The overall texture of this painting is refined and smooth with some graininess. The colors and objects integrated and blended well with soft edges, conveying a comfortable and smooth feeling. Yet the graint moon, mountains, and structures are more tough with more obvious texture, which makes the artwork feels grainy. The painting looks like an oil painting as it has a smooth and buttery feel. Despite this, Burns creates texture through tonal differences, like the shadows for the architecture in the distance, and the dry feeling through the earth cracking on the ground.

Result #1

This painting is lush with an underlying texture, but the textures are limited to a dark/dark blue and black that comes across as artificial, and a gray/coral that looks like a washed-out yellow. Although the painting is theoretically endless, the paint surface is simple and lifeless. The colour is light and the brush stroke is hot; the work has no depth, and the layers of paint look like clouds with shapes around them. The surface is thin and there are few gradations. This is a hybrid of an ordinary and a remarkable work, a look of worry and excitement that is often softened by the light.The painting is by no means straightforwardly divided into two parts, the representation of its subjects and the construction of the work of art. The self-portrait is the major part of the work, but it is the figure of a man who is made up of two elements: a face and a body, which in turn are represented by two hands and a torso. The figure is split into two: one is painted at the top, while the other is crudely drawn at the bottom. The figure is called Anselm Kiefers, but the kabbalistic implications are less significant. One looks at the painting, and the other is looked at, but the self-portrait is, I think, more interesting, particularly because it features a woman who can only be read as a partial self. The painter, in self-portrait as he appears in public, appears in his blue jeans, but is truly himself. The museum-as-self-portrait conceals a more complex self, one that is already evident in the work.

Result #2

The overall texture of this painting is refined and smooth with some graininess. The colors and objects integrated and blended well with soft edges, conveying a comfortable and smooth feeling. Yet the graint moon, mountains, and structures are more tough with more obvious texture, which makes the artwork feels grainy. The painting looks like an oil painting as it has a smooth and buttery feel. Despite this, Burns creates texture through tonal differences, like the shadows for the architecture in the distance, and the dry feeling through the earth cracking on the ground. <|startoftext|>Complex black and white paintings made of charcoal mixed with graphite, Sharpie markers, and sanding powder make up the only substantive statement in the exhibition. The pictures are arranged in a grid in many grids and rows. The series consists of a few grids of 20-by-40-inch pads, which are then broken up and multiplied in a circle-like formation. The works are gridded and undulating with sanding powders and other leftovers. As with any group of artists, the light and watery results are all but guaranteed to be overwrought and unnecessary. Sharpie markers are used to lay down the grid structure, but also to reference a gap between grids and create the illusion that the grid and grid structure are visible on the surface. The black, white, and gray grids function as a visual and tactile counterpoint to the surface, creating the illusion of a photo-sculpture, and the lines of this painterly landscape of grid formations are perhaps best seen in the light of that faery analogy. The grid structure is virtually symbolized, and the gray grid, if not a generalized form of urban grid-hood, is nonetheless curiously sinister. The map of the grid is also a representation of the illusionistic grid. The grid-grid system is just one of the more obvious, but conjoined, symbols of urban space. So far Burns seems to be using the grid, but not as an excuse to be a painter.The dominant theme of the show is the brush-stroke. As he developed the use of charcoal, Burns has moved away from the fantasy of the brush-stroke, and has turned instead to a series of abstract strokes of sanding powder. Sanding powders are clearly the key to this show. The rags and mud in which the brushes are kept may be regarded as the sculptural material of the painting.

Result #3

<|startoftext|>This is a beautiful show, the most moving and personal of the drawings in the show. Three large-scale, black and white, ink-jet prints are spread out over three blackboards and hang from the ceiling. As I touched them, I could see a sign for Love Street. What I see is not love but a vision of love. Youre one of the best, says Burns. I love you. And the small print on the opposite wall announces: I hate to tell you the truth. Thats the truth of it. But Burns gives it a full frontal assault. He brings you right down to it.Burns has two colors in his palette, blue and green. One is gone, the other is in the process of being made up. But in the first picture, they both look the same. The second image has the same cool gray-blue sky. The only difference is that the sky is an abstraction, not a picture. The blue picture has a bit of desert in it and the green picture is a view from the street. It may be that this is the perfect place for Burns, because the street is front and center. Its a perfect space for him, and it gives him the opportunity to create the illusion of the both- and-seeing, the hopeful and the hopeful for nothing. In fact, he creates all the illusionism and emotion in the world. I cant tell whether Burns is going to parody his own creative process or to demonstrate its depth. But the process is not a fabrication of a confession. The process of making is a very personal and human one.

Result #4

What Burns has going for him is an idea of how to make a painting into a full thing, a thing that has one. The paintings are called deconstructive illusions of paint, and they look like so many of those. The cubes in them are all painted and photographed, and the process of painting them is at once less conceptual and more organic. Instead of the ego in the dark, we are looking at a large sculptural creature with his head fully out of the frame and his arms, legs, and hands projecting from his back, arms up, and held in place by its legs. His mouth is open in a way that reminds me of the loon, and the whole image has this understated serenity, this air of mystery. Ive never felt that way about abstract paintings before.Barksleys painting is at once about painting and itself, and about the idea of abstract painting. His pieces are both constructivist and expressionist, and the place of color is a key area of active inquiry. It is not just a matter of using the brush to scratch off the surface of the canvas, but of using color to communicate something about the shape and structure of the work. In more abstract than Abstract Expressionist paintings, Burns seems to be suggesting that color may be more than just paint, that it may be the very form of a thing.

Result #5

The overall texture of this painting is refined and smooth with some graininess. The colors and objects integrated and blended well with soft edges, conveying a comfortable and smooth feeling. Yet the graint moon, mountains, and structures are more tough with more obvious texture, which makes the artwork feels grainy. The painting looks like an oil painting as it has a smooth and buttery feel. Despite this, Burns creates texture through tonal differences, like the shadows for the architecture in the distance, and the dry feeling through the earth cracking on the ground. <|startoftext|>One of the strongest works in the show is titled Rock and Roll and Shows How Long, 2015. The painting consists of a collage of found posters with a image of Wilco in a string of American Motown spots. The focus of the collage is a lopsome image of the corpse of an ex-punk stripper, but the onetime pinup and cosplay artist has become a mysterious ghost in the details. Her face appears in many varieties, one that is made up of junk-shop markers, magazines, the remains of her own belongings, and bits of string that, when blown up, resemble a Vauxhall era car bomb. Like the empty seats and cushions from one of the body shops in the scene, the floating parts are items with faded pretensions.Worried by the obvious possibility that her paintings of misery could end up looking funny, Mary Beth Edelson responds by making a handful of Crayolas and reading them as a kind of sad fantasy of female sexuality. No sooner had she finished the works, but upon returning to it the next day, her crook has begun to bounce. She has a good laugh about it and also says it is a reaction to her ex. It is a statement that may not be as grand as it could be.Edelsons previous self-portraits have often involved collecting snapshots of exes in women's clothing, a mode that is now strangely absent from this show, however. The addition of collage, collage, and drawing suggests that her paintings will always remain open to the possibility of being interpreted as representing her past, the next phase of her story.That the artist can make so many clever, dreamy works, in such a wide range of media, and that she is able to pull off them is an indication of the savvy of her enterprise. I couldnt have done this show, but I was lucky.