artinbrooklyn.com » abstract

Anne Russinof

Mike — Mon, 28 Feb 2011 02:15:57 +0000

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/

Susan Klein

Mike — Sun, 06 Feb 2011 02:22:04 +0000

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

Mike — Sat, 05 Feb 2011 03:04:02 +0000

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

Jean-Paul Cattin

Mike — Thu, 20 Jan 2011 22:30:44 +0000

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Artist Statement
In the series "Fingerprints" I’m looking for a reinterpretation of reality, namely urban elements taken from the places I explore. Walls, floors, garbage trucks or any other terrestrial material, which are the basis for my work, are reviewed and contrasted to the extreme, sometimes highly detailed or otherwise deliberately letting appear the original pixels. The result has a strong emphasis on organic, abstract and highly pictorial work.

Contact
http://www.jeanpaulcattin.com/art
http://twitter.com/jeanpaulcattin
http://www.pelavingallery.com

Becky Yazdan

Mike — Sat, 04 Dec 2010 01:55:01 +0000

Coming Apart at the Seams, 9” x 12”, oil on clayboard, 2009

Brooklyn, 14” x 18”, oil on canvas, 2010

Dispersion Cloud, 18” x 24”, oil on canvas, 2010

My Mother is a Fish, 11” x 14”, oil on clayboard, 2010

Summer Love, 9” x 12”, oil on clayboard, 2010

Artist Statement
Each of my paintings tells a story. They are based on things I see, read about, and watch on TV, as well as memories of events, feelings and colors – the pink of my favorite childhood bathing suit, the first time I told a lie. Color, form and pattern combine to become conversations, expressions, and events. When I paint I try to find the balance between intuition and intellect, so that the process of painting becomes an active dialogue with the phenomena of nature. By not dictating the end result I am receptive to a deeper understanding of the world around me. The paintings are like dreams – the events of the day reorganized and combined with other events and memories until a new, often surprising, reality has taken shape.

Website
http://beckyyazdan.com/

Lisa Corinne Davis

Mike — Tue, 22 Jun 2010 01:06:24 +0000

Pandemic Logistics

Measureable Phantasmagoria

Itemized Pandemonium

Analytical Anarchy

Quizzical Framework

Artist Statement
Stemming from my own experience as an African American woman of mixed heritage, my work has been an exploration of the divisions and relationships between contemporary ethnic groups. Signs, representations, and abstractions reveal themselves in implied geography, cartoonish shapes, exoskeletal forms, spores, cancer cells, flora, fauna, and so on. Size, shape, and color function to shift and ultimately disrupt the viewer’s perceived ability to conclude that a form is fixed and nameable as perhaps an insect larvae, a piece of candy, an environmental contamination, or some other recognizable object. The impulse to identify and label the forms, and to force a system into the visual disorder in order to create a tidy, decisive, pictorial sense, becomes impossible as the viewer gives in to the realization that his or her decision making is a shifting, contingent interpretation of the visual information presented. Ultimately, these paintings reveal the extent to which our labels and fictions create an artificial simplicity, which guards a more complex and meaningful truth.

Website
http://lisacorinnedavis.com/

Brian Dupont

Mike — Sun, 18 Apr 2010 13:44:32 +0000

Equation Study (Field), 18” x 26”; Oil, paintstick, wax, and alkyd on linen. 2008

Particle, 8” x 10”; Oil and alkyd on aluminum. 2009

Shoji I, 21 ¼” x 17 ½”; Oil, paintstick, wax, and alkyd on aluminum. 2009

Server, 21 ¼” x 17 ½”; Oil, paintstick, wax, and alkyd on aluminum. 2009

Systems War, 76” x 110”; Oil, paintstick, wax, and alkyd on canvas. 2009

Artists Statement
My work is a study of how the visual aspects of information can be conveyed — or distorted — within the framework of abstract painting. My source material is anything that transmits information visually, including diagrams, scientific images, written language, symbols, and musical notation. I use these forms to establish the underlying pattern of each painting. Then, as all communication is founded upon repetition and the breaking of the expectations that patterns engender, I stress the pattern through a process of editing, erasure, and re-transcription. The final image is a result of these accumulations and removals. Thus I conjoin the simplicity of a patterned field with the unique disruptions that can tell us something, though what it may be may remain elusive.

I use the traditional materials and supports of oil painting (pigment and stretched canvas) to stress, break down, and compromise the visual information I am working with. I start by defining a pattern or structure within the field of the painting and then build it up with layers of impasto and wax so that the pattern has a physical presence. I then scrape and sand the surface of the painting so that the source material remains only as a trace within the field. I repeat this process through many iterations, letting the various corrections, changes, and errors in registration accumulate across the surface of the painting. I initially use color to define figure-ground relationships, but it becomes another means of erasure as the work progresses. Because I work with patterns, time and repetition are important elements in my work; my paintings take a long time to complete, and the marks and erasures that accrue over time evidence the tension between the flat surface and the deep space implied by a field of color.

