artinbrooklyn.com » Painting

Cecelia Rembert

Mike — Sun, 10 Apr 2011 21:54:50 +0000

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

Mike — Mon, 14 Mar 2011 01:00:36 +0000

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

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/

Matthew Robinson

Mike — Sun, 13 Feb 2011 02:22:33 +0000

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 4^th 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

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

Vincent Romaniello

Mike — Wed, 02 Feb 2011 03:06:51 +0000

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

Mike — Mon, 24 Jan 2011 00:30:47 +0000

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

Mike — Thu, 06 Jan 2011 03:48:23 +0000

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

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/

Melissa Staiger

Mike — Sat, 13 Nov 2010 02:50:32 +0000

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

Mike — Tue, 28 Sep 2010 00:11:38 +0000

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

Maggie Tobin

Mike — Sun, 15 Aug 2010 15:24:28 +0000

First Snow

Thanksgiving

Mornings

Green

Fontenelle

Artist Statement
I have spent several years drawing trees from observation; studying how their branches twist and turn, reach and retreat, linger… My new paintings are of trees painted from my imagination. A line becomes a branch, then a line again; it spurts, stops, twists, then breaks. The limbs are sometimes graceful; other times they are awkward, coarse, entangled gestures. Tension exists in reading the marks as both nature-based and pure abstraction.

The trees are painted in oil on translucent vellum stretched over mirror creating a subtle luminous quality and 3-dimensional effect. I try to capture the sublime quality of the Hudson River Luminists as well as the sense of limitless space in twelfth century Chinese Southern Sung landscapes. Within my paintings there are no cultural references; I aim to reflect the timelessness of nature in a fleeting moment.

Website
http://www.MaggieTobin.com

Laura Newman

Mike — Wed, 14 Jul 2010 01:04:14 +0000

Shards. 2010, 56 x 72″, oil on canvas
.
Highbeams, 2010, 32 x 42″, oil on canvas
.
Winter Scene, 2009, 64 x 52″, oil on canvas
.
Jello Combat, 2010, 56 x 72″, acrylic on canvas
.
Pavilion, 2009, 52 x 6″oil on canvas

Artist’s Statement
I am interested in a kind of space that is fresh, airy, vast and open. For a long time, I’ve felt that a painting is alive when I can feel the space in it. I would like to be able to paint air, but in order to paint air I need to paint the things in it.

I aim to locate the point where form takes on meaning—where a triangle can be read as a road in perspective, for example. Each painting suggests a model or diagram, even as it evokes a particular, fictional place.

Website
lauranewman.com

Rebecca Litt

Mike — Sun, 27 Jun 2010 15:57:39 +0000

Maybe This Will Stop The Tide, 18” x 20”, oil on linen, 2010

Relative Safety, 18” x 20”, oil on linen, 2010

They Stood Their Ground, 42″ x 60″, oil on canvas, 2010

Warehouse Waiting Game, 48″ x 60″, oil on canvas, 2010

No Swimming, 42″ x 48″, oil on canvas, 2010

Artist’s Statement

The people in my paintings are unsettled. They perch on rooftops, power lines, and fire escapes, inhabiting dreamlike, imaginary cities. Expectations cloud their vision, and, like people in a magical realist novel, they unquestioningly accept the absurd as normal.

Although I use the visual language of a perceptual painter, I mainly work from memories, filtering experiences and bits of autobiography into invented scenarios that would be unlikely, if not impossible, in the real world. Maintaining an element of fiction is important to me because I am trying to describe psychological places, where characters’ inner worlds shape the physical space and architecture around them. For me, the illogical situations my characters find themselves in embody the frustration of not being able to see clearly.

I work mainly from my imagination; with the help of mirrors, studies from life, and photographs. I usually start with an improvised drawing, through which the imagery evolves organically and spontaneously. The drawings suggest a loose narrative for the paintings – not a sequential story, but a series of related vignettes about the same or similar characters.

Contact

website: www.rebeccalitt.com

email: beccalitt@mac.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/

Francisco Lopez

Mike — Thu, 17 Jun 2010 01:04:55 +0000

Artist’s Statement
Film, obsession and beauty
The focus of my work is in the chance union of forms, symbols, images and colors. It is through cosmetics, in the sense of making up the world in an almost shaman-like manner, that my work plays with a pre-established language of beauty pervasive in popular culture and attempts to establish a complicated link to a mythological world. My work is about obsession and beauty.

Bio/Resume
Born in Florida, and raised in Caracas, Venezuela, Francisco López has been based in New York since 2001. He graduated from the School of the Museum of Fine Arts Boston in 1999. His work has been exhibited at the Boston ICA, Trieste Film Festival in Italy, Sala Mendoza in Caracas, and Transhudson Gallery and Momenta Gallery in New York. In 2004 he showed a video installation as part of the Young Architects Program at PS1 MOMA in New York and his video “Telepathic Numbness” was exhibited at the British Council Electric Earth Show in Caracas, Venezuela. He has lectured at the California Institute of the Arts and Fashion Institute of Technology in 2009.

