Patricia Spergel – On the Verge of Recognition

Patricia Spergel, Sita Ram, 2018, oil on canvas, 18” x 24”, photo courtesy of Tim Grajek

Patricia Spergel‘s vibrant oil paintings interrelate gesture, color, and form, to create imaginative spaces that are on the verge of being recognized – both playful and incisive, lightweight and massive. Patricia Spergel shares with Art Spiel her approach to color, how printmaking informs her painting, and her painting process.

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Ashley Garrett – Painting Mind and Space

Ashley Garrette, Oread, 2019, oil on canvas, 13 x 17 in.

Ashley Garrett paints abstracted landscapes which resonate a sense of place – elusive and precise at the same time. Utilizing richer color and bolder gesture, Garrett ‘s recent body of work reveals an artist’s gaze inwards into a deeper psychological space. Ashley Garrett shared with Art Spiel her approach to painting and her upcoming projects.

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Altoon Sultan – Luminous Clarity

Altoon Sultan, Convergence, 2018, egg tempera on calfskin parchment, 9 1/2 x 12 in. Photo courtesy of McKenzie Fine Art.

Altoon Sultan‘s egg tempera paintings depict close ups of agricultural equipment with incisive color and architectural forms. Her paintings consistently reveal inner tensions: the shapes are abstracted and literal, the colors are vivid and subtle, the space is shallow and dimensional. The artist shares with Art Spiel some of her rich experience as a painter, her work process, and her on-going projects.

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Erika Ranee – Wired for Bold

Erika Ranee, You’re Your Own You, 2018, ink and crayon on paper, 12”x 12”

The tension between “inside” and “outside” in Erika Ranee’s paintings draw you into an enclosed space with an explosive and rhythmic internal movement. The vibrant colors, organic shapes, and linear marks that link the forms like veins, altogether resonate with living organisms, body, or microscopic landscapes. The artist shares with Art Spiel what brought her to art, her thought and work processes, as well as her current projects.

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The Bold Women of Elvira Bach

Elvira Bach, Untitled, 1982, Acrylic on paper, 88 x 62 cm | 34 2/3 x 24 1/2 in,

In the context of the global feminist art of today there are a few trailblazers who continue to work and dazzle with their exuberance. Immediacy and mastery of visual resolution signal such fast-paced and intuitive artists. German-born Elvira Bach is one of them. Bach has created a striking painterly style that catches the eye and stimulates further contemplation. For a viewer, Bach’s expressiveness establishes an immediate and deep bond with the traditions of the German Expressionism, embodying in her paintings the Expressionists’ core principle – namely, depicting the artist’s inherent conflicts within the society and within herself. For Elvira Bach urgency of expression, empathy, and visual projection of deep inner strength are important attributes.

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Rachael Wren – Shimmers and Hums

Rachael Wren, Defenders, 2017, oil on linen, 48 x 48 inches. Photo by Bill Orcutt

Rachael Wren’s delicate paintings pulsate with repetitive brush strokes that both allure you to look closely at the elaborate geometric surfaces and at the same time pull you into mysterious psychological interiors or perhaps cosmic fields. Her grid structure serves as an anchor for the paint /space- anchoring facilitates a greater freedom of movement and flow within. The artist shares with Art Spiel her ideas on color, painting, and studio process.

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Lizbeth Mitty & Dana James: The Thread

at M. DAVID & CO. GALLERY extended thru APRIL 21st, 2019 and an artist talk on April 14th at 4PM with Lilly Wei

Lizbeth Mitty in her studio. Photo courtesy of the artist.
Dana James in her studio. Photo courtesy of Drew Reynolds

I met with rising talent artist Dana James and her mother, veteran NYC artist Lizbeth Mitty, prior to their joint exhibition, “The Thread,” which opened March 15th at M. David & Co. Gallery in Bushwick. It was late February, and the artists were trying to answer the lingering question: Which new works should we display?

The debate was an extension of a conversation that had been running for months. Throughout the creative process, alone in their respective studios, the artists had frequently exchanged feedback on works in progress, eschewing criticism for constructive, “technical” suggestions that served to “open the floodgates” and renew the other’s creative energy.

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Galen Cheney: Gritty Beauty

Galen Cheney, Light Falls, textile color, acrylic, and oil pastel on raw canvas, 40 x 36″, 2018, photo courtesy of the artist

In her bold abstracted paintings Galen Cheney often layers multiple media such as textile color, spray paint, oil pastel, acrylic, and collage to create complex images. Her paintings brings to mind a crossing between graffiti and abstract expressionism with a distinct sense of immediacy and gestural mark making. Galen Cheney shares with Art Spiel some of her background, ideas, and process.

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Ashley Norwood Cooper – Grappling with Color of the Ordinary

Ashley Norwood Cooper, Deviled Eggs and Pink Cake, oil on panel, 16” x 20,” 2017, photo courtesy of the artist

Ashley Norwood Cooper is having a solo painting show at First Street Gallery in NYC. The show title, “The Likes of Us,” is taken from a line in “Waiting for Godot,” about the moon looking down on our ordinary lives. The first thing that caught my attention in Cooper’s work was the just right mix of raw quality and subtle sensibility to detail, depicting narratives that both intimate and universal. In this interview the artist talks about her process of painting from the imagination, her approach to color, and how she got to art.

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Anne Sherwood Pundyk With Art Spiel – Part 2

AS: I am curious why you chose to use the term “manifesto.”

Anne Sherwood Pundyk, “Being Blue,” 2018, 90 x 100 inches, Latex, Acrylic, Colored
Pencil and Stitching on Canvas.

Anne Sherwood Pundyk:I could say, “Artist Statement,” but that feels too passive as a prescription for how and why I paint. I associate the term “Manifesto” with an urgent call to action. Since 2009, my painting has formally become more reductive through three distinct bodies of work each with their own written manifesto .  Respectively, each written piece affirms a new order in a different way. Common to all is my concern with the idea of agency taken together with my on-going re-examination of the tradition of the medium. As my thinking and understanding changes, so does my work.

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