Conversation

September 10, 2013, 5:02pm

A Conversation: Hilary Doyle

The monumental in one’s life is becoming less and less recognizable. When everything gets flattened, digitized and dispersed, how is one to determine what is truly remarkable from what is utterly banal? Yet still, what does it mean for an artist to recognize these parallel ideas in order to cull some sort of meaning from not only their medium but their whole damn life? More direct, at this point what role does painting play in the everyday? I didn’t intend for this introduction to have so many questions but the work of Hilary Doyle is full of existential pontifications and I can’t help but reflect that. Doyle’s work could not exist if it were not for the core question of not “Why am I here?” but rather “How do I know I am here?” Doyle’s recent solo show, Window Facing Inward, at NYC’s Active Space addresses this question and approaches notions of time, the everyday and the space in between yawn and awe. - Arthur Peña, Dallas Contributor

Hilary Doyle | Hand Drier, acrylic on canvas, 16” x 20”, 2013

October 04, 2012, 8:25am

Alchemy of Paint: A Studio Visit with Margie Livingston and Isaac Quigley

Margie Livingston (NAP #61) has spent the last couple of years pouring, compacting and carving paint. Her experimentation with the limit of paint’s sculptural malleability has culminated in a (still-evolving) process by which she manufactures sheets of marbled, plastic acrylic that are later rolled, folded and cut into a number of forms, often posts or logs. Isaac Quigley indulges the materiality of paint in a different way, often pushing his canvases toward the brink of assemblage or bricolage. His paintings, which take up to a year to complete, are splashed with landslides of color, overlaid with delicate drawing, and embedded with paper, plastic and textiles.