ETHAN COHEN GALLERY AT THE KUBE PRESENTS Birds of a Feather
ELENI SMOLEN CORDY RYMAN GREG SLICK ALEXANDR RAZIN MICHELLE PETERS SHARI DIAMOND KATHERINE KAR MARGOT KINGON NEIL BRYER GEORGE MANSFIELD PADA PRISTINI NATL SAWDUST JEFFERY SPENCER HARGRAVE SEAN HERMLE JENIE WEISSGLASS MATT KINNEY GAN YU SUSAN STILLMAN BEN LIEBER AND KELSEY JULIA WHITNEY-BARNES I CHING JACKIE SKRZYNSKI SOPHIA MESSA ETHAN COHEN YIBAI LIAO NORA COHEN CHIE FUEKI ZACK SKINNER JASON DURHAM JAYOUNG YOON ANDREA MOREAU PAMELA BLUM JILL ENFIELD ADAM LISTER DAVID PROVAN EMIL ALZOMORA ANN PROVAN CATHERINE WELSHMAN STEVE ROSSI KARLOS CARCAMO LACEY FEKISHAZY RON ENGLISH MICHAEL ZELEHOSKI RICHARD KROELING MONICA CARRIER SUSAN ENGLISH INSUN KIM KRISTEN REGO CATHERINE WELSHMAN GABRIEL HURIER LORI MERHIGE ALISON MCNULTY CHARNAN LEWIS ISAAC ADEN DIANNE GREEN JEAN-MARC SUPERVILLE SOVAK BRIDGET CARAMAGNA KATE HARDING KIRSTEN DEIRUP KEN MILLINGTON CARL VAN BRUNT PETER GERAKARIS COLIN MCLAIN
Birds of a Feather Presented by Ethan Cohen Galleries at the KUBE Co-curated by Joseph Ayers and Ethan Cohen June 4th - July 31st 2022 Birds of a Feather is an exhibition of small works by artists who have flocked to the Hudson Valley in the past decade or more. The title also suggests notions of collective community, political boundaries and group identities; matters at the heart of the issues we face in the modern world. The goal of the exhibition is to showcase the complex network of ides and aesthetic languages being exchanged in the Hudson Valley region. Reflecting on everthing from the migrating physical landscape, to the political boundaries intrinsic to our social dilemmas, Birds of a Feather brings together works from over 60 artists in the region, creating a chorus of voices resounding in the Hudson Valley. KUBE 211 Fishkill Avenue Beacon, NY June 4th 2022 4-6 PM Performances by: Ben Lieber, Opera singers, Miles Donnely Special Thanks to Ethan Cohen Fine Art for making the exhibition possible.
SHARI DIAMOND The 60 Year Project “Life changes in an instant, the most ordinary instant.” Joan Didion The 60 Year Project consists of 60 images representing 60 moments over 60 years. These images selected from my family or personal archive for each year of my life undergo a series of processes that strip away the details leaving the essence of the moment. 60 years ago, I lay in a crib while my mother watched over me. I don’t remember this moment, but a photograph tells me it happened. Our lives are a multitude of moments experienced, remembered, and forgotten. What is gained and what is lost? Time passes but do we notice? My art practice is an investigation into topics ranging from borders and boundaries, sexuality, gender, immortality, and impermanence to human relations. If something interests or disturbs me, I want to consider it, meditate on it, and understand it better. Process is integral to my practice. In each series, I search for an artistic approach or method that provides the most effective entry for my investigation. It is always photo based, though I use a multitude of analog and/or digital processes. Narrative is a constant thread throughout my work, speaking to larger political conditions rooted in my personal experience of difference. Shari Diamond was born in 1961 in Miami Beach, Fl. They received a BS in Art Education from University of Miami and an M.A. in Photography from New York University/International Center of Photography (60-point three-year program equivalent to an MFA). They live and work in New York City and Newburgh, NY. Diamond is an artist whose work incorporates photography and digital technology and explores difference as it relates to our social, sexual and political constructs. They are a recipient of a New York Foundation for the Arts Fellowship in Photography, Brooklyn Arts Council Community Arts Grant and was awarded residencies at Blue Mountain Center, Saltonstall Arts Colony, and the Millay Colony for the Arts. Their work is in the collection of the Leslie-Lohman Museum of Art and has been shown in numerous venues. For the 2 figures embracing piece: The 60 Year Project, #33 16.75” x 20” Metal Print, Edition of 3 $500 For the one with Pascale: The 60 Year Project, #52 14.50” x 20” Metal Print, Edition of 3 $500
GEORGE MANSFIELD Born 1961 BA Fordham University English/Theology Skowhegan School of sculpture and painting 1990, 2021 After 13 years of practicing “social sculpture” as a Beacon City Councilman, I have recently returned to my studio practice. In response to the personal and political chaos of the last few years, I find the solitude and solace of the studio to be the healthiest environment in which to respond, with hope , to the madness in which we find ourselves. “Sediment” Paper, copper, watercolor, coffee, graphite $1200 From a recent body of work, incorporating stained glass techniques and watercolor paper. This series of 3 dimensional objects occupy space as sculpture and are as vulnerable as drawing.
JACKIE SKRZYNSKI Tree of Heaven 2019 Oil on wood tondo 11.5 inches 750 artist price Artist’s Statement Throughout my career, I have continually described the experience of life through the lens of nature. From the animal hybrid drawings made when I was a new parent, to the biomorphic images describing aging, I question what separates us from the natural world. To say “we are all connected” isn’t a bromide. It is a fact. I have recently made several paintings depicting invasive species. Many invasives were intentional- ly brought here for their beauty, hardiness, and fertility. Without natural predators, they overpopulate and out-compete native species. This damages biodiversity, which is crucial to a healthy ecosystem. Because plants are where sunlight (energy) enters the food chain, invasive plants can adversely affect the entire ecosystem, from soil to top predators. But why make work about them? Artistically, I respond to the paradox of beauty and threat. Being attracted to something ultimately harmful is an interesting and relatable experience. I am inspired by the form and color of these plants, and hope to engage viewers with the dissonance they embody. Bio Jackie Skrzynski (skrin-ski) makes work that dissolves the boundaries between humans and nature. Her art has been widely exhibited, including at Morehead State University, University of Neva- da, ARC Gallery San Francisco, the Samuel Dorsky Museum, and numerous galleries and alternative spaces. She graduated from UNC-Chapel Hill and the University at Albany. Skrzynski was awarded a grant from the Barbara Deming Memorial Fund in 2018, a New York Foundation of the Arts (NYFA) SOS grant in 2011, and is a 4-time recipient of the Orange County Individual Artist award. She contributed a chapter to the anthology Reconciling Art and Motherhood and has had her own artwork appear in several publications. Last spring, she was artist-in-residence at Black Rock Forest. Beyond her studio practice, Skrzynski is interested in bringing art to the community in creative ways, such as her pop-up exhibition vehicle, PUG PROJECTS, and the immersive landscape experi- ence, the SILENT WALKS. She is active in the creative community in Newburgh, NY.
DAVID PROVAN The sculpture is “Pocket Cosmos”, 2020, enamel on steel, 23.5”x 18”x 12” 3K and the drawing is “Trance Stance”, 2018, watercolor & ink on paper, 22”x 15” $900 I’ve come to understand that we inhabit a universe that extends far beyond the grasp of our five senses. These extremes evade us because they are, for the most part, too tiny, too huge or too glacially slow for us to grasp. Through my studies and ultimately through my art, I’ve tried to construct objects that model and resonate with that world that lies just beyond our understanding.
