In the past few years, there has been an uptick in an expanded form of painting that presents itself as a hybrid. A few current examples of this tendency include the work of Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson — artists who have explored multi-media paintings that rival sculpture. These works feel constructed as opposed to made, and engage with several forms of tactility, illusion, and physical depth.
In a time in which younger artists continue to churn out sanctioned modernist tropes to continuously diminishing returns, the natural question to ask is: why would some contemporary painters resort to a multi-faceted approach that can feel, in many respects, entirely preconceived?
