary residents as maker and viewer. Issey’s text reads as a meditative journey of discovery that explores the painting as physical encounter and ponders memories presumed and imagined.
Becoming our ‘visual skin’
Our latest Diary entry comes from London-based writer Issey Scott, who explores the evolving nature of painterly portraiture in the digital age. In her piece, Scott considers how the ever-present "black mirror" of our digital devices shapes our self-image. Focusing on the work of three painters—Sang Woo Kim, Moka Lee, and Celia Hempton—she delves into the interplay between skin and pigment, the tension between stillness and movement, and how the act of holding or withholding a gaze can speak volumes about power.
MANIFESTO MANIFESTED ||for a New Landscape and ||of Our Current Condition
Our Long-Form section is dedicated to the written output of painters. In simple terms, painters writing about painting. Despite this simple premise we want to highlight the breadth of invention and play that can come about when painters translate their voices into textual form.SPLIT:HERE1 “hi this is a reference citation used for testing purposes”SPLIT:HERE2 Our first piece comes from Vivien Zhang, a painter whose interplay between the mediated digital image and painterly mark has produced some of the most exciting and urgent paintings of the past decade. Zhang’s piece ‘Manifesto Manifested’ is an ongoing and continually evolving text; reconstructed from exhibition to exhibition.
Begun in 2018 this is the third iteration, and the first of many iterations of this work that we hope to publish over time. What better way to launch our Long-Form content than with a manifesto on painting in the context of today.