ANN PROVAN Painting for me is a search for an image with an emotional feeling and a complex meditative composition. It is a search that sometimes takes a long time and the final piece is a discovery. Over the years I have made works in all types of painting media, as well as painted wood and wire sculpture and artist’s books. I like using geometric forms because they can have multiple meanings, from the neutrality of a square to architectural forms with spatial ambi- guities, including optical illusions, and psycho- logical connotations. I want to create a work that challenges one’s perception and at the same time provides an emotional and sensual experience through the use of color and light. Bio Ann Provan grew up in Berkeley, California and at 17, she moved by herself to France for four years, studying at the Université de Montpellier and the École Nationale Supériure des Beaux Arts, Paris. During this period, she traveled around Europe and saw many paintings. Af- ter returning to the U.S., she attended the San Francisco Art Institute and received an M.F.A. in Painting. She moved to New York City in the late 1970’s, living in SoHo and Brooklyn before moving to Cold Spring with her family in 2006. Ann Provan’s work has been shown in New York City, including at the New Museum; A.I.R. Gallery; and Franklin Furnace; the University of California, Davis; Wake Forest University; Das Verborgene Museum, Berlin; the Marina Gallery and Buster Levi Gallery in Cold Spring, NY; the Lockwood Gallery in Kingston, NY; and at the Garrison Art Center in Garrison, NY in April 2022. She has received two NYFA fellowships, in sculpture and in artist’s books. Her work is in the collections of the New York Museum of Modern Art, the Museum of the Art Institute of Chicago, Franklin Furnace, and other collec- tions. Follow Ann Provan on Instagram: @annrprovan Read an interview with Ann Provan by Meg Hitchcock on Instagram: @in_their_studios $750 each Infrastructure 2, 2021, 20” x 20” Breakthrough, 2020, 18” x 18”
MATT FRIEBURGHAUS Exploring landscape, natural forms, and the sky, Frieburghaus produces video, sound, print, and objects as a response to sensory experiences. He observes newly discovered places and natural phenomenon that demand attention and presence. While on location, he records video and audio and uses the gathered media clips to investigate time, color, light, and sound. The works in the exhibition are produced by referencing images or video stills that are captured of Icelandic and Hudson Valley landscapes. The collages are produced by creating patterns from the media and cutting out those patterns into shapes that form new layered collage landscapes. The 3D printed landscape was produced by referencing an image and converting parts of the image into a 3-dimensional extruded form and printing the model. Matt Frieburghaus has exhibited across the U.S. and internationally in festivals, galleries, and museums including locations in Brazil, Iceland, Greece, and Taiwan. He was a 2013 AIM Fellow at Bronx Museum of the Arts and awarded residencies at the Vermont Studio Center and Nes Artist Residency in Iceland. Following his many years of exploring the Icelandic landscape, he will be on expedition with the Arctic Circle Residency in Svalbard during June of 2022 to continue his pursuit of natural phenomenon in Arctic landscapes. He was also awarded a 2022 Fellowship at Constance Saltonstall Foundation for the Arts where he will be in residence during the Fall. Matt earned a BFA in Animation from the Minneapolis College of Art and Design and an MFA in Computer Art from Syracuse University. He is Professor of Digital Media at Marist College. 6 x 8.5 x 2 Calved, Collages 3x3 4x4
ELENI SMOLEN The artist found her calling in her early forties when she moved from New York city to rural Southern Tier surrounded by dense woodlands, stone walls, abandoned apple orchards and a diversity of wildlife. After years of living and working in Brooklyn and Manhattan at various non-profits and corporations, including outpatient mental health centers and Brooklyn Hospital’s NICU, her dream was to move to the country. It was the solitude and quiet that first allowed her to paint large abstract work in a small upstairs bedroom of a little farmhouse at the top of a winding, dead-end dirt road. Living in the woods she had found her utopia.Smolen is deeply connected to and concerned about the natural world. She ascribes to Edward O. Wilson’s concept of “biophilia,” the word he coined to describe humankind’s deep affinity for nature. The artist believes nature is, as Wilson describes it, “the refuge of the spirit, remote, static, richer even than imagination.”The artist responds emotionally and viscerally to events (personal, environmental, societal) and works through each experience through multiple riffs and variations. Series include the early, abstract paintings Biophilia, Dharma Rain and Persistent Song; the horse motif in Ridgeline and Wherever I Travel; the memorialized girl holding the bird in Girl by the Sea and Guardian; drawings from Bela Tarr’s film The Turin Horse; Surfacing; Trees; Whales & Flukes, and, currently, Little Consolation. Three Illuminated Installations of Girl by the Sea drawings and two Box of Flukes paintings round out the work so far. Smolen presently lives in Beacon, New York and works in Newburgh at Regal Bag Studios. Updated April 23, 2022 Beacon, NY Tree, Blue Ridge, Ravens 7 x 5” framed 100 each
SUSAN STILLMAN Rooftops, acrylic on wood panel 24 x 30 $2600 Susan Stillman holds a BFA from the Rhode Island School of Design, and an MFA from Brooklyn College. She spent a year in Rome studying painting in RISD’s European Honors Program.A life-long educator, Stillman has been a faculty member at Parsons School of Design since 1983.She began her career as an Illustrator and her work has been published in hundreds of magazines, newspapers, posters and books. Her clients have included The New York Times, New York Magazine, Esquire, Beth Israel Medical Center, Conde Nast, Hearst Publications, and numerous others. Stillman was chosen to illustrate a special centennial edition of James Joyce’s Ulysses, for Book of the Month Club, and illustrated a children’s book, Windsongs and Rainbows, for Simon and Schuster.Susan Stillman is well known for her vibrant representations of homes and properties in Westchester and surrounding areas through her business, Home Portraits. Home Portraits has been featured in the New York Times and the Wall Street Journal, among others. Her work has been shown at various galleries, including a retrospective of her paintings at the Northern Westchester Center for the Arts in 2004, and two solo shows at the Gallery in the Park, Cross River, NY. The landscape I see every day shapes my work in paint. It’s a foundation from which to explore the relationships of the natural to the man-made. The views from my windows high on the hill, and my daily walks in all seasons feed my preoccupation with light and the way it effects change in color and tonalities. Series have evolved as I revisit images that have left an impression in my memory. The scale of the work has an impact on how the images are perceived, as larger paintings invite the viewer to enter the space created, and smaller scale work feels fragmentary, echoing my experiences of moving through the landscape and noticing flashes of color on the periphery. An absence of the figure is deliberate, disallowing any imposition of ‘story’ and leaving the focus entirely on the moment captured and it’s specific qualities of light, color and tonal saturation. Intensity in the chromatic range brings to mind the hours when the sun is lowest in the sky. The simplicity of the subject is transformed by the moment of illumination and by our unexpected attention.
GREG SLICK My paintings investigate ideas of monumentality through the geometries of prehistoric archaeological sites. Using color, texture, patterns of entoptic phenomena, and references to stratigraphic drawing, my work examines how megalithic shapes can occupy space in compelling ways within an abstract language. Where the built environment meets the natural world is also central to my work; thus, I use hardedge forms to reinterpret tumbles of stones at Neolithic sites as a composition of texture/color upon a vibrant ground, while color schemes allude to changing light in rural areas where these stones are found. The intended challenge to the viewer is to read deeply and consider the meaning and poli- tics of monument building along the human journey. Biography Greg Slick is a visual artist and independent curator based in Beacon, NY. Time, history, archaeology, and anthropology play major thematic roles in his work. Most recently his work was featured in the group exhibitions The Longue Durée at Holland Tunnel Newburgh, Newburgh, NY; One Thing Leads to Another at The Lockwood Gallery, Kingston, NY; and Collective Expeditions at both BSB Gallery, Trenton, NJ and SUNY Ulster, Stone Ridge, NY. Other group exhibitions include Take Back the Walls at the Rochester Contemporary Art Center, Rochester, NY; Painting in the 21st Century, at Site:Brooklyn, Brooklyn, NY; and Time Travelers at The Samuel Dorsky Museum of Art at SUNY New Paltz, New Paltz, NY. Recent solo exhibitions include Old Bones and Broken Stones at No. 3 Reading Room & Photo Book Works, Beacon, NY and Opened Ground at the Seligmann Center, Sugar Loaf, NY. Slick is the founder and co-curator of the artists’ collective The International Society of Antiquaries.
