Pat Lay: Mapping New Interiors

Pat Lay, installation view in studio, photo courtesy of the artist

Pat Lay‘s Digital work conjures ancient iconography, or maps organized in what appears to be a binary logic. Throughout her abstracted digital and more figurative sculptural work she consistently reflects on the role of technology in our life, merging cultural cues with a seemingly mathematical order. For Art Spiel the artist elaborates on her interest in technology, what brought her to art, and her 42 year experience as an art educator at Montclair State University – both as a teacher and as the founding director of the MFA in Studio Art.

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Ethereal Anaesthetic

Joanne Ungar at Front Room Gallery

All Photos by Sharilyn Neidhardt

Joanne Ungar at Front Room, partial installation view

Pain produces sharp, bright sensations or sometimes ripping agony. It’s often intensely specific. The substances that bring us relief often do so by blurring the hard angles of our pain, allowing us to focus elsewhere. Some substances can leave us in a disconnected fog, far away from the source of discomfort. Others mute and muffle the pain, giving the relieved a sense of floating in a cushioned world. Calibrating effective pain relief can be a struggle for balance between an alert connection to the present and a silencing of uncomfortable sensation. Continue reading “Ethereal Anaesthetic”

Nina Meledandri: Somewhere in Between

Nina Meledandri, starting w/(a) line: 7.27.18 – 8.3.18, 2018, 2018, watercolor and ink on paper, 5 x 7″ each, photo: Nina Meledandri

Nina Meledandri ‘s images mostly come in multiples. With sensibility that is both poetic and analytical, she creates series of photographs, paintings, and frequently a combination of both. Altogether her body of work forms a vibrant and imaginative internal dialogue. She shares with Art Spiel some of her thought process, what prompts her imagination, and what has brought her to art.

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Joanne Ungar: Pain Relief

Joanne Ungar, Modern Muse, 59″x48”, wax, board, paint, pigment, 2019, photo courtesy of © 2018 + 2019 Joanne Ungar

In recent years Joanne Ungar has transformed found boxes into translucent paintings by embedding them in layers of wax. The forms are abstracted, but the narrative is evident. These beautiful objects carry the burden of their histories – boxes of pain killers, packages of cosmetics, or chocolate wraps. While their vibrant pigments may encapsulate broken dreams and their origin most likely resonates waste, their sheer alchemy uplifts. Joanne Ungar talks with Art Spiel about “Pain Relief,” her current solo show at Front Room Gallery, which just opened in March 1st, 2019. She also elaborates on her process and some of her forming experiences as an artist.

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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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HyperAccumulators at Pelham Art Center

All photos courtesy of Alexandra Brock

Jeanne Tremel

Artist Talk: “HyperAccumulators”

Sat March 2nd from 2-4PM at Pelham Art Center

Hyperaccumulators are plants capable of growing in soils with very high concentrations of metals and are known for extracting contaminants; thus, helping the ecosystem. This duality of destruction and restoration underscores “HyperAccumulators” – the current vibrant group show at Pelham Art Center. In their upcoming artist talk, curators Alexandra Brock and Elizabeth Saperstein will lead the panel on how contemporary artists interpret connectivity between nature, toxicity, and possible regeneration. And not merely in nature. As curator Alexandra Brock says, “we have become ‘HyperAccumulators’ dealing with the everyday environmental and political climate we are living in. The artists are taking in all this- and helping us return to a better state.”

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Nota Bene with @postuccio [iii]

Five Myles, Slag Gallery, Fresh Window, SOHO20, Studio 10, SARDINE,Sikkema Jenkins

Five Myles

Barbara Campisi at Five Myles, photo courtesy of Paul D’Agostino

No matter how banal it might seem to say that Barbara Campisi‘s “Sound of Light” — the artist’s massive and joyfully interactive, labyrinthine installation at Crown Heights gallery Five Myles — is lit, it’s still a fully legit thing to say: it’s both lit and LIT. Lit up in both senses was also Campisi’s packed opening, during which visitors were invited to ‘draw’ their own light doodles all throughout the translucent-panel maze of sorts while listening to live music, encountering meandering dancers, and constantly running into strangers who didn’t feel like moving — not out of confusion, but because they were just fine and dandy right where they were, playing around with LEDs like all adults should do more, as every single kid in attendance that night would’ve surely agreed.

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Ryan Sarah Murphy – Arriving at an Unknown Endpoint

Ryan Sarah Murphy, Strike, 2015, found (unpainted) cardboard, foamcore, 26 ¾ x 25 ½ x 3 ¼ inches, Photo courtesy of Jeanette May Studio

Ryan Sarah Murphy‘s engaging multiple series of collages, photographs and videos are driven by material and process. Her process resembles a graceful and skillful dance – the steps are predetermined but the movement flow is intuitive and imaginative, or as she says, it altogether represents a collaboration between herself and the material.
Ryan Sarah Murphy shares with Art Spiel what brought her to art, some insight about her ideas, process, and current projects.

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Nota Bene with @postuccio [ii]


SRO Gallery, M. David & Co., ODETTA, Klaus Von Nichtssagend

SRO Gallery

Cathy Diamond at SRO Gallery, photo courtesy of the gallery

Dozens of warmly chromatic landscapes with hints of fantasy and abstract intrigue are on view in “Unextinguished,” a kind of amuse-bouche of a genre-specific group show that opened at SRO Gallery a couple weeks ago. It features a great many paintings, and a great many relatively literal as well as apparently non-objective takes on landscapes by Sahand Tabatabai, Sheila Lanham , Cathy Diamond , Moses Hoskins, Cathy Nan Quinlan and Cecilia Whittaker-Doe. If you need a respite from the drudgery of winter (I always do), head over to SRO.

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Jackie Mock: Second Class Relics

Jackie Mock, Marie, We’re Listening, 2019, altered found object, 12 x 14 x 13 in (Altered typewriter with inlaid soil and stone from the Home of Truth ghost town in southern Utah, photo courtesy of Jackie Mock and Proto Gallery

Jackie Mock’s recent body of sculptures and installations is currently featured in her solo show, “I Want to Believe,” at Proto Gomez. Mock is a visual story teller who frequently mines in her work offbeat narratives from American history to question notions of authenticity and belief. For Art Spiel the artist elaborates on her exhibition and shares some ideas on her art.

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