Elizabeth McIntosh pillages the modernist abstract tradition for compositional ideas, and then goes all postmodern on their asses. Or, much more elegantly:
"For the past 17 years McIntosh has explored abstraction beyond the conventions established by Modernist abstract painting. She is not interested in exercises in tastefully resolving individual compositions but in unfolding the implications of particular structural inclinations from the history of painting and reiterating and modulating these forms through devices that render them strange."
-From her artist statement
Difference of Lines and Rectangles, 2010, oil on canvas
Like Charlene Von Heyl (see post below), McIntosh is a visual scavenger. Like Nozkowski, her compositions emerge through a process of improvisation:
"she often commences a painting with an excerpt or passage of a historical painting. This starting point enters into a dialogue with subsequent layers and over-painted forms; at times it is completely covered over as she explores newfound relationships. Through soft edges, awkward shapes, and curious underpaintings, her paintings resist the authority of hard edge geometric abstraction."
Untitled (Black Dots on Swatches), 2009, oil on canvas
Untitled (Inside Outside), 2009, oil on canvas
Three abstract painters (Von Heyl, Nozkowski, McIntosh). Three traditions- European (Von Heyl is originally from Germany although based in New York), American (Nozkowski), and Canadian (McIntosh). The three of them are engaging in some kind of conversation in my mind’s eye- pillaging images, improvising compositions, the provisional vs. the deliberate, accidents and effects, and how these coalesce into images that feel fresh.