Four artists whose work you have just seen

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How do your paintings take shape?
Making paintings for me is like a conversation or a series of constant decisions. I do the drawings, then I turn the drawings into paintings. There is always a transformation or a shift from paper to painting. It changes shape and size and adapts to the canvas. And also, the painting becomes very different from the drawing and it’s a very intuitive process, so the drawing is always abandoned at the beginning and then the painting becomes something that can stand on its own.

Philip Guston says that at the start of a painting everyone is in the studio – like all your thoughts and all the people you care about – and little by little everyone leaves and eventually the painter leaves. so too, then the painting arrives, and it becomes a painting. I have always thought of this description, and it is very true to me.

When choosing what to paint, are there any subjects, symbols or images that you would never want to touch?
I mean I’m open to anything, but that would be a lie, because whatever it is, we all have a little path that we walk on and it’s kind of there, you know.

Did you work directly on the pandemic?
No, I never really do that, but my paintings have turned very dark. I started to use a lot of black and red, and was surprised by it. But it happened during that time, and then it turned blue. It’s almost like you’re practicing, going to the studio and playing music and rehearsing, and then when the painting comes in it’s more like a performance, not like a practice. So it happens, like Keith Jarrett on stage when he improvises. But it’s not really improvisation. Because he brought something with him.


Andrea Marie Breiling’s latest series of paintings, seen here in her New York studio, is done by applying coats of spray paint.

Photographs by Chase Middleton

Andrea Marie Breiling

Brooklyn


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