In: covert collective

Take The Long Way Home | Jon Claytor
July 25, 2022

High culture has pretty much disappeared along with the dress code.

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The Chain Links
June 20, 2022

Faki Kuano | Sarah Cheon | Ashley Guenette The Chain Links × × curated. by The COVERT Collective is pleased to... Read More
Necropolis | Jon Lepp
May 18, 2022

Necropolis | Jon Lepp Necropolis | Jon Lepp, The Open for Business Series @deadendstories Photographs, [Virginia] Woolf claims, "are not an... Read More
Tony Calzetta – Art Is Hell
April 22, 2022

Tony Calzetta Art Is Hell Bart Gazzola sat down to talk with Tony Calzetta, whose decades long practice has been both... Read More
Stéphane Alexis’ Chains & Crowns
January 23, 2022

Stéphane Alexis’ Chains & Crowns Rita Godlevskis Stéphane Alexis from the Chains & Crowns series, 2020 It is clear, even at... Read More
Temptation of Saint Anthony | Hieronymus Bosch
January 18, 2022

High culture has pretty much disappeared along with the dress code.

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Discovering Self: The Photography of Vera Saltzman
January 4, 2022

Discovering Self The Photography of Vera Saltzman Grain Elevator No. 18 This article originally featured in the TYPOLOGIES edition of photoED... Read More
Throooom (a spell to wish away most days) – Scott Sawtell
September 21, 2021

Scott Sawtell is a painter who straddles abstraction and symbolism, and the manner in which he applies paint means that repeated visits with his work may reveal aspects you missed previously. His works are often significant in size, and this painting is 3 feet by 5 feet, created in 2021 (I mention the size as often Sawtell offers scenes that we might step into, that although tumultuous and frantic, they have a vivacity and vividness that is inviting). One of a number of works currently installed at the Latcham gallery in Stouffville, his paintings offer the contradiction that they are individually seductive, and one can hold your attention, but as a group they create an environment, with pieces having a conversation, whether formally or with some of the narratives Sawtell alludes to, with rough forms or poetic, yet sly, titles. 

Recently I’ve been engaging with the work of another painter, Tony Calzetta, and an observation about his work is apt here: there is the possibility of narrative in this painting, but not the necessity of it. It’s also worth considering Julian Bell’s remarks from his book What Is Painting? Representation and Modern Art : ‘In other words there was no prior context to the painting itself. The viewer’s eyes would submit, and the painting would act.’

More of Sawtell’s work can be seen here, at his site, and on his Instagram~ Bart Gazzola

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