figuration – Page 2

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September 8, 2020August 8, 2020, by Etty Yaniv

Lacey McKinney in Domestic Brutes at Pelham Art Center

In Dialogue with Lacey McKinney

Lacey McKinney at McColl Center for Art + Innovation, 2019,.Courtesy Chris Edwards Photography

Lacey McKinney who resides in Upstate New York, is drawn to the alchemy of processes like painting and alternative photography. For the last several years, McKinney has worked within the framework of painting, using figuration to reference embodiment. Usually splitting her time between working in the studio and teaching, this year she feels lucky enough to embark on a one-year teaching sabbatical, which has given her extra time for experimentation with other media such as using cyanotype process to make photograms that incorporate into collage and mixed media works. The artist shares some insights on her body of work in Domestic Brutes, the all women group show at the Pelham Art Center which engages the visitor with diverse approaches of what feminism means in American society today.

August 17, 2020October 13, 2020, by Etty Yaniv

Noa Charuvi - Suspended on Site

Bundle, 2018, oil on canvas, 16×20 inches

Noa Charuvi’s paintings convey a distinct sense of place where narratives of the present interrupt those of the past with urgency, sometimes even violence . Yet, her places encapsulate past and present not only as a rupture but also as an ongoing flow of coinciding contradictory forces – ruin and construction, anarchy and order. No matter if the painting depicts an interior of a room or an exterior of a construction site, it frequently portrays a place that is devoid of human figures but charged with the aftermath of human actions. Even if human figures are present, they are typically placed in context of their larger environment, players in a powerful and mysterious systemic forces of history, city, society. Noa Charuvi shares with Art Spiel some insights on her ideas, work, and process.

August 3, 2020August 8, 2020, by Etty Yaniv

Meg Atkinson – Painting as a Leap of Faith

***One Tree, Two Mouthy Ghosts, 2019, Oil on canvas, 30 x 40 inches, photo courtesy Max Yawney***

Meg Atkinson‘s paintings resemble puzzles open to multiple solutions. Her imagery is embedded with associative literary and visual layers, as clues to an open-ended riddle. Meg Atkinson shares with Art Spiel what brought her to art, as well as the way she has developed her approach to mark-making, space, gird, and color.

April 15, 2020March 27, 2020, by Etty Yaniv

Artists on Coping: Daniel John Gadd

During the coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.

Screen Shot 2020-03-26 at 4.34.30 PM.png — Daniel John Gadd, Assembling an Octopus, 2019,111 x 100 x 12 in. – oil, wood, copper, rope, mirrored glass, steel, epoxy resin and marble on wooden supports

Daniel John Gadd is an artist living and working in New Jersey. His work blurs the boundaries of painting and sculpture, abstraction and figuration, and “high” and “low” art. His work is fragile, violent, aggressive, and sensitive all at once, reflecting (literally, with his use of mirrors in much of his work), and sharing our complexity with an acceptance of all of what we are, and in the end, what makes us human. His most recent exhibition Animal was on display at M. David & Co. last fall.

November 12, 2019November 2, 2022, by Catherine Kirkpatrick

BOS Studio Spotlight: Yolande Heijnen

Yolande Heijnen was born and raised in Luxembourg, and has lived in New York since 1998. She has an MFA in painting from the New York Studio School, has won the Edward G. McDowell Travel Grant of the Art Students League, and is a three-time recipient of the Elizabeth Greenshields Foundation Grant.

All photos byCatherine Kirkpatrick

January 11, 2019May 30, 2020, by Sharilyn Neidhardt

New Narrative Now at M David & Co.

Curated by Michael David and Martin Dull

January 11 – January 27, 2019

Opening Reception Friday Jan 11, 6-9PM

Co-curator Martin Dull pictured with Todd Bienvenu’s painting (left) and Jeffrey Morabito, Kave T-shirt (right)

All images by Sharilyn Neidhardt

The work in “New Narrative Now,” curated by Michael David and Martin Dull at M David & Co. is united by a particularly muscular and aggressive kind of paint handling – unsurprising from a gallery well-known for cultivating abstract expressionist work. The paintings also share lyrical and mythical storytelling qualities. Recognizable figures flicker and bend across these canvases, wading through turgid waters, or wrestling with ropes of paint, or bathing in dreamy color. Animals and toys crowd some canvases, women stretch tortured forms across others. Personal mythologies illuminate and infuse each canvas, casting a mysterious spell for the viewer.

March 20, 2018November 15, 2020, by Etty Yaniv

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”

April 23, 2014November 15, 2020, by Etty Yaniv

An Odd Symbiosis: Action in Non-Action

Artist Tirtzah Bassel, at the opening night of The Lines Start Here

Charged with urgency, precision and an acute sense of place, Tirtzah Bassel’s luminous oil paintings at Slag capture figures lingering in uncannily familiar public spaces. Whether the subject matter of these canvases are crowds, couples, or single figures, the related verbs are of present continuous tense; standing, sitting, resting. These paintings, waiting in line at Trader Joe’s, sitting on an Ikea sofa to check a text message, or stretching horizontally on a bare mattress in the bedroom section, all entail the action in non-action. Although the commercial spaces these figures populate are filled with utilitarian objects such as red (and empty) shopping carts and a row of colorful sofas or beds, these interiors convey a strong sense of void. Objects multiply, proliferate and are caught along with their creators at the same space in an odd symbiosis. Continue reading “An Odd Symbiosis: Action in Non-Action”