Carol Salmanson: Two Sides to a Coin

Carol Salmanson, Lightshift 1 with the artist, LEDs, reflective sheeting, plexi, beads, 50.5″ H x 69″W x 5.5″D, 2018

Carol Salmanson began as a painter and then gradually started embracing the use of LED lights in her work. In “Two Sides to a Coin,”  Salmanson’s recent solo show at SL Gallery, she shows her paintings and light work side by side. This results in a dynamic conversation between the two forms. Salmanson shared with Art Spiel the genesis of her work, thought process, and projects. Continue reading “Carol Salmanson: Two Sides to a Coin”

Leslie Kerby: At a Moment of Change

Leslie Kerby,Shots and Ills, 2015, mixed media collage, oil, paper, litho transfer ink, 18-x-20 inches. Photo credit Bill Orcutt

Leslie Kerby creates mixed media collages, installations, and diverse collaborative work with nuanced commentary on current social and cultural climate. In her interview with Art Spiel she sheds some light on her diverse professional background, art-making process, ideas, and plans. Continue reading “Leslie Kerby: At a Moment of Change”

Viviane Rombaldi Seppey – Mapping her Road

Viviane Rombaldi Seppey, “Fragile”, hand cut atlas page (The World), wire, glass dome, plastic base, diameter 6 inches, 2017. Photo credit Etienne Frossard

In her poetic and playful installations Viviane Rombaldi Seppey coalesces everyday objects and materials, altogether bringing to mind  contemporary issues of identity, culture and environment. Maps, phonebooks, and books become directly embedded in her work as drawings, collages or sculptural objects. She has recently shared in an interview with Art Spiel some of her ideas and experiences. Continue reading “Viviane Rombaldi Seppey – Mapping her Road”

Simonette Quamina – The Big Fight

Simonette Quamina, Swing: An ode to romanticism. 50 x 70 in. , 2017. Graphite, relief print on paper, courtesy of the artist

Simonette Quamina coalesces printmaking, drawing, and collage seamlessly. She is using only paper, graphite and ink to create richly textured surfaces in subtle yet bold monochromes. Her images vacillate between stillness and movement, personal and epic narratives, memory and tangible presence. I first saw her work at the Elizabeth Foundation open studios and invited her to share her ideas and methods. Besides this interview for Art Spiel, her work was included in an article I recently wrote for Kolaj Magazine (upcoming issue). Continue reading “Simonette Quamina – The Big Fight”

Brent Green – Chickens Can’t Be Trained

Brent Green, A Brief Spark Bookended by Darkness installation, Andrew Edlin Gallery 2018, photo by Olya Vysotskaya

Artist/performer/filmmaker Brent Green is known for the raw beauty and poetic power in his animations, performances, and art installations. For instance, as an artist in residence at the Park Avenue Armory from the fall of 2015 to early 2016, Green performed at the venue’s “Under Construction Series” animated works-in-progress with a live band.  Later on that year, Green provided video projections and music for the first portion of “Empathy School/Love Story,” Aaron Landsman’s theater diptych of monologues at the Abrons Art Center, where the audience were seated on stage. We started our conversation when we first met at his superb recent installation exhibit at Andrew Edlin Gallery. Continue reading “Brent Green – Chickens Can’t Be Trained”

 Rosaire Appel – Cajoling sound and image

Rosaire Appel, your face, abstract comic, 2016, 16×20” pigment print, photo courtesy of the artist

Rosaire Appel ‘s rigorous graphic explorations reveal an acute sensibility to the elusive line between language / sound and image. Her skills as a photographer, writer and draftswoman seamlessly coalesce in her book forms. We first met when I covered her exhibition at Schema Projects in 2013 – her  abstract comics engaged me with their endless imaginative iterations and I have been curious to learn how her work has evolved since. Continue reading ” Rosaire Appel – Cajoling sound and image”

Peter Gynd – Studio on the Road

Peter Gynd, Blanketed 15-003, 2017, archival inkjet print on Hahnemulhe  photo rag 308gsm, 15.875 x 23.75 inches framed, Edition of 5 +1AP , photo courtesy of the artist

Peter Gynd is a prolific artist, curator, and gallery director. As a Canadian artist who has been well immersed in the New York City art world, Gynd has a vista on both worlds from a unique perspective. We have been in dialogue for several years and this is a compilation of the issues we have touched upon in our conversations. Continue reading “Peter Gynd – Studio on the Road”

Kanad Chakrabarti: Sites of Exchange

Kanad Chakrabarti in front of his installation  Derivative Work (Clifford Torus) (2014-2018), installation shot, mixed media, Photo courtesy of  Etty Yaniv

Kanad Chakrabarti’s sense of cultural rootlessness translates into his video and installation work in complex and thought provoking ways, combining analytical approaches with visceral sensibility. After a stimulating conversation about his installation work at SpringBreak art fair, curated by Jason Andrew from Norte Maar, we had the following interview. Continue reading “Kanad Chakrabarti: Sites of Exchange”

OnEdge at The Painting Center

Audrey Stone, Double Pour

OnEdge” at The Painting Center features ten contemporary painters who interpret the notion of ‘edge’ in their abstract paintings, conversing with mid-20th century abstraction sensibilities like Op Art and Washington Color, or early Mondrian.  Patrick Burns, Anthony Falcetta, Astrid Fitzgerald, Lori Glavin, Celia Johnson, Julie Karabenick, Richard Keen, Scot Sinclair, Audrey Stone, and Jennifer Woolcock-Schwartz  explore the tension between separation and union with color and line.  In her curatorial note,  Susan Post says that the shift between separation and union triggers the sensation of being ‘on edge’ – a prevalent state of mind at the moment.  Continue reading “OnEdge at The Painting Center”

Farrell Brickhouse: Counter – Punching with Paint

I have been following Farrell Brickhouse’s work since 2014, when he showed his work at Life on Mars in Bushwick. You do not just “view” Brickhouse’s paintings, you experience them on a deeply intimate level. He unabashadly talks about painting in relation to “soul” and “subconscience”. As a painter who can show an outstanding body of work which convincingly resurects these modernist notions from oblivion, he also freshens these notions for the next generation of artists. Farrell Brickhouse graciously conducted with me the following interview. Continue reading “Farrell Brickhouse: Counter – Punching with Paint”