Anoka Faruqee, 2012P-46, 2012
Acrylic on linen on panel, 22½ × 20½ inches
Anoka Faruqee’s recent paintings of moire patterns are reminiscent of Bridget Riley and other 1960’s op artists, but her process, involving custom-made trowels that rake the paint like “sand in a Zen garden”, reference a physicality where others sought a flay perfection.
From an interview with Liena Vayzman in X-TRA:
Some clues about the process can be found in the finished works, but yes, I realize now that most viewers have no idea how these objects are made. At a certain point, I stopped taping the sides of the painting, in order to reveal the intense ooze of paint dripping from the gestural pulls, in contradiction to the glass smooth surfaces, as a way to let people into the messiness of the process. The peripheries are becoming more and more significant, because I want my paintings to be read, at least partially, as a residue of the performance of painting it.