Website
http://www.mogollon-ny.com/

Jake Messing

Mike — Sun, 13 Jun 2010 21:38:26 +0000

Revolutions

Divine Madman

Work Horse

Rude Awakening

Listen Up

Silence

Artist Bio
Jake Messing was born in Northern California in 1982. He graduated with a BFA in Illustration from Parsons School of Design in May 2006. Messing works in a wide variety of media, ranging from silkscreen to pen and ink to paint and collage. His work has been shown in galleries and art fairs across the US, Canada and Europe. He has been invited to lecture at numerous prestigious universities and design studios. Messing recently returned from a two-month residency at CAMAC Center D’Art in France preparing work for his most recent solo show. He presently lives and works in Brooklyn, New York.

Website
www.jakemessing.com

Spring Hofeldt

Mike — Fri, 28 May 2010 23:41:21 +0000

Tough Love
2009
acrylic on masonite
11” x 17”

Rapunzel
2008
acrylic on masonite
18” x 24”

out of sorts
2010
acrylic & colored pencil on masonite
10.5” x 7.5”

affordable housing
2007
acrylic on masonite
18.5” x 12”

people watching
2008
acrylic & colored pencil on masonite
12” x 11 ¾”

Sneaky Pete
2009
acrylic & colored pencil on masonite
7.5” x 6”
.
ARTIST STATEMENT
The heart of my painting always starts with an animate or inanimate object that bears a spunky and alluring nature. While my interpretations make light of situations we go through, and simply illustrate the quirks of life that we might otherwise pay little attention to, the natural expression and shape is never altered or exaggerated from how I found them to be. More often than not I play/work with these objects until I pinpoint the perfect metaphorical setting to place them in. Capturing and translating every character role in the piece is important… such as a disposition of a creature, the morphed nature of a reflection in glass, and the overall sentiment that a marriage of two such elements create.

WEBSITE
www.springhofeldt.com

PRINTS OF MY WORK
http://www.etsy.com/shop/springhofeldt

Amy Talluto

Mike — Fri, 14 May 2010 00:45:04 +0000

Artist Statement
I work exclusively with landscape in my oil on canvas paintings, using that theme as a platform to explore new ways of representing space and form. I am also interested in using psychological content and color to investigate the impact of nature, and natural space on the mind. Individual works describe scenes that are sometimes bright, lush and flowering, or sometimes dissonant, murky and foreboding. Tree branches twist and writhe, color turns acidic, and sky flattens to meet form and then deepens back into space again. A shifting psychological mood pervades the group as a whole, moving between realms of sparkling beauty, anxiety, and the sinister and mysterious.

Website
http://www.amytalluto.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

Sophie Sejourne

Mike — Mon, 12 Apr 2010 01:12:42 +0000

Message – acrylic collage – 10in. x 10in. – 2006

Dordogne acrylic collage 10in. x 10in. – 2006

Blue – acrylic collage – 10in. x 10in. – 2007

Spring – acrylic collage – 14in. x 14in. – 2008

Quiet – acrylic collage – 14in. x 14in. – 2008

Website
http://sophiesejourne.com/

Upcoming Exhibit
Clover’s Fine Art Gallery
Earth + Goddess April 15th – May 31st
Opening Reception – Saturday April 17th 4-6 pm

Five artists celebrate the natural wonders of the earth.

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

LJ Lindhurst

Mike — Mon, 22 Mar 2010 01:44:25 +0000

Uncomplicated, 2007, Acrylic on canvas, 34" x 30"

Foil Bunny #2 (Green Foil Bunny), 2009, Acrylic on canvas, 60" x 69"

Marbles #6, 2009, Acrylic on canvas, 50" x 48"

Lock #5, 2006, Acrylic on canvas, 24" x 36"

Parrot, 2004, Acrylic on canvas, 24" x 36"

Artist Statement
LJ Lindhurst was born in Antonia, Missouri. Her work is medium- to large-scale realistic paintings of imagery from our daily lives and mass culture that communicate a sense of isolation, alienation, comedy, threat, and modern decay.

A large portion of Lindhurst’s work is based on the philosophy that Photorealism painting should be approached without style or embellishment, and adhere with devotion to reproducing the photographed image as accurately as possible in paint. Form, composition, and style occur naturally, and are illuminated as a result of this neutral approach.

Thematically, the subjects of her paintings are varied, but tend to focus on the often overlooked detritus of our popular culture. By closely examining otherwise ordinary images from our daily life–such as toys, small candies, advertising, packaging, and television– an underlying sense of uneasy comedy is revealed.

Website
http://www.ljlindhurst.com

artinbrooklyn.com » Painting

Cecelia Rembert

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