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Maggie Tobin

Aug 15th, 2010 Leave a comment

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

Jul 13th, 2010 3 Comments

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

Jun 27th, 2010 Leave a comment
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

Lisa Corinne Davis

Jun 21st, 2010 Leave a comment

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

Jun 16th, 2010 Leave a comment

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

Jun 13th, 2010 1 Comment

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

May 28th, 2010 1 Comment


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”
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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

May 13th, 2010 Leave a comment

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

Apr 18th, 2010 Leave a comment


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

Apr 11th, 2010 Leave a comment

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

Mar 28th, 2010 Leave a comment

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

Mar 21st, 2010 1 Comment

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

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