PAMELA BLUM Pamela Blum makes sculptures and paintings with encaustic paint—pigment suspended in beeswax. She has exhibited her work throughout the United States and in France. She has a BA degree in studio art and art history from the University of Pennsylvania and an MFA in Interrelated Media from Massachusetts College of Art and Design. She has experience in diverse visual disciplines including drawing, color theory, painting, sculptural installation, performance, architecture, physical planning and graphic design. She has many years of teaching experience in colleges and universities at the undergraduate and graduate levels. She has also taught numerous workshops. She was formerly Editor of F.A.T.E. in Review, the Journal of Foundations in Art Theory and Education, and a member of the Mid-America Art Association Board of Directors. Born in Boston, MA she grew up in academia. She now lives in Kingston, NY with her husband, Richard Frumess, Founder of R&F Handmade Paints. She has traveled throughout the United States, as well as in parts of Europe and Canada.v I make organic, encaustic-covered sculptural forms. Some are single objects. Others are grouped. Still others have individual components with connecting parts. I intend my work to be disturbing, funny, and sometimes sexy. It’s about human foibles (inaccessible fantasies, environmental damage) and disasters (mutations, suffering, nature’s destruction). The work— founded formally, conceptually, and technically in history, history, history—rests on two quotations from Barbara Kingsolver’s Poisonwood Bible: “My life: What I stole from history and how I live with it.” “Misunderstanding…is the cornerstone…of civilization.” Indebted to others’ perceptions, feelings, thoughts and beliefs, I draw from artwork of the past. The work assembles many different ways to prompt viewers, including myself, to reinterpret the work. In an effort to communicate something essential, I use the arsenal of visual literacy: titles, form, dimensionality, expression, materials, color, position, relationship of parts to wholes, marking or lack thereof, different scales, different contexts and references to things we see every day, living or not. Decanter #1 $1000 11.75 x 6.5 , 4.5 , Worn Heart $850 8.5 x 5.25 x 4.5 Modest Doll $1000 13 x 6 x 4.25,
KRISTEN REGO Study in Blue, Orange, Violet, & Black, 2019, produce stickers on paper, 14x11 inches, frame size 21”x17” $250 I find myself investigating the subtle variations of human patterns: wielding a toothbrush, checking the mail, commuting, buying lettuce, or carrying a shopping bag are all tasks that are seemingly static from day to day. Though mood, outside interferences, or a change in perspective affect these tasks and create a shift in our patterns, causing us to adapt. Mostly these changes go unnoticed, or do not qualify as an event significant enough for contemplation. I mentally document these occurrences in order to discredit this notion, imagining them all lined up in a row to spot the differences. The way we spend our time has an undercurrent of variation, due to the slow and steady influences that affect the mind and body. These moments are manifested abstractly in my work: By way of painting, collage and assemblage, bright color palettes interact with ordinary surface material, where subtle changes become the central focus.
ZAC SKINNER In my work I attempt to represent human encounters with a damaged post-industrial landscape. My paintings are grounded in scientific realities about our present-day environment and impending threats to our existence on Earth. My primary concerns are the need to confront climate change, the polluting of our environment, resource wars, and the displacement of disenfranchised peoples and whole ecosystems in the name of progress.My paintings reflect my conceptual interest in the Anthropocene landscape and geo-engineering (deliberate intervention in the Earth’s natural systems to counteract climate change). Some recurring motifs in my work are invented structures that interact with sunlight, wind, and/or rainwater, as well as inhabited nomadic huts, all situated within a barren landscape. Along with portraying these structures, my work tells a narrative of the increasingly violent weather of climate change, and the technological sublime (that our pursuit of triumphant technology could be our demise), to reflect on the dangerously dysfunctional interdependence of man and nature. My paintings also grapple with the relevance of the modern landscape. Using oil on panel and mixed media, I create works that flow freely between authenticity and parody, fetishized forms and flatness, the Romantic sublime and post-apocalypse, invention and destruction. The world I paint is the aftermath of our current-day struggles, simplified to focus on the most essential truth: we need to radically re-calibrate how we live to survive. There is, however, a positive side to my work: a sense of hope. I want to convey a message of inner strength, ingenuity, and beauty in the face of grave consequences. Zac Skinner’s art confronts climate change. He has held solo exhibitions with Wave Hill, Bronx NY, Garrison Art Center, Garrison NY, BAU Gallery, Beacon NY, the Ann Felton Multicultural Center, Onondaga Community College, Syracuse NY, and at Mat-teawan Gallery’s Artist in Residence Exhibit, Beacon NY. Recent group exhibitions have included Spring Break Art Show, NY, and CICA Museum, Korea. Skinner received a MFA from the School of the Art Institute of Chicago, and BFA from SUNY New Paltz College. He is an Instructor of Painting and Drawing at Ramapo College, NJ, and lives and works in Beacon, NY, USA. Sacred Pop-Up Farm with Kale and Oil Pipeline Date: 2018-2020 Dimensions: 8”w, 8”h (panel) Media: Oil on panel, driftwood, nails, hemp twine $
JAYOUNG YOON Jayoung Yoon is a New York based artist born in South Korea. Her work has been exhibited in numerous museums and galleries in the USA, including The Bronx Museum of the Arts, San Jose Museum of Quilts & Textiles, New Bedford Art Museum, Ohio Craft Museum, Delaware Center for Contemporary Art, Hudson Valley Museum of Contemporary Art, Here Arts Center, and in South Korea, including Coreana Museum of Art, and Seoul Olympic Museum of Art. She was awarded the AHL Foundation Artist Fellowship, Manhattan Graphics Center Scholarship, the BRIC Media Arts fellowship, and the Franklin Furnace Fund. She has attended residencies at MacDowell, Skowhegan School of Painting and Sculpture, Lower Manhattan Cultural Council’s Swing space, Anderson Ranch Arts Center, Sculpture Space, Millay Colony for the Arts, I-Park, and Saltonstall Foundation, among others. Her work has appeared in various publications, including The New Yorker, The Paris Review, Hyperallergic, Gothamist, Artnet News, Surface Design Journal, and Fiber Art Now. In my printmaking, I am experimenting with etching, collagraph and monoprint techniques to explore body, sense, memory and perception. For example, in the ‘Sensory Memory’ series,’ I use a monoprint technique to imprint butterfly weed seeds and combine it with etching. I enjoy the subtle details of the fluffy seed fibers, and was drawn to the way they mirror bodily forms like neurons and nerve endings. Combining them with internal bodily imagery evokes physical sensations. heart 4, monoprint and etching on BFK rive paper 8 x 6 on 15 x 11 paper hand 5, 9 x 7 15 x 11 paper lungs 7, 7 x 8 11 x 15 paper
MARGOT KINGON New York City native, now living in the Hudson Valley, Margot Kingon explores the relationship of subjects and their surroundings. She currently photographs herself in different quick poses, cuts out the figures and uses them as inspiration to create a new environment. Latex household paint, acrylic and pens are used to manufacture a 2 dimensional world on wood panels. “I let my body tell a story through gestures that I photograph. I cut out the characters, lay them in a field and much like a sculptor lets rock or stone reveal what they want to become, I let the gesture of the figure dictate the environment it wants to be in. I’m curious about what happens when we remove ourselves from our natural environment. How does a gesture change its meaning when it is placed in a new context?” 10 x 10 Latex, Acrylic, Photograph on wood panel. $500
STEVE ROSSI Artist Statement In the Reciprocal Ladder series, the utilitarian function and visual form of a ladder has been subverted for aesthetic and metaphorical purposes emphasizing an alternative egalitarian mode of social organization through presenting a possibility for what a “ladder of success” might look like without a beginning or end, top or bottom. Image Description Reciprocal Ladders with Red 2020 Bronze and acrylic latex 22” x 18” x 8” 4K https://www.steverossisculpture.com/reciprocal-ladders/view/2326721/1/4580896Bio Steve Rossi received his BFA from Pratt Institute in 2000 and his MFA from the State University of New York at New Paltz in 2006. His work has been exhibited at Dorsky Curatorial Projects, Eco Art Space, NURTUREart, the Open Engagement Conference at the Queens Museum, Bronx Art Space, the Wassaic Project, the John Michael Kohler Art Center, the Jules Collins Smith Museum of Fine Arts, and the public art festival Art in Odd Places among many others. He has participated in artist residencies at Vermont Studio Center and Gallery Aferro in Newark New Jersey. As a part-time faculty member, he has taught in the First Year Program at Parsons School of Design, the Sculpture Program and Art Education Program at the State University of New York at New Paltz, and in the Art Department at Westchester Community College. He is currently an Assistant Professor and Sculpture Program Head at St. Joseph’s University, and splits his time between Beacon, NY, and Philadelphia, PA.