Website
My site
My blog

Upcoming Exhibit
Opening at Brooklyn’s Soapbox Gallery on May 28th

Jonathan Allmaier

Mike — Sun, 28 Mar 2010 13:32:49 +0000

O Teeth (66 x 34 1/8”, handmade oil on canvas 2009)

Selima Square (7 ¾ x 9 7/8”, handmade oil on canvas 2009)

Hege (32 x 27 ½”, handmade oil on canvas 2009)

The Melancholy Fishwives (65 ¼ x 37 7/8”, handmade oil on canvas 2008)

BINGO (9 5/8 x 12 ¾”, handmade oil on canvas 2009)

Artist Statement

Objects can be mental states, and mental states can be physical.

Paintings are physical objects. When I make a painting I try to follow this physicality as far as I can, starting with making my own paint from pigment and thinking very specifically about the stretcher and canvas. By really following the physical nature of a painting, the mind/body distinction can undermine itself, generating a concept that is a physical object, a painting we can use.

It doesn’t matter exactly what the painting looks like – it matters, but it matters to the painting, not to me.

Websites

allmaier.wordpress.com
http://registry.whitecolumns.org/view_artist.php?artist=9682

Christina Massey

Mike — Sun, 28 Feb 2010 21:34:56 +0000

1. Brooklyn: An Art Community, BedStuy, Acrylic and Oil on Canvas and Paper, 34″ W x 26″ H (framed), 2009.

2. Brooklyn: An Art Community, Bushwick, Acrylic and Oil on Canvas and Paper, 34″ W x 26″ H (framed), 2009.

3. Brooklyn: An Art Community, Fort Greene, Acrylic and Oil on Canvas and Paper, 34″ W x 26″ H (framed), 2009.

Artist Statement
My work has focused on the challenge of taking painting to another level where it blends with sculpture and installation. Using methods of constructing and deconstructing, I am constantly re-using and re-purposing my artwork. One series literally leads to another, where previous series of works are cut, torn and sewn back together again into new series of works which may again be reconstructed into yet another art form. The past always present in the current and future works, they tell a story of my progression as an Artist, and question the finality of Art.

I often use word play, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the Art world itself. Recently I have been interested in involving the audience more in the decision making of the deconstruction process. I am working on three series currently, “The Chopping Block,” “Bits & Pieces” and “Hung Out to Dry.” All of these works have been influenced by my changes of situation during this Recession. I will soon be posting works to viewers in order to get their opinion on what works will remain intact, and what will ultimately be “destroyed” or transformed into a new life as another form of Art.

Website
http://cmasseyart.wordpress.com/

Daniel McDonald

Mike — Tue, 16 Feb 2010 00:42:13 +0000

Visitation, 2009
7 layer/14 impression silk screen
25 x 33 inches
edition of 25

Found, Gowanus, 2009
oil, pastel and wallpaper
18 x 22 inches

Along the Way, 2008
pastel on paper
31.25x 69.25 inches

Horizontal Triptych II, 2009
oil on linen
30 x 36 inches

Book, 2008
7 layer/14 impression silk screen
25 x 33

Artist Statement
The complexity of the art world is curious, it has spawned many different artists in so many directions in the last century. Looking back I discovered that the direction I related to is “. . .free art from the burden of object.” — Kasimir Malevich. I appreciate the pure and simple aesthetic and I have always related to a spontaneous approach to painting and printmaking.

Website
http://www.artbrooklyn.com

Alex Downs, Laura Gibson, Chad Rimer

Mike — Sun, 12 Jul 2009 16:04:19 +0000

Exhibit at Sweet Lorraine Gallery, contact artists for viewing information.

Alex Downs – Vessels
Email: downs2681@gmail.com
Web: http://www.flickr.com/photos/downs2681/
Phone: 347-387-2382

Laura Gibson – Drawings
Email: bella.gibson@gmail.com
Phone: 718-775-1557

Chad Rimer – Sculpture
Email: chadrimer@yahoo.com
Phone: 718-775-1556

Steve Riley

Mike — Sun, 31 May 2009 20:10:45 +0000

Good Morning Universe, 8×9.5″, 2009

Brave New World, 8×9″ 2008

Broken World, 8×9″, 2008

Stream, 10×10″, 2008

Artist Statement

I am drawn to everyday objects that are often overlooked or discarded. Using a wide range of disciplines, I transform the materials into small works. With a modern primitive style I balance the positive and negative space that gives a piece a sense of beauty. Taking an unorthodox approach I embellish the surface of my work with steel nails and apply tiny circles to explore nature and its relationship with the synthetic.

