Amy Butowicz: Boudoir Theatre at Peninsula Art Space

In Dialogue with Eric Fallen, Founder and Executive Director

A room full of furniture

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Duet, 2020 76.5”h x 84”w x 53”d Canvas, acrylic paint, wood, furniture parts, wheels, and hinges

Amy Butowicz solo show Boudoir Theatre at Peninsula Art Space features a collection of domestically scaled sculptures staged as a group of characters which are readily associated with notions of sensuality, ornamentation, and haute couture. Bulging cushion-like forms, meticulously hand-stitched over wooden structures, display intricate patterns and rich material suggestive of bedding, vanities, corsets and human anatomy. Bold and tender simultaneously, these anthropomorphic forms defy the disdain and fear that are frequently imposed upon feminine artforms, spaces, and bodies. Eric Fallen, founder and executive director of the Red Hook based Peninsula Art Space elaborates on Amy Butowicz’s exhibition and on his art venue.

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Pablo Garcia Lopez – Fibrous Neuroplasticity


Brainvolution 1, natural silk, PLA filament (3D printing) and fabric. Shadow Box (plexiglass covered) 48x29x7 inches, 2019

The Spanish born, New York based artist Pablo Garcia Lopez makes mixed media reliefs and sculptures which evoke hybrid forms resonating with Baroque imagery, biological forms, and at times Victorian delicate ornaments. His Spanish heritage, coupled with his background in biochemistry and Neuroscience largely inform his visual vocabulary and themes.

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Jacqueline Shatz – Overcoming Gravity


Photo courtesy of Michael Zansky

Jacqueline Shatz‘s ceramic based wall sculptures depict biomorphic forms, mostly referring to animals and humans as a single entity. An abstracted silhouette of an agile swimmer, a whimsical hybrid of horse and baby snake, a queen’s bent head fully covered by flowing hair spilling downward – each evokes a mystery associated with ancient civilizations, archetypes, and mythologies or what the artist describes as “states of being and permeable nature of time.” Jacqueline Shatz shares with Art Spiel some thoughts on her work and work process.

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William Corwin – Flattening of Time

Pazuzu, 2018, hydrocal. Photo courtesy the artist

Experiencing William Corwin’s sculptures may resemble opening a time capsule filled with mysterious objects made of familiar materials like sand, rope, clay and wood. By drawing on references ranging from architecture to archaeology, totems to teeth, Corwin’s sculptures resonate with archaic civilizations — removed yet urgently present. William Corwin shares with Art Spiel what brought him to sculpture, takes a look at some of his projects, and sheds some light on his curatorial and art writing practices.

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Yasue Maetake – Intersubjective Narratives

A picture containing indoor, wall

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Urethane Flower on Steel Stem Clad with Foam (2013-2019), H91 x 110 x 67 inches (H233 x 284 x 177 cm), steel, polyurethane resin, epoxy clay, burnt and varnished Styrofoam, photo by Mark Waldhauser

The Japanese born Brooklyn based sculptor Yasue Maetake largely draws on laws of nature like gravity, as well as on her Japanese cultural heritage like Butoh dance/theater. The artist describes for Art Spiel her artistic impetus, layered ideas, and elaborate process.

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Julie Peppito: Making Meaning out of Anything

Toxic Frock (This Changes Everything by Naomi Klein), 2016, canvas, trim, oil paint, gouache, thread, acrylic paint, found objects, fabric paint, fabric, grommets, variable dimensions (84″ x 156″ x 10″), photo courtesy Dan Gottesman

Julie Peppito‘s visceral and imaginative installations refer to our ecological, cultural, and political environments through explosive colors, textured surfaces, and interconnected loopy forms. Julie Peppito recalls how growing up in Oklahoma and later moving to NYC impacted her development as an artist. She shares some of her thought process, her work as an activist, and some of her projects.

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