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Cecelia Rembert

Apr 10th, 2011 Leave a comment

Interior with Window, 60 x 64 inches, Oil on Linen, 2011

Eulogy, 42 x 42 inches, Oil on Canvas, 2008

L'Estate, 20 x 24 inches, Oil on Canvas, 2009

Beneath Glass, 58 x 58 inches, Oil on Linen, 2008

Closing the Tear, 60 x 60 inches, Oil on Linen, 2008

Artist Statement
I make paintings, usually medium to large, with oil paint, and occasional other materials. Over time, I have developed a personal visual language that I use to communicate and to evoke. My paintings occupy the role of vessel for ideas and emotions: akin to keeping a diary. They are memorials to events and losses, they are markers of what I have thought and dreamed of.

The idea of a personal language is dear to me and informs my evolution and direction as a painter. I am also interested in the idea of a memorial, or a physical space which serves as a marker or vessel for emotions often nuanced and complex. The idea of the stand-in or placeholder is relevant to my use of painting as a surrogate for my own complex emotions.

I seek in my work to occupy the grey area between “representation” and “abstraction”– or rather, to carve out a place which is neither. I am interested in making paintings which do not illustrate ideas but rather embody them, an idea I describe as “being-ness”.

My future goals are simply to continue.

Website
www.rembert.org

Kathleen Migliore-Newton

Apr 3rd, 2011 Leave a comment

The subjects should be seen in the larger context of dislocation and cultural hybridization. Living in New York City, I am a witness to the arrival of immigrants, and the human panorama of people of diverse cultures going about their daily lives. I have tried to dream their lives.

The collision and the intermingling of these millions of foreign-born people representing so many races and creeds, make New York a permanent exhibit of the phenomenon of one world. The citizens of New York are tolerant not only from disposition, but from necessity. Here is New York, E.B. White.

Kathleen Migliore-Newton
362 Adelphi Street
Brooklyn, NY 11238
Tel: (mobile) 1-917-804-2145
Paintings:
http://urbanpaintings.com

Winter, 40x56", oil paint on linen, 2003

Union Square, 28x39", oil paint on linen, 2010

The Light, 16x20", oil paint on linen, 2011

Summer, 41x40", oil paint on canvas, 2009

Stranger, 56x40", oil paint on linen, 2008

Diana Leidel

Mar 25th, 2011 7 Comments

White MOMA Chair

White Ghost Basement Chair

White Basement Chair

BAGsingle

Statement
I’ve become fascinated with the sculpted nature of chairs and the visual force they project. I photograph them everywhere, work into the images, and render them in black and white to try to get to their essence.

Website
http://web.mac.com/dianaleidel/DIANA_LEIDEL/home.html

Hilary Baldwin

Mar 23rd, 2011 Leave a comment

Statement
Early one morning on a Bronx subway I sat across from a woman with unnaturally orange hair. She looked sad, and I could see my own tired reflection against the dark tunnel out the window behind her. From the angle where I sat, our faces appeared to be communicating- hers in the flesh, and mine in reflection. This visual communication, by which two distant faces became merged by chance, inspired the painting Reflection. I was interested in the relationship between two disparate faces- one distant and cool-toned, partially obscured, and the other one up close and warm- that become merged primarily through an emotional link.

Chance is the major catalyst in my work. My compositions in oil are built up around a series of unexpected changes in the images, as they appear in the painting process. Loyalty to the image gives way to my intuitive handling of the medium, and through re-stating lines and layering colors a new abstract composition takes form. When a visual cohesion has emerged, but right before the painting has become too manipulated towards convention, I know it is finished. For example, I enjoy the provocation of a neon green smudge set against a larger neutral area, like a distant boat in a seascape.