KEN MILLINGTON “midnight engine”, 2021, 48 X 36 in. oil on canvas 3,500 My primary action as an artist is recording. I use painting, video, and technology to record places, both physical attributes as well as data that describes unseen forces. Image and abstraction are used to trace geographies, electromagnetic frequencies, and fluid dynamics. This record examines how perceptual understanding and perceptual limitations impact our understanding of place and environment. My paintings explore the forces at work in nature that are outside of human perception. The subject of these oil paintings, turbulence, is the resulting chaotic action within a system of moving fluids encountering an obstacle. Scientists often use color coded computer models to display these high velocity interactions. I use this approach in studio to experiment and create models that reveal the violence and grace that unfold as forms collide, disperse and fragment. These paintings uncover and record the momentary landscapes that result. As a Latino artist of Bolivian descent, I see my work continuing the legacy of ancient architectural and earthworks sites purposed for astronomical and geological observation. By contrast, the medium of painting is employed for contemplative engagement with nature’s phenomena. Through exploring the overlapping territories of science, nature and human perception a uniquely modern landscape can be envisioned. Kenneth Millington is an artist living in Beacon, New York. His artwork engages with concepts of time, science, place and artifact. He recently returned from the Tao Hua Tan Residency in Anhui Province, China and from Cuba where he documented the unique electromagnetic spectrum via digital videos and paintings of television static. His latest public artworks include “Static Fossil”, a billboard that resided in the Bronx, and an installation “Horizontal Retrace” at the Art Lot in Brooklyn. His artwork has been exhibited at the Hefei- Kurume Friendship Gallery in China, the CICA Museum in South Korea, the First AIM Biennial at the Bronx Museum, Kunsthalle Galapagos in Brooklyn, and EMUSA Gallery in La Paz Bolivia. His work has been shown throughout the United States, Latin America and Asia. He has been awarded a Fulbright Fellowship, several Greenshields Grants and an A.I.M Fellowship. He received a BFA from the Rhode Island School of Design and a MFA from the School of Visual Arts and studied independently with Ricardo Perez Alcala in La Paz, Bolivia. Kenneth worked for years as a large-scale exterior public muralist completing numerous projects throughout the northeast. He teaches at Parsons School of Design in New York City.
ANDREA MOREAU My drawings function as personal interpretations of political or commercial propaganda. I begin with imagery found on postage stamps or printed advertisements and, using the visual logic and graphic language of the image, I attempt to tease out a larger framework from which to consider it. Finished pieces often incorporate printed matter and cultural detritus, which gives them an immediate and tactile connection to the world of objects.I am particularly interested in the postage stamp as a geographical artifact, and through my drawing process I attempt to learn something about a place by studying its official imagery and then creating a world beyond the borders of its fragmentary scenes. The finished drawings and paintings are a record of this study; they are a dialogue between the printed and the drawn, the official and the personal, the real and the imaginary. They are a metaphor for the way in which we conjure the places we hear about on the news and read about in books, using the tiniest pieces of information to construct a reality that most likely bears little resemblance to any actual place. Samoa Blue Flight Pattern Samoa Green Flight Pattern 15 x 15 inches each $550 each
HANNY AHERN 24 x 18 approx Hanny Ahern (born, USA) Is an Artist living and workingout of Beacon NY. Her work explores interpersonal connection through the poetic restructuring of our most common interfaces and overlooked spaces and scenes. She has used human breath, light, text messaging, reworked boundary tape, kites, wind, and augmented reality to create site specific encounters as loopholes for communal grievance, connection and temporal play. She earned her undergraduate degree from Bennington College and masters from the Interactive Telecommunications Program at NYU. Hanny has led education programs for Dia Beacon, Powrplnt and is a mentor for city-as-school in NYC. Her work has been shown nationally and abroad.
PETER GERAKARIS Peter D. Gerakaris is an American interdisciplinary artist whose vibrant paintings & sculptural installations engage nature-culture themes. His artworks have been acquired by various institutional collections including the National Museum of Wildlife Art, NYC Dept. of Education, U.S. Art in Embassies Program (Gabon), Citibank, Berkshire Botanical Garden, & many more. Having exhibited around the world from the Museum of Arts & Design (NYC) to the Mykonos Biennale (GR), his works are also found in a spectrum of private collections such as Beth Rudin DeWoody & the William Lim Living Collection (Hong Kong). Having received various awards from organizations such as the Andy Warhol Nature Conservancy & EcoArt Project, Gerakaris has also created many public, site-specific commissions for the Berkshire Botanical Garden, Bergdorf Goodman, Cornell Tech, & The Surrey Hotel. Notable permanent public artworks include a 116ft site-specific installation at PS101 (Bklyn) commissioned by the NYC Percent for Art Program. Peter D. Gerakaris’ artwork tickles the retina and mind by filtering a broad array of Nature-Culture themes through a kaleidoscopic, global lens. In this space where nature and culture converge, the artist passionately seeks to bridge our profound disconnect with the environment. The artist’s interdisciplinary approach spans painting, murals, mosaics, large-scale public installations, works on paper, printmaking, and origami sculptures. Whether synthesizing traditional gold leafing techniques with vibrant Byzantine-brushwork in the “Icon Series”, or rendering the illusion of collage by hand through his “AquaVerse”, “Post-Pop Botanical”, and “Mask” series, Gerakaris’ work ultimately harmonizes its hyper-graphic quality with a hand-painted and cerebral touch. Rendered in a signature style of vibrant coloration and form, recurring motifs include exotic and endangered flora/fauna such as pollinators, owls and various avian creatures, orchids, aquatic life, and much more. The artist’s dynamic use of color is essential to his work: it generates tension by pushing the limits of our color perception beyond the boundaries of pictorial composition. Often evoking our terrestrial, aquatic, and cosmic frontiers, the artist constructs imagery like a phantasmagorical collage to represent society’s fragmented relationship with the environment. The meticulous rendering of many detailed layers into a holistic work functions like a glue that seeks to mend this Nature-Culture divide. AquaVerse I Reprise Hand-embellishments with silver leaf and acrylic over archival pigment print on fine art paper 20 × 20 in (50.8 × 50.8 cm) -- unframed dimensions Edition: Uniquely hand-embellished limited edition of 5 Praiadise Origami Accordion Book Sculpture (Edition) Mixed media w/ acrylic, mirri, & archival prints on paper & wood, Approx. 17 in. x 8 in. x 8 in., Special hand-embellished Limited Edition of 10 unique works
COLIN MCLAIN Colin McLain lives and works in Cornwall Bridge, Connecticut. He holds a B.F.A. From Tyler School of Art. He has shown his paintings at many galleries and museums nation wide and in Italy. His work has been reviewed in The New York Times, Flash Art, and The New Art Examiner. He was a fellow at the Fine Arts Work Center in Provincetown and The Vermont Studio Center. He received a Rotary Fellowship to Italy. Statement: My work is primarily focused on examining and reshuffling the arguably tired conventions of landscape painting. The picture plane is reimagined as a space that can be carved out or stacked upon. Like that of Chinese landscape painting that I greatly admire, brushwork work pulls double duty as descriptor calligraphic mark making. Nature is inherently spectacular and impossible to out do in a picture. I like the tension of trying to do something with that paradox. Freeze 24 x 36
ADAM LISTER Email: [email protected] Instagram: @adamlisterstudio Born in 1978, Adam Lister lives and works in Beacon, New York. A graduate of The School of Visual Arts, Lister is a visual artist whose work consists of geometric interpretations of iconic imagery and pop culture references. Lister has exhibited his artwork in numerous galleries throughout the world, while also collaborating with streetwear brands, athletic companies, and other artists. Lister breaks down classic images to their most elemental forms by combining the deconstructed and minimal aesthetic of pixelated graphics with the transparency of watercolor paint and the flatness of acrylic paint. The artist explores the relationship of nostalgia and mathematics, taking on subjects that hold a collective familiarity and reducing them to flat cubist-like compositions. The process deals with taking a memory of an image, and highlighting its complexity and simplicity at the same time. These paintings are influenced by geometric thinking and a desire to capture the briefness of a mental picture. Lister’s curiosity surrounding visual perception and spatial arrangement plays with the way that he describes each image with a specific level of clarity. $1000 Each
KARLOS CARCAMO Karlos Cárcamo was born in El Salvador, raised in Queens and is now based in Beacon, New York. He has a BFA from the School of Visual Arts and an MFA from Hunter College. He makes abstract paintings that create a dialog between concepts drawn from urban culture such as graffiti and the high modernist realms of minimalist gestural abstraction. His “Kase Paintings” incorporate the use of tagging, erasure and collage as a formal process and as a means to engage with issues of purity and exclusion often associated with modernist abstraction. Subverting within the materiality of the work personal subjective narratives that reflect his identity and cultural perspective. Karlos has exhibited nationally and internationally at Artist Space, The Brooklyn Museum, Queens Museum, MoMA PS1, El Museo del Barrio, The Reina Sofia Museum, Alexander Gray Associates, and Espacio Minimo, Madrid, Spain. In 2021 his work was included in “Latinx Abstract” a cross-generational survey by ten Latinx artists working in abstraction at BRIC Brooklyn, NY. This groundbreaking exhibitions aim was to acknowledge the exclusion of Latinx artists within America’s abstract art history and how it could expand.
