![]() ROCHELLE STEINER: I agree that Glenn is what you could call a painter’s painter, and much has been written about his love of painting and his self-proclaimed position as a painter rather than an artist. His romance with paint and painters is so multi-levelled.Even an artist such as John Currin (who is possibly his closest formal and conceptual compadre) does not engage painting on so many levels. ![]() His use of trompe l’oeil to mimic expressionistic brushstrokes but on the flatest of surfaces is, at least to me, his perverse way to extol his love for paint. ![]() Not only does he make technically stunning paintings that self-referentially deal with the historical baggage of the medium, he seems to relish the application of paint itself. Whether it is a sci-fi landscape, an abstract body part work or, to make a short cut, an appropriation of a more readily identifiable art historical image, he always engages in a meticulous, obsessive process. ![]() This passion for paint runs throughout all of the different subject matters, forms and methods that make up his practice. ALISON GINGERAS: While I certainly would not disagree with your identification of these two, albeit entwined, strands in Glenn’s art, I think it is worth pinpointing something that defines and drives his work, something that, for me, distinguishes him from his contemporaries, which is his unabashed love affair with paint and painting. ![]()
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