Website
www.hilaryabaldwin.com

Jason Brammer

Mar 22nd, 2011 1 Comment

“Time Machine LXI” Acrylic, Plaster, Antique Hardware, Salvaged Velvet, and Metal on Wood, 2010 Size (H x W): 18” x 11.5” (total size)

“Time Machine LXIII” Acrylic, Plaster, Antique Hardware, Copper, Recycled Leather and Wood on Canvas, 2011 Size (H x W): 21.5” x 22” (total size)

“Time Machine LX (Entering The Pasture)” Acrylic, Plaster, Antique Hardware, Wood, Tubing, and Copper Pipe on Masonite, 2010 Size (H x W): 40” x 24” (total size, including attachments)

“Time Machine LI” Acrylic, Plaster, and Cable on Canvas and Hand-carved Sign Board, 2010 Size (H x W): 42” x 48.5” (total size)

“Time Box XI” Acrylic, Plaster, Antique Hardware, and Cable on Masonite 22” x 18.5” (Total Size)

Statement
My “Time Machines” series is a collection of mixed media paintings incorporating 3-dimensional, sculptural elements. The pieces, at their core, are paintings on canvas or masonite that I create by applying acrylic paints, colored plasters, and transparent glazes using a combination of airbrushing and traditional painting techniques. Then, at various stages of creating the painting, I attach real objects, such as antique or salvaged hardware, cables, and carved wood pieces, to the edges and/or the face of the painting.

My “Time Machines” evolved out of my love for turn-of-the-century aesthetics as well as the mechanical, futuristic environment that surrounds me in Chicago. I create these “machines” to look like they were constructed in 1901 by a time traveler who was renting a room from my great grandfather. As the story goes, this traveler disappeared one day and the contents of his boarding room became the possession of my great grandfather. These articles were transferred to me through a will and now I am repairing the machines and they are beginning to work again. In any case, I want my “Time Machines” to give the experience of glimpsing into another era, dimension, or lifetime.

I recently got the chance to exhibit a couple of my “Time Machines” at the Verge Art Brooklyn fair with Firecat Projects from Chicago, IL, where I am from. I really enjoyed being a part of the fair, getting to know the arts community in Dumbo, and meeting a lot of  interesting and supportive people in Brooklyn. I hope to be back soon and to show more of my work in this awesome city.

Website
www.jasonbrammer.com

Dawn Henning

Mar 13th, 2011 8 Comments

Ochre & Orange

Nomadic Cowbird

Mockingbird Music

In Praise of the Pidgeons

Amanda's Warbler

Artist Statement
My love of birds and their gift of flight is a recurring theme in much of my work often used used as a metaphor (although I rarely paint them in flight.) for life. The subtlety of patterns in natural forms and the colors as they appear in the natural world interest me. That juxtaposed with my love of patterns and color in textiles and the material world is the basis for much of my visual exploration. I have always been interested in our relationship with nature.

I have been Influenced greatly by my years working as a printmaker. Paper is my favorite surface to paint, and often paint in layers working with the residue of pigment that gets trapped within the fibers. City parks and the wildlife they support have been my refuge growing up in Brooklyn, they continue to be my tonic for life.

Contact information:
 henning.dawn@gmail.com
www.dawnhenning.com
blog:sketchjay.wordpress.com

Anne Russinof

Feb 27th, 2011 Leave a comment


Thick and Thin
Oil on Canvas
24 x 24 in.
2010


Cubic
Oil on Canvas
16 x 12 in.
2010


Urban Garden
Oil on Linen
20 x 17 in.
2010


Tapestry
Casein on Paper
16 x 12 in.
2010

Statement
My work combines an expressionist tendency with a more minimalist appreciation of structure and grid. Originally from Chicago, where architecture is a preoccupation and presence, I came to New York attracted by the legacy of Abstract Expressionism. The conversation in my work is between gesture and the painting process itself, and an idiosyncratic order created by line and form.

Website

http://www.annerussinof.com/

Matthew Robinson

Feb 12th, 2011 Leave a comment

Artist Statement
I construct mixed media paintings of defunct and desultory environments. They critique ‘progress’ as backwards thinking. I build a painting around pieces of photographs I have shot and cropped. I attempt to make order out of chaos by drawing and painting into the arrangements. This is the way that humanity thinks; the works are a direct result of that.

Website
http://MatthewWilliamRobinson.com

Upcoming Exhibit
Industrial Society and Its Future Failure
Venue: RePop Times: Friday March 4 – Wed March 30 Reception: March 4th 7:30pm-11

Address: 68 Washington Ave (between Park and Flushing) Brooklyn, NY 11205 Phone: (718) 260-8032 Travel: Subway: G to Clinton/Washington BUS: B69 From Park Slope and B61 From Redhook or Williamsburg.

Industrial Society and Its Future Failure paintings of defunct and desultory environments of paint and other media.