JEAN-MARK SUPERVILLE SOVAK As a person of mixed race, I am always sensitive to the evidence of cultural hybridization that is the result of colonization and slavery – events which make up the DNA of this country, as well my own. My art practice is designed to generate a culture of remembrance. I have been altering antique 19th-centu- ry engravings in order to superimpose illustrated figures from contemporaneously published Anti-Slav- ery tracts and Abolitionist printed matter. The figures that have been “edited” onto the original engrav- ings include anonymous/allegorical figures, as well as portraits of historically significant 19th Century figures (Toussaint L’Ouverture, Rev. Richard Allen, Elizabeth “Mum Bett” Freeman) who have often been marginalized in the face of dominant historical narratives. These works are part of a decolonizing strategy of interrogating and filling the absences left by art historical conventions and are a means by which I hope they can serve as serve as a corrective. Jean-Marc Superville Sovak is a multidisciplinary artist and teaching professional whose work is rooted in representing silent histories that have shaped landscapes he has lived in. His current project involves altering 19th-century landscape engravings to include images borrowed from contemporaneous An- ti-Slavery publications. His public works include retracing steps on the Underground Railroad at Hud- son Valley historic sites, and a memorial to a community of free and enslaved families of Afro-Dutch descent in Rockland County. A graduate of Bard College (MFA Film/Video), Jean-Marc’s art has been exhibited at the Aldrich Contemporary Art Museum, Socrates Sculpture Park, Manifesta 8 European Biennial, and ISCP in New York. Jean-Marc was guest curator for “We Wear the Mask: Race and Repre- sentation at the Samuel Dorsky Museum of Art. Jean-Marc is a Museum Educator at the Dia Art Foun- dation, and has been a Visiting Artist/Lecturer at SUNY New Paltz, Vassar College, Ramapo College and Bard College.
CARL VAN BRUNT Carl Van Brunt Brief Bio Around 1980, I started making digital art which has increasingly been the primary focus of my art practice ever since. In 2000, my family moved to Cold Spring, NY and soon thereafter I opened Van Brunt Gallery in Beacon, NY (2002-2011). Later I was Gallery Director of Woodstock Artists Association and Museum. Throughout this period my digital art continued to evolve and now includes digital printmaking, animation, video projection, collaborative performance, installation, and exploration of the use of Artificial Intelligence in the process of making art. I have shown my work throughout the Hudson Valley region and have upcoming shows at Holland Tunnel Gallery in Newburgh (2022) and Jane Street Art Center in Saugerties (2023). Carl Van Brunt Artist Statement I am primarily concerned with opening up my own mind in the hope that doing so might yield art that can help others do the same.
JAMES CASE-LEAL James Case-Leal (b. 1982, Dallas, TX) has performed and exhibited internationally. He received a BFA University of North Texas, Denton, TX (2006) and an MFA Columbia University, New York, NY (2014). His work has been part of a two-person show with Charles Ross at Franklin Parrasch Gallery, New York, NY; and in group exhibitions at Marianne Boesky Gallery, New York, NY; Fergus McCaffrey Gallery, New York, NY; Postmasters, New York, NY; and at the Palazzo Cesari- Marchesi in Venice, Italy as part of the 58th Biennale. In 2011, he was granted Artist-in- Residence Fellowships from both the New York Foundation for the Arts and the Center for Book Arts.
RICHARD KROELING THE REALITY PUMP (a multi-screen video art installation in color and b&w, with immersive sound de- sign and over a black refective floor.) The concept of The Reality Pump grew out of a provocative theory taught to me by Macarthur Fellow, celebrated scientist, and complexity theorist Stuart Kauffman. Kauffman’s says the blueprint of reality is based on a concept called the adjacent possible, which is a kind of shadow state of possible futures on the edges of the present ready to emerge. Kauffman sees the universe as opened ended in a way that complexity grows out of the existing conditions as “opportunities”, allowing new forms to continually come into being. This process demonstrates a kind of agent-less creativity of the universe itself. This art work acknowledges the natural creativity of the world and looks with humility to hint at the hidden codes buried in Nature. Carl Jung’s notion of synchronicity, novelist William Burroughs and composer John Cage all have used chance in their work. Blind Chance plays a role in the emergence of everything, in our perception of reality and the construction of meaning and in some say, our deepest intuition. The adjacent possible points to the role of randomness in the emergence of life, consciousness, the evolution of culture. On the intersection of science, technology and art, THE REALITY PUMP utilizes powerful cutting edge su- per computing and old fashion industrial revolution cinema image-making. The Reality Pump is a a intuitive scientifc tool that looks to unveil signs of the random nature of universe’s self-made creativity. This piece will introduce an unfolding of words, sounds, text, and moving images, creating what Kurt Shritters and Robert Rauschenberg called a “combine” and I call a “collision” or a “reality pump” The REALITY PUMP is an installation utilizing two large curvilinear enveloping screens floating in an pitch black exhibiton space. There will be an entry foyer, a computer and an array of speakers design to create the maximum immersion into audio-visual space. Outside of the installation and in privacy behind a black curtain, a participant is invited to step inside and to stand for a private moment inside its silent core, full of expectation waiting to encounter the adjacent possible. The participant poses a question or thought using a keyboard to engage the supercomputer and then enters a the high- ly-charged space of the installation (pictured above). A “sloppy” algorithm will “slice and dice” through the world wide web’s anthology of human knowledge and our own prepared hard drives full of visual and audio material to find new combinations of random texts and sounds based on their words that deliver to the participant a unique “response” against a collection of cinematic projections and a wall of enveloping sound. The REALITY PUMP is projected mapped onto two curving parallel screens flank- ing one another and surrounding the viewer. The projections are set against the backdrop of highly reflective floor and force the audience to switch from one screen to the other, pushing the viewer into an active and challenging state of active participation and awaken them to the agentless creativity of blind chance. This work of art will capture randomly from the world wide web (which could be anything from the mundane happy cat videos, to police crime cameras, weather video, sports, battlefield video, live secu- rity cams of empty mall parking lots. and random text messages) and our own source material of high- ly-charged stylized imagery juxtaposing the the mythic and with the everyday. This collision of disparate imagery and sound is at the source of the work’s meaning, but meaning will make its own “way” in the mind’s eye of the viewers. The images and sounds solicit a kind of “poised realm”. Some say the hu- man mind is a story-making machine. that naturally reads new audio-visual percerptions and contructs a “narrative”. We process the fragments of information reaching us every moment. THE REALITY PUMP is about that processing, that grasping for meaning from indeterminant reality in the infinite field of the possible.