Website

http://www.steveriley.artlogsites.com/

Julian Jackson

Mike — Thu, 05 Feb 2009 16:30:11 +0000

Polestar oil on canvas 74″ x 64″ 2008

Drift oil on canvas 67″ x 60″ 2008

Afterburn oil on canvas 67″ x 60″ 2008

Artist Statement

In the year 1073, Painter and theorist Kuo Hsi asked, ”Why do people love landscape?” and answered, ”Hills and gardens restore our nature (chi),
so we should visit them often”.

Painting for me has always been a means of approaching and understanding the natural world both as we find it and how we apprehend and reconfigure it. The rational construct of the framing rectangle provides limitless interpretive space in which to experience multiple realities. I am particularly interested in creating work with the power to suggest experience rather than define it, where engagement is, in a sense, physical and one enters the painting as one might enter a forest or take the first step on a path. My current work focuses on the ephemeral nature of light as seen through the lens of an abstract painting practice that is at once critical and meditative, formal and yet deeply rooted in the seen. I think of paintings as places that one can revisit often as one would a favorite mountain, tree, garden, or building.

Website

http://julianjacksonstudio.com/

Pamela Enz

Mike — Sun, 28 Sep 2008 00:49:18 +0000

“I Have Been Circling God ” – Oil, paper, ink and cut plastic on canvas – 36×53 inches
“ ….circling round that great tower and I still don’t know if I am a falcon, a storm or a great song” – Rilke.

“Down Here” – oil, cut paper, ink on canvas – 16 x 20 inches
I started this piece after reading personal accounts of the mostly anonymous builders of our grand public spaces. One worker Mr. Kumaran “.. I wish the rich people would realize who is building these towers, I wish they would come and see how sad this life is.”

“Traveling Thru” – oil, paper, crayon, ink on canvas – 20 x 26 inches
I struggle to put this one into words, as it was driven by the impalpable. It concerns the sense of aloneness common to all creatures big and small.

“Re:Henry”- oil, paper, plastic, pencil shavings on canvas – 36 x 26 inches
I completed this piece after the death of my best friend Henry forcing myself to go on out of respect for him and who he was. It was just one of the numerous gifts of his friendship.

Artist Statement

Over the past decade I have worked as a performance artist, a filmmaker and visual artist. Most recently I have been working on ever expanding collage. I start with a collection of my own drawings which I then tear, cut and layer before pencilling and painting into them. They are on both paper and canvas. Often however the foundation of a piece is text – most often my own – but also a range of words that haunt and continue to inspire. Some I have taken from the sublime ( the poet- Rilke ). Others from the absurd ( The New York Post ).

Biography (partial)

Exhibitions – Recent Work

ArtWalk 2008   Brooklyn , NY July 2008
Incongruities 2.0 – Ashawagh Hall East Hampton, NY July 2008
Private Viewing – Sunday Afternoon Series. Brooklyn Heights –Nov 2007
Letters to Joan Emergency Arts – solo – collage – NYC – April 2007
Recent Works Emergency Arts – group show – NYC- November 2006
2006 Square Foot Show – Art Gotham   NYC – March 2007
Incongruities   Ashawagh Hall – East Hampton, NY. – March 2006
Cryptopsychographies Tin Garage – Tarrytown, NYC – December 2005

Traveling the globe Ms. Enz exhibited in Corfu, Paris and Tel-Aviv as well as stateside at Hofstra University, East Hampton, North Shore Arts and NOW in NYC. Due to the toxicity of materials and the proximity of her newborn daughter she worked to become a performance artist, filmmaker, and playwright. After winning a second Edward F. Albee Fellowship for writing which included a residency at The Barn in Montauk, she began with Mr. Albee’s encouragement to incorporate her own text into large collage which she now uses as a backdrop for performance work. They also stand alone as works of art .

More Information

http://sonofanobody.com/bios_pamela.html

Jon Bunge

Mike — Sun, 17 Aug 2008 21:16:52 +0000

“Feels Like Spring”, 2008
Acrylic on canvas
48″ w x 60″ h

“Shapes in Space”, 2008
Acrylic on canvas
36″ x 48″

“And the Spirit of God was moving over the face of the waters” 2008
Acrylic on canvas
48″ x 60″

Artist Statement

I am fascinated with abstraction and the way colors interact with each other. One reason I love to work abstract is that the ideas and images in my paintings are coming from somewhere mysterious inside myself. In other words, instead of trying to represent something I’m seeing outside myself, I’m attempting to listen to my intuition to create something from my imagination. In doing this, I feel that I’m connecting to my spirituality. Also, I try to feel joy in the act of creation and I hope that my work brings some joy to the people who view it.

