CURRENT ISSUE | SPRING 2017: STRUCTURES
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Graham Gillmore: Meta-Painting

These are impressive paintings and they should be seen first-hand because any reproduction, no matter how diligent, will miss the impact of their size, the intensity of their colour and their slick physicality. These things count in Graham Gillmore’s paintings. They have meaning.

The artist keeps studios in New York and BC and for a decade and more has been making a kind of meta-painting, which is to say painting about painting. In his recent work, the gleaming resin-cast surfaces are reinventions of the oil-based skins of traditional paintings. The casting process Gillmore follows makes his paintings sculptural; it lets him build layer by layer, colour by colour. Things cohere in three dimensions, the paintings are like slabs of hoisted on the wall and they possess and embedded inner light. Looking at them in the new Monte Clark Gallery in Toronto was like looking into squared-up pools of water: the imagery swam beneath and below, aloof in the isolated space and time of its own creation.

So begins our Winter 2001 cover story. To keep reading, view a PDF of the entire article.

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