Richard Kroehling is a multidisciplinary artist, film director, multi-media maker, painter and poet. Born in Trenton, New Jersey, at university Kroehling was a student of iconic Hollywood director Nick Ray and avant-garde Austrian cinema artists Peter Kubelka. Kroehling’s large body of work includes feature films, mainstream television, non-fiction, extensive video art, photography, poetry, painting and installation media art. Richard’s works have been exhibited at film festivals, art museums and galleries around the world including MOMA, WAAM, WAH, the Jewish Museum in New York, Brooklyn Museum, Cinema Gaumont, Paris, Kunsthalle in Copenhagen, Palazzo Della Triennale Milan, Goteborg Kunstahalle, Sweden and Art Basel Miami. Kroehling’s film, “WORLD WITHOUT END’ an stylish hybrid straddling nonfiction and fiction played in competition at Amsterdam International Film Festival and internationally, commissioned by England’s Film4, one critic called it, ”a movie making wild style that delivers you into a scorching disturbing world”. Richard has directed over seventy hours of television Matt Zoller Seitz, Roger Ebert Critic said of Kroehling, “he gets into mind sometime several at once lime the best of Oliver Stone”. His controversial series CONFESSIONS, was called by a Roger Ebert critic, “more like art installation then mainstream TV, bold and visionary”. A five hour version was installed in Palazzo Della Triennale, in Milan and Copenhagen Arts Festival. Richard wrote and directed EINSTEIN starring William Hurt, the LA Times wrote, “the most astonishing, poetic compression of grand ideas ever achieved on film.” and “2B The Era of Flesh is Over” a feature film based on his work on renowned futurist, author and director of Google research, Ray Kurzweil’s New York Times best seller, “The Singularity Is Near”. Critics hailed the film, “This breathtaking movie depicts a decaying world on the cusp of great transformation is confronting as it is mesmerizing!” His video art piece “MY SHADOW CASTING ME” was part of director’s Lars Von Trier’s Gesamt project “CATASTROPHE: WHAT HAPPENED TO MAN?” Copenhagen Biennial Festival. Richard is currently completing a feature length performance film with poet laureates called AFTER “Bringing The Dead Back To Life” (poet laurette Alicia Ostriker, Cornelius Eady and poet and actor Geza Roehrig (who plays Jesus in Terrence Malick’s new film WAY OF THE WIND ). Mollie Haskell, New Yorker critic called the film “mesmerizing and devestating”. He also just completed the artist narrative film, I LOVE YOU SHELLY WEINTRAUB “A Woman’s Life In 31 Scenes”, starring Florencia Lozano (Narcos) and Ana Reeder (No Country For Old Men), and Sally Norvell (PARIS, TEXAS). Richard has adapted for the screen and will direct WAR in 2023, by celebrated Swedish playwright Lars Noren. In 2020, Richard collaborated with cinematographer Lisa Rinzler (POLLOCK, DON’T BLINK, ROBERT FRANK) on the multi-screened cine-opera DOLLARLAND installed at WAAM. The work explores the hidden lives of an imagined American city, Kroehling’s POET DON’T AVERT YOUR EYES! was screened at Art Basel Miami 2018, and LONELY MOUTH video diary for the Samuel Dorsky Museum of Art, the Pandemic 2020 series. Richard has won many private foundation grants as well as National The Endowment For The Humanities and Arts and New York State Council On The Arts and is a two-time Emmy award winner.
MONICA CARRIER As the pandemic hit, I found myself working from home with my two children, stress baking away the days. I instinctively fed my family the most highly caloric treats, preparing for the unknown lean times ahead. Indulging in daily fresh baked pastries, I also felt the now or never urgency to focus on the reality of my loved ones. This new found subject matter of my relationships and their domestic framework, created a similar satisfaction to enjoying a generous slice of homemade chocolate cake. Concurrently and psychologically, I needed a simple studio work entry point. Hence my side project, an exercise to playfully put ink down on paper without needing much energy or thought (both of which were often scarce while parenting during a pandemic). This side series is a coping mechanism, an act of play, my version of a Rubin vase, and an obvious celebration of humankind’s all time favorite: joyful, glorious boobs!Monica Carrier is an artist in New York who works primarily with ink on paper. She has exhibited widely in the United States & internationally. Her drawings celebrate the absurd alongside the sincere. She works with topics of personal relationships, spaces between & pareidolia. Often with humor, she utilizes the spiritual, hand in hand with the irreverent. Born in Philadelphia, PA Carrier holds a BFA from Tyler School of Art & an MFA from Hunter College. She has had multiple solo exhibitions including at A.I.R. Gallery & Thomas Hunter Project Space in NYC. Her work has been included at venues such as: ArtsWestchester (NY); David Bruno Gallery (MO); Rhombus Space (NY); Warburton Gallery/USU (NY); Tiger Strikes Asteroid (NY); Trestle (NY); The Highpoint Project, (VA); Fjellerup I Bund & Grund, (Denmark). She has organized numerous exhibitions including at Arts@Renaissance (NY) where she had a studio residency; via A.I.R. Gallery (NY) where she received a fellowship; with tART (NY), a feminist art collective in which she was a member; as well as at PeepSpace (NY) where she is a Founding Director.
