A profile of Amanda Baldwin by Nick Naber
Amanda and I met on a rainy Monday in Ridgewood. She shares her studio with another painter, and her brand new puppy. As we walk into her space, which is in the back, I am struck by the amount of work on the walls. Many in completed or close to completed states. Amanda has a day job in the neighborhood and is able to be in the studio a lot. This is evident by the number of paintings in her space.
Amanda’s studio is bright even in the grey rain, there is a luminosity that emanates from her meticulous still life paintings. She didn’t always make this work, previously she made geometric abstract paintings. Baldwin said she began this new body a little over a year ago, after becoming bored with her abstract work. As we get to talking, something that I have heard time and time again comes up. “Why would you ever paint still life?,” or, “Why would you ever paint the figure?” A grad school classic!
After throwing off the yoke of the “why would you paint this?” Amanda feels more free to explore the ideas that come to her. These paintings feel fresh, while giving a nod to those still life painters who came before. She’s aware of the references in her work and plays them up. As we sit down, we get into the various facets of her paintings.
Amanda, has about 8 paintings up in her studio, some that are complete and others that are in progress. There are three medium sized works that are directly in front of us, all using the same pictorial device, a window. This is a new development in the work, something that gives these paintings illusionistic space, but not really. The window moulding is not defined, it’s reduced to a flattened symbol, but we all recognize what that shape is. The window in the space builds more of a push and pull on her canvas, previously Baldwin preferred tile, or a brick wall making the picture plane more cramped. These newer works employ many of the same elements her earlier paintings did.
We talked about reusing of components in her work. Amanda says sometimes she will use an object or piece of fruit up to 5 times. I’m specifically drawn to the tiger vase that appears in one of her newer “window” works and in her earlier paintings. She said she wants to paint this vase to have that porcelain finish. Amanda and I then move to a conversation about how these objects are painted. Baldwin paints the objects in various ways, from hyper realism to flat, from almost collage to a sticker. These different approaches reveal themselves after close looking. Amanda, says many people when looking at the work on her website, or instagram assume that everything is handled in the same way. That’s not the case.
Amanda works on 2 or 3 paintings at a time. This allows her to work out elements in one, and use that knowledge to influence the other paintings. It’s also a way for her to break up the monotony of spending too much time on one work. She’s begun to do some of the under painting in acrylics to help move the process along, and get to her ideas quicker. We both agree acrylic has come along way, but it doesn’t compare to the luminosity and boldness of oil.
The way she handles the paint and how she decides to paint the objects adds to the mystery of these works. Sitting in her studio, I keep looking at the shadow of a palm leaf, trying to figure out if it’s in front or behind the window. She employs this play again in one of the first works that has a full sized figure in the space. Again, she plays with the shadow and where it falls. It looks correct on first glance but is a bit off when you spend more time with it. In many ways she is playing with her viewer, as long as they are willing to take the time to let the work unfold. She also uses a neon like shadow that appears time and time again. As we were talking about a few of the works at the same time, it became apparent to me that it was a shorthand of a shadow, although at first I read it as something else.
Baldwin is aware of this back and forth play, and she welcomes these interpretations of her work. Her paintings at first feel static, but that couldn’t be further from the truth. Every inch of the work is considered, even if it’s painted a flat color or shape. How these items get integrated is crucial to pulling off the work. Amanda does not do any type of preparatory work to get to a painting. She said she will get an idea and start. This has lead her to make a painting, and if it doesn’t work out, she throws it away and starts over. One time she did did this process 5 times.
As we wind down our conversation, I can’t help but notice how genuinely happy and invested Baldwin is in her practice. Throwing off the grad school baggage of abstraction has served her well. Taking on a historical painting trope is tough, Amanda has met that challenge head on. Her work feels authentic and fresh, while playing with the past.