Admission: Free.  Opening Friday March 4, 7:30pm to 11pm.  Closes Wednesday March 30th.

http://Repopny.com

Susan Klein

Feb 5th, 2011 Leave a comment

Untitled, 2009, marker, gouache, mylar, paper, 35x13x7 in. (dimensions vary)

Untitled, 2009, marker, gouache, mylar, paper, 9x7x6 in. (dimensions vary)

Untitled (Still Life #39), 2010, oil on panel, 28x28 in.

Untitled, 2010, oil on panel, 26x26 in.

Untitled, 2010, oil on panel, 26x30 in.

Statement
My studio practice is based around the idea that process and experimentation instigate creation. The work is self-referential, in that I may make drawings, cut up the drawings and build sculptures, take apart the sculptures and create collages. Or I may collect scraps of past drawings, form sculptures, take photographs of the sculptures, create paintings from the photographs, dismantle the photographs to make collages, and then make paintings from the collages. The old work generates the new and explores the play between abstraction and representation. For example, the paintings are representational reproductions of abstract sculptures. However, one might argue that the abstract sculptures are more representational (in that they are the source objects) than the paintings. Besides images of my own work, there are no other references hanging on the walls of my studio. The work looks inward and is caught in the circuit of the process.

Website
http://susankleinart.com

Paul Behnke

Feb 4th, 2011 Leave a comment

Mjolnir #3, 2010, acrylic on canvas, 24 x 24"

Asgard, 2010, acrylic on canvas, 24 x 24"

Little Je-Je, 2010, acrylic on canvas, 24 x 24"

Valhalla, 2010, acrylic on canvas, 24 x 24"

Agent 202, 2010, acrylic on canvas, 24 x 24"

Statement
The desire to capture space, time, emotion and experience cannot be fully realized on canvas. As a result my works are suggestive rather than representational.

Through my painting process I create a unique pictorial vocabulary— using color to impart a strong emotional charge.

The way in which the paintings are made varies considerably from piece to piece. Some are thinly painted while others are more worked.

There is a suggestion throughout of flux and a strong sense of arriving at an image rather than the creation of a fixed, specific representation.

Website
paulbehnke.net

Vincent Romaniello

Feb 1st, 2011 Comments Off

1. Name Tags, 2011, paint, paper, glassine, each piece 3x4 ft

2. Pink Slip (Waste Not), 2010, paint on seamless backdrop paper, 53x84 in

3. Last Straw (Waste Not), 2010, paper, paint, foam, extruded acrylic, 12x8x120 in

4. May Wave, 2010, zero voc house paint on canvas, 36x42 in

5. Big Spill, 2010, zero voc house paint on canvas, 84x64 in

Current Exhibitions

Process: Abstract Painters
Brooklyn Artists Gym
January 29-February 10
168 7th Street, Brooklyn, NY

An Art Exchange with Sol Lewitt
January 20-March 5
300 Nevins St, Brooklyn, NY

Website
http://vincent-romaniello.blogspot.com

Blog
http://romanblog2.blogspot.com/

Rachael Wren

Jan 27th, 2011 Leave a comment

Echo, 2010, oil on linen 48" x 48"

Echo, detail

Midnight Pond, 2010, oil on linen, 20" x 20"

Element, 2009, oil on linen, 48" x 48"

Ripple, 2009, oil on linen, 48" x 48"

Mind's Meadow, 2009, oil on linen, 48" x 48"

Artist Statement
The dense, luminous atmosphere of my paintings is inspired by observed natural phenomena — fog playing between tree branches, light peeking through clouds, the darkening sky before a thunderstorm. I am drawn to moments when air feels thick, when space has a presence as real as that of solid objects. Through an accumulation of small, repeated brush marks, my work explores the tension between structure and space, geometry and randomness, to create a sense of place where form and air mingle with each other.

I aim to create quiet, meditative spaces which invite viewers to slow down in front of them. The paintings ask for careful consideration, revealing the layers of their making and meaning over time. In a fast-paced world where bombardment by empty noise and images is the norm, these works offer viewers an alternative, peaceful environment and a tranquil space for contemplation.

Current Exhibit
Thought Patterns: Julie Shapiro & Rachael Wren at The Painting Center runs until January 29 at 547 W. 27th Street, 5th floor, New York, NY.
http://thepaintingcenter.org/exhibitions/thought-patterns-julie-shapiro-and-rachael-wren

Website
http://www.rachaelw.com

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