ALISON MCNULTY Alison McNulty is an interdisciplinary artist living and working in Newburgh, NY and part-time faculty at Parsons The New School. Her sculptures, interactive projects, architectural interventions, site- responsive indoor and outdoor installations, and works on paper have been shown at museums, galleries, conferences, and alternative spaces throughout the US and in Europe. Alison is a 2022 recipient of the Stone & DeGuire Contemporary Art Award, which will support work with the Artist in Vacancy initiative in Newburgh, NY. Recent exhibitions include Woodstock Byrdcliffe Guild, Fridman Gallery, Beacon, NY, WAAM, Woodstock, NY, PS21 Chatham, NY, International Museum of Contemporary Sculpture, Santo Tirso, Portugal, Art Lot, Brooklyn, Samuel Dorsky Museum, SUNY New Paltz, NY, Wilderstein 5th Outdoor Sculpture Biennial, Rhinebeck, NY; Terrain Biennial Newburgh, NY, Dusklit Interactive Art Festival, Sugar Loaf, NY; and Highbrook Studios Sculpture Garden, Pelham, NY. She has attended residencies at Atlantic Center for the Arts and Stoneleaf Retreat, and created House Project, a self-made residency in an abandoned house. Through artmaking I cultivate attention to the fragile, entangled nature of our relationship to the ma- terial world and compel experience, curiosity, and knowledge in embodied perception. I am interested in the potential of space and materiality toward invoking long, discordant views of time, intersectional thinking, a sense of place, and relational awareness beyond the human. As a practice, I attend to ma- terials as both trace and emergent speculation; bodies of memory with agency to create exchange, shift awareness, disrupt habits, and transmit bodily knowledge of the intangible. Working with ubiquitous, salvaged materials, intentionally precarious forms, and neglected sites, I question systems and structures of value- and meaning-making. I aim to practice art in ways that deepen my relation to my surroundings and interrogate embodied histories by working with ordinary, but specific, reclaimed materials, like brick from a particular brickyard, dust or spiderwebs from a specific site, particular architectural remnants, or materials associated with local ecosystems, including my body. The ephemeral and contingent nature of my work is meant to explore fragility as a relational threshold and reveal or reimagine the ways we participate in larger material cycles and configurations through human and geological time. Emerging from an interdisciplinary perspective informed by natural sciences, archeology, diverse writ- ers and thinkers, and place-based research, my projects are the result of meditative ritual processes, literal explorations of regional landscape and inherent material properties, and collaboration with nat- ural processes. Through projects on-site and in studio, I work to invoke a presence both haunted and speculative, revealing ourselves and surroundings as vulnerable agents, inextricably related. Domestic Fault 3: Salvaged peeled house paint fragments sewn with the artist’s hair 2021 Mineral Reciprocity: gypsum cement (gypsum, limestone, sand) and bone approx.. 8.5 x 4.5 x 4.75”” 2019
JASON DURHAM Jason Durham grew up in California, and after moving to Nashville in the 80s he began making drawings and paintings. After studying at the Watkins Institute of Art and Design, Durham moved to Brooklyn NY in 2003, and later migrated to the Hudson Valley where he now lives and works in Poughkeepsie with his wife and daughter. My work... Cowbok Kills 14 x 11 Inches $200 Inner Wasteland 18 x 24 Inches $450
NORA COHEN Bird: 2,000 Circle: 400 Back Figure: 1,700
SUSAN ENGLISH Variations in tone of a single sound No.’s 1-4 17” x 13” tinted polymer on Yupo 2021 $1200 each Susan English’s abstract paintings are concerned with color, light, and surface, and explore the properties and possibilities of materials. She has developed her own unique system of pouring paint onto panels to create luminous and evocative surfaces. The New York Times has described her work as “sublime” and “buoyant.” English’s work has been the subject of solo exhibitions at Kathryn Markel Fine Arts and Littlejohn Contemporary in New York, NY, Bryant Street Gallery in Palo Alto, CA. and Matteawan Gallery, Theo Ganz Studio, and Van Brunt Gallery in Beacon, NY. Recent group exhibitions include Design, Flow, Interpret, Repeat: Contemporary Abstractions, Strohl Art Center, Chautauqua, NY; Revivify, Kenise Barnes Fine Art, Larchmont, NY; Solace, 524 W. 26th Street, New York, NY; Undercurrents, The Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY; The Big Small Show, The Drawing Rooms, Jersey City, NJ; Abstraction: New Modernism, Ann Street Gallery, Newburgh, NY; Currents: Contemporary Abstract Art in the Hudson Valley, Edward Hopper House, Nyack, NY; and Far and Wide, Woodstock Artists Association and Museum, Woodstock, NY. English was awarded an artist residency at Ucross Foundation, Clearmont, WY (2018); a fellowship at the Saltonstall Foundation for the Arts, Ithaca, NY (2016); She worked as a Teaching Artist at DIA:Beacon, and was a founding member of Collaborative Concepts in Beacon, NY. In 2008 she co-curated (with Jaanika Peerna) Drawing Revealed at the Garrison Art Center, Garrison, NY. The exhibition included the production of a documentary on artists’ drawing processes. English’s work has been featured in The New York Times, Widewalls Magazine, Whitehot Magazine, Chronogram, Abstract Art Online, The Philadelphia Inquirer, and The Highlands Current. She received an MFA from Hunter College in New York City and a BA from Hamilton College, Clinton, NY. She lives and works in Cold Spring, NY. Color like a thought that grows out of a mood... Wallace StevensOver the past decade, I have developed a process of pouring layers of tinted polymer on panel that has expanded the breadth of what I can achieve with color and surface in my abstract works. After pouring the tinted polymer, I manipulate the panel so the paint collects or cracks. The poured polymer mimics nature: a layer of polymer hardens like ice or mud —its thickness and viscosity impacting how the surface dries. The variations on the surface and the quality of the color are the result of a delicate and flexible relationship between control and accident. I assemble the poured panels into specifically calibrated horizontal or vertical sequences, creating a narrative of color, space, and light. The surfaces range from dull to glossy, either absorbing or reflecting the light, existing always in relationship to the light in the room and the position of the viewer. My color choices represent an intersection of outside and inside. Often a color idea comes from an experience of a place or moment in time. As a point of departure, this enters the internal world of a painting and begins a life of its own. Inside the highly charged relational realm of color, my responses and choices are visual, emotional, and intuitive. I play with the phenomenon of a color at the limit of itself. How far can green be pushed before it becomes blue? How many infinite directions can you push a brown or a gray or a white? In this tertiary area, colors hum in multiple ways like a harmony contained in a single note. Color is never stable...it exists always in relationship to light and in a relational context to other colors—reactions to colors are personal and resonate with memories and feelings. As such it is a deep well of content to explore. For me, a painting reaches an end point when the cumulative phenomenon of surface and color cohere, reaching a state of beauty that resonates on multiple levels.
JULIA WHITNEY-BARNES $2600 “Cyanotype Painting (Magnolia, Buttercups, Fritillaria, Pollinators, etc)” 2021 Julia Whitney Barnes is an artist living in Poughkeepsie, NY who works in a variety of media from cyanotypes, watercolor, oil paintings, ceramic sculptures, murals, and site-specific installations. She has exhibited widely in the United States and internationally. She was awarded fellowships from New York State Council on the Arts, Lower Manhattan Cultural Council, Arts Mid-Hudson, Abbey Memorial Fund for Mural Painting/National Academy of Fine Arts, and the Gowanus Public Art Initiative, among others. Born in Newbury, VT, Julia Whitney Barnes spent two decades in Brooklyn, before moving to the Hudson Valley in 2015. She received her BFA from Parsons School of Design and her MFA from Hunter College. Whitney Barnes has created site-specific installations at Albany International Airport and Shaker Heritage Sites, Albany, NY; Brookfield Place/Winter Garden, New York, NY; Arts Brookfield, Brooklyn, NY, the Wilderstein Sculpture Biennial, Rhinebeck, NY; The Trolley Barn/Fall Kill Creative Works, Poughkeepsie, NY; GlenLily Grounds, Newburgh, NY; ArtsWestchester, White Plains, NY; Gowanus Public Arts Initiative, Brooklyn, NY; Space All Over/Fjellerup Bund i Bund & Grund, Fjellerup, Denmark; Lower Manhattan Cultural Council/Sirovitch Senior Center, New York, NY; Brooklyn School of Inquiry, Brooklyn, NY; New York City Department of Transportation, New York, NY; and Figment Sculpture Garden, Governors Island, NY and among other locations. Julia was awarded a glass commission for NYC Public Art for Public Schools that is slated to be completed in 2023. STATEMENT In these works, I approach each growing thing with equal importance regardless of whether it is a weed, rare species, wildflower, or cultivated flower. Most works have several species fused into one composition, often to the point where the exact plants depicted are open to interpretation. Each composition starts as a blue and white print onto watercolor paper and then I work in layers of color. I am most interested in creating objects that feel both beautiful and mysterious. I want each cyanotype painting to be familiar yet slightly outside of time. Cyanotype is a camera-less photographic printing process invented in 1842 by scientist and astronomer, Sir John Hirschel, which produces a cyan- blue print when a chemistry-coated surface is exposed to sunlight. Through my use of this medium, I manipulate physical impressions of plants grown locally in my Hudson Valley garden and other nearby areas, along with intricately cutout photographic negatives. Each selected flower is preserved through a pressing process in which I dissect and shape each form— akin to a specimen from a natural history museum—and then lay everything out in massive flat files in my attic studio. Given that sunlight starts the exposure process with cyanotype chemistry, I carefully arrange elaborate compositions at night and utilize long exposures under natural or UV light to create the final prints. I also create digital renderings of patterns and architectural elements and turn them into negatives. Once the unique cyan imagery is fused, I meticulously paint the exposed watercolor paper with multiple layers of watercolor, ink and gouache. Each cyanotype is created by the power of light, inspiring viewers to look at these very recognizable images in new and different ways.
