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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

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/

Lindsay Kolk

Jan 23rd, 2011 Leave a comment

Lattice

Shell

Vestige

Statement
Whether printed on the page, manifest in continuously looped forms, or carefully arranged structures Lindsay Kolk quietly meditates on the repeated mark. At once familiar and consistent, these marks are intuitively and carefully manipulated, obscured, even destroyed; efforts that intrinsically assign value even to that which appears as a remnant.

Website
http://elmehr.wordpress.com/

Current Exhibit
http://extensionsofmemory.tumblr.com/

Martha Hayden

Jan 5th, 2011 Leave a comment

01. Self Portrait, 2005, oil on linen, 54 x 70

02. Book I, 2009, oil on linen, 50 x 42

03. An Allegory of Grief, 2010, oil on linen, 42 x 40

04. The Allegory of Painting, 2006, oil on linen, 54 x 70

05. Still Life, 2010, oil on linen, 20 x 22

Artist Statement
My painting is both realistic and abstract, it is on that elusive edge between there and not there.  On first look everything is in place, then all dissolves.  I want realism and abstraction to take turns.  I want a painting sometimes very evocative of time and place, sometimes overwhelming in abstract, structural logic.   My painting is concerned with spaces.  It is analytic in terms of distance and volume, expressive, rhythmical, and fluid in terms of color.  It is ordered volume, surprising color.  I want a big interior space that draws the viewer in with logic of its own.  I try to create excitement while ordering chaos.   My painting is also about surface, about color and marks, about thick and thin paint, about using the tools of the craft.   In themselves, my subjects are not important.  I am concerned with painting as a formal problem.  I try to show depth on a flat surface without destroying that surface.  I am concerned with the relationship between realism and rendering.  I ask questions.  Is there such a thing as perspective, or is there another kind of relationship between near and far?  These are traditional concerns, but I want nothing static.  Every mark, every color, every direction, changes everything done before.  I try to make my shapes and color say something in themselves.   I look for a surprise, a drama, a different way of seeing.  Each painting is a new work.  I look for the relatedness of everything, trying not to see anything for itself alone, but as a part of the whole.   I try to relate my work to history, to make paintings that are unusual, to push boundaries.  In this context, my subjects take on meanings other than the accustomed ones.  They are more than still life and landscape; they are comments on thinking and seeing.

Website
http://www.marthahayden.com/

Becky Yazdan

Dec 3rd, 2010 Leave a comment

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/

Melissa Staiger

Nov 12th, 2010 2 Comments


Red Background, Acrylic on Canvas, 30” x 30”, 2010


Florescent Triangle, Acrylic on Canvas, 24” x 24”, 2010


Rebel Girl, 5′ x 5′, Acrylic on Canvas, 2010


Constructivist, Acrylic on Panel, 12”x 12”, 2010


Fractured, Acrylic on Canvas, 30” x 30” 2010

Artist Statement
Being an American, I am a mixture of heritage but far removed from the original lineage.  In the past six months I have been put in touch with my roots in two ways.

First, by being included in an art exhibition where I was the only artist who showed up. The show was titled “Contemporary Traces in Native American Art” curated by Ginny Butera.  I was honored when Juane Quick-to-See Smith (one of the artists in the show) contacted me.  Feeling extremely humbled by the experience, she empowered me to connect to my Cherokee roots and understood how my connection was severed because my great-grandmother had to powder her face to look white.

That was in the spring and at the end of the summer, I went to Switzerland.  (This being the second way).  I went there to meet my partner’s family and was blown away by the landscape and felt very connected to it, almost like I had been there before.  I felt like each mountain seen was digested in my psyche.

These two very real experiences have lead me to create a new body of paintings and work on paper. The paintings on canvas and panel are made with acrylic paint, glitter, textured mediums and varied metallic and pearlescent surfaces.  I use tape to create clear lines for triangles which makes sharp points to reinforce their presence.

I use color to create pulsating combinations.  Experimentation with hues and surfaces pushes the work in constant new directions. Triangles, color, composition, and space are ideas I use to build a painting. I paint intuitively so if that doesn’t formally work, I paint over it and leave the under paintings as traces behind as texture and history.

The triangles can be viewed as mountains, trees, direction, the idea of balance, teeth, and or devil horns.  All of which I think about and then don’t at the same time.  I feel if I start to give the painting a theme in the begging of its creation, it will lose out.  Each of the paintings holds a variety of information, which ends up being very formal.

I give the paintings titles, to clue in the feeling and emotion that they communicate to me. “Rebel Girl” is titled after a Bikini Kill song, which has place in riot grrrl history or rather herstory.  I gave the painting this title because the blue was very rebellious against the red.  The big red triangle reminded me of “The Dinner Party” by Judy Chicago which to me is significantly about presence.  That same idea of presence is what I think about with each shape and color I paint.

Upcoming Exhibit
Melissa’s work will be included in a group show titled “Vicariously Through You” at the Wilmer Jennings Gallery 219 East 2nd Street, in NYC. The exhibition opens on Wednesday, March 9 with a reception on Friday, March 11 and artist talks on Sunday, March 13. There will be a color catalogue of the exhibition with an introductory essay by art critic, Jonathan Goodman

Website
www.melissastaiger.com

Arthur May

Sep 27th, 2010 Leave a comment

all works are 24″ x 24”  oil on canvas

Artist Statement
The work is comprised of abstract carefully crafted paintings. These images deal with reality but at a studied distance. They are involved in formalist issues such as, balance, proportion, and scale. Color is used for it’s emotional impact. Space and spatial resolution are primary criteria. A level of spatial ambiguity is sought, serving to expand perceptual possibilities. We are creating a group of paintings that can serve to reassert the case for a non-minimal abstract art.

Biography
Although Arthur May is essentially a self-taught artist, he holds degrees from Rensselaer Polytechnic Institute and the University of Pennsylvania where he studied painting with George Rickey, and Neil Welliver. He is a fellow of the American Academy in Rome where he presented a one-man show of paintings and drawings at the completion of his fellowship.

Contact
a.may@amaystudio.com

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