Also, I am interested in art as a means of healing. I believe that when people create, they are activating a very vital and healing part of themselves. I like the quotation from George Braque: “Art is a wound turned to light.” Maybe art doesn’t always have to spring from a wound, but I agree that art can help us tremendously in healing the places where we’ve been hurt.

Peace on Earth.

Contact

Email: jon@jonbunge.com

Yuri Shimojo

Mike — Sun, 03 Aug 2008 17:39:21 +0000

Black and Blue 2

Owl 1

Owl 2

Artist Bio

Yuri has been expressing her life through painting, journaling and dancing since she was 3 years old. Her upbringing in Tokyo was a very unconventional one – learning Japanese traditional arts and experiencing foreign culture through traveling abroad. These two elements, so drastically different, have influenced her work throughout her entire life.

Now, living the nomadic bohemian lifestyle, she explores the planet from the heart of metropolis to the outposts of the world wherever being guided by her own intuition while hopping between her base pad Brooklyn studio, Tokyo apt and her tropical jungle hideaway in Hawaii. This life balances her creative & spiritual yin and yang’. Besides her artistic endeavor, she is drawn to the world of indigenous cultures and has led her studying universal shamanism as a Reiki master. She is also a member of the art collective Barnstormers.

Yuri Shimojo has published several books in Japan, including: “Makkana Mangetsu~Crimson Full Moon”(1995), which showcase her earlier illustration works;”Vagabonds” (2001), a picture journal from her trip in Central America and Mexico. “Chiisana Rakugaki~Tiny Scribble” (1997), an autobiography of her unique childhood, which has just republished in 2007.

Website

http://www.yurishimojo.com/

Lynn Christian

Mike — Sun, 29 Jun 2008 17:07:41 +0000

Lynn Christian “#12″ 18 x 24 inches, oil on canvas

Lynn Christian “#18″ 30 x 30 inches, oil on canvas

Lynn Christian “#13″ 20 x 20 inches, oil on canvas

Artist Statement

These paintings usually begin with an idea about color, and a feeling, sometimes of a memory. They evolve on the canvas through an interplay of application and correction, based on no program or requirement. Emotion, music, subconscious, and practice, attempts to visually represent itself while aspiring to a type of balance.

Website

http://www.lynnchristianpaintings.com/

Paul Catalanotto

Mike — Wed, 25 Jun 2008 01:55:38 +0000

Paul Catalanotto, “Those Places That Once We Visited” 30×36 inches

Paul Catalanotto, “Seeping Beauty” 80×36 inches

Paul Catalanotto, “Neuron Roulette” detail

Artist Statement

My current work is about how we see and experience color. It is based on my theory that colors have universal physical properties. I rely heavily on these physical properties, how they react with each other and my plaster medium to embody our visual experience.

I developed a white plaster medium that, when mixed with colors, takes on the personality of each color. I apply the tinted plaster with trowels and other various plastering tools. My trowels become forces of nature, compressing, burying, scraping back, pushing and pulling the colors around. The stress I apply to my medium helps bring out its true colors.

My white plaster medium is stored energy, akin to other white things in nature — seeds, sperm, fat, clouds, snow. “The known undecomposed earths are, in their pure state, all white.”* When red is mixed in, the plaster is transformed. It runs, it bleeds, it seeps into the other colors like a virus. Blue, at the other end of the spectrum, makes the plaster thick and sticky. It stays. It blankets. So sticky that, as light, it clings to the air in the sky. Yellow, between the two extremes, has what I call the Goldilocks effect – it’s just right. Creamy and spreadable, it is the easiest color to apply with a trowel.

In order for my Polished Frescos to connect to people on an individual basis, I never have any set imagery in mind. My job is to pay attention to color order and harmony; light and shadow; and the laws of physics, especially gravity, to achieve some sort of imagery.

At certain points in the process, I let the colors take over while my role is to recognize and freeze moments in time. I strive to capture these spontaneous moments between the struggle to exist and the flow toward nothingness.

My work is a product of a long term relationship with tinted plaster and a sense of responsibility to let the medium thrive in an unrestricted environment. It’s about finding ways to work with the plaster as opposed to dominating it — to let it go in directions untethered to a set destination.

*from Johann Wolfgang von Goethe (1749-1832) Theory of Colours, first published in English in 1840.

Contact the artist

artinbrooklyn.com » abstract

Anne Russinof

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