EMIL ALZAMORA Solo show in glass house ¡Levántate!, 2022 steel, gypsum, ceramic, epoxy, paint 82 H x 24.5 W x 26 D inches Brutus Iscariot, 2021 oil on paper 13 H x 9.5 W inches $ 1,500.00 Mad Weave No. 1, 2020 oil on paper 11.25 H x 9.6 W inches $ 1,200.00 More Often Than Not, 2020 oil on paper 14 H x 11 W inches $ 1,500.00 Emil Alzamora was born in Lima, Peru and lives and works in Beacon, NY. His figurative sculpture practice explores notions of transience, beauty, harmony, uncertainty and hope. Alzamora has exhibited at institutions including the Knoxville Museum of Art, Knoxville, TN; Royal West of England Academy, Bristol, UK; the United Nations Building, New York, NY; and The Queens Museum of Art, New York, NY. His works have been reviewed and discussed in The New York Times, The Brooklyn Rail, Boston Metro News, Juxtapoz, ArteFuse, Whitehot Magazine, and Cool Hunting, to name a few.
SEAN HEMMERLE Sean Hemmerle’s photos range from pastel landscapes of conflict zones to rusty industrial towns of America. His 2002-2003 portraits of Afghans and Iraqis, “THEM,” was published by Kehrer Verlag in 2018. His work was recently exhibited at the Museum of Civilizations of Europe and the Americas in Marseille, the Henie Onstad Art Center in Oslo, and can be seen at the Muscarelle Museum of Art in Williamsburg, VA. His work is included in the collections of the Museum of Modern Art, Houston Museum of Fine Arts, the Open Society Foundation, Sir Elton John, the Marguillies Collection, and the Møller Collection, among others. His Fall Kill work garnered a National Endowment for the Arts grant (in collaboration with MASS Design). Teaming with William Watson, he received the Graham Foundation for Advanced Studies in the Fine Arts. Publications include The New York Times Magazine, Harper’s, Metropolis, Architectural Digest, Time, Brooklyn Rail, British Journal of Photography, and Dear Dave, among others. He currently shares a three generation home in the Hudson Valley his wife, the artist Julia Whitney Barnes, their magnificent two children, and the Rev. Dr. Linda Ulrich Barnes. Reaper Drone parked in an inflatable hanger at Holloman Airbase in New Mexico Framed 22.5 x 26.5 inches
JILL ENFIELD Enfield’s immigrant series, titled “New Americans” will be the subject of a solo exhibition at Ellis Island in the spring of 2017. As a first generation American, the daughter of a Nazi escapee, Jill passionately identifies with the courage and vision required to leave one’s ancestral home and forge a new life in what may not necessarily be a friendly hosting country. Her collection of 30 wet plate collodion portraits of individuals, who arrived in the U.S. during the 1960’s or after, reflect a tribute to the new immigrants, not only for their bravery and enduring inner strength, but also for the significant contributions they have made toward the enrichment of the American Culture in areas of cuisine, fashion, art, literature and more. Jill Enfield is a fine art photographer, author and educator who has accomplished international acclaim, in all three of these capacities, as a leading authority in Alternative Photographic Processes. In addition to expertise in current standard digital photo techniques for the last 10+ years, Enfield is also known for her instruction of hand coloring, wet plate collodion, and an array of other photo processes at Parsons The New School for Design, Fashion Institute of Photography, New York University, Long Island University, Brooklyn Campus, and the International Center of Photography in New York City as well as RISD. For years Jill has also appeared annually for workshops around the world including Cairo, Croatia, Edinburgh, Italy, Lisbon, London, Norway, and dozens of other cities around the globe as well as many cities in North America, including Anderson Ranch, Maine Media Workshops, Palm Beach Photo Workshops, Penland School of Crafts, and Santa Fe Photographic Photo Workshops. As for her own photographs, Enfield’s work is in the permanent collections of The Amon Carter Museum of Art, Bellagio Hotel, Bibliothque Nationale, The Boca Raton Museum of Art, Canyon Ranch Spa and Resort, The Crocker Art Museum, The Florida Senate, Hilton Hotels, Marriott Hotels, Southeastern Banks, The Toledo Museum of Art, and Museo de Arte Moderno de Medillin, Bogota and Cartagena, in Colombia, where her work was shown during a three month exhibition that traveled throughout the country including her personal engagements for lectures and openings. As for exhibitions, Enfield has been the subject of dozens of solo exhibits over the years, in galleries and museums around the world. Her work is also included in hundreds of group exhibitions.
AYA UEKAWA Uekawa’s latest paintings explore the ambivalence between individual identity, escape, and the surrounding environment through deeply psychological portraiture. The works reveal her vulnerable perspective as a foreigner, Asian minority, and female artist living and working in the United States. Her compositions are a combination of universal figures immersed in flat and volumetric patterns; a mix of both culturally specific references, as well as her own invented forms. The juxtaposition of these elements, according to the artist, ‘...reflects our current environment...a mix of global, vernacular, and things that we imagine in between...My work reflects an endless quest of finding personal utopia within a world of contradictions.’ Through both historic research of Japanese women, and through her own personal experience, Uekawa’s work explores complex connections between gender identity and cultural exchange. Princess Inu was the younger sister of a famous Japanese leader, Oda Nobunaga, during the Sengoku period. Oda was a great unifying force throughout Japan, challenging many of the ruling daimyo. His sister, Princess Inu, was married young to a samurai warrior and had two children with him. Soon after he died in battle, Inu was sent to remarry with another samurai, and had two more children. But tragically, directly after her brother Oda was assassinated, Inu also died. The cause of her death is unknown, but documentation shows that her 4 children all survived the warring period. In Uekawa’s Dreaming of Sky (Princess Inu) a yellow American gold finch flies away from the beautiful Princess Inu draped in blue skies and adorned with daisies; as she laments a bust of would-be nesting materials. Dreaming of Sky (Princess Inu) $8000 Acrylic on panel 48 x 36 inches 2021
KATE HARDING Kate Harding is an interdisciplinary artist living and working between New York City and rural Connecticut (Durham). Born in Indiana and raised in rural Missouri, she received an AAS from the Fashion Institute of Technology (NY), a BFA from Otis College of Art and Design (Los Angeles, CA) and her MFA in Art Practice from the School of Visual Arts (NY). Building and facilitating space for reflective exchange is the foundation of Harding’s work, whether in two dimensions, interactive installation or collaborative work. Anchored by historical research, science, folk and corporeal knowledges and oral histories, landscape is experienced as resonant entities in constant communication. Subverting clear representation by meandering unfolding systems of marks in physical or represented space, she undermines and complicates the historic convention of control through readability championed in works meant to be perceived “at-a glance.” This examination of specificity, ecologies and inter- subjective perception considers unacknowledged dialogs, embodied communication and agency. Harding’s garment construction background often provides a metaphoric, methodic, and physical structure. At times, video documentation is transformed into systematic paper patterns and shaped into draped paintings and installations. This systematic approach to mapping terrain intersects with speech and movement, inviting consideration of gesture, ways of knowing and memory. At other times, the work unfolds intuitively, intricately fragmenting the depiction of terrain in layered, reaching, abstracted space of drawing, digital embroidery and painting or conversational sites. Untitled (Zero Foot Hills #11)_2022_Blackwalnut_Whitepinecone_Acorntop_ink on paper_6x8in_ KateHarding, 2022Zero Foot HillsInk (Zero Foot Hills Black Walnut, White Pine cone, Acorn top) on paper6 x 8 in (15.2 x 20.3 cm) Untitled (Zero Foot Hills #1), 2011Zero Foot HillsBlack Walnut ink on paper10 x 14 in (25.4 x 35.6 cm)
INSUM KIM Bamboo 1. 27 15 7 inches
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