Patricia Satterlee wrote this concise statement to contextualize the work she exhibits in her third solo show at Gold Montclair:
This work resists the feeling that everything is falling apart. Holding on to a real or imagined moment without the noise. A particular way of being a boat on a stream passes in time. A figuration of forms floating and morphing, rediscovered as they’re painted.
An interview with curator and gallery founder Jennifer Wroblewski gives us more insight into her curatorial vision and the featured artworks.
The details in John Avelluto’s delightful paintings—thin strands of hair, tiny droplets of perspiration, chunky gold chains, or hyperreal food items—are uncanny in their realism. Avulluto is a trickster. Through all the paintings featured in his third solo show at Stand4 Gallery he convinces us that we are looking at the “real” thing, but in fact, each piece in Impasta Handbags is made solely of acrylic paint. Curator Paul D’Agostino says in his essay that “no matter what viewers think they’re looking at in Impasta Handbags—marble, paper, wood, or gold; skin, hair, sweat, or jewelry; cookies, cakes, fritters, cannoli, or sprinkles; ravioli, penne, ziti, parsley, pizza, pomodorini, mozzarella, mortadella, salsiccia, soppressata–what they’re actually looking at is paint. In turn, since the objects at hand, however sculptural, are crafted from paint, then all these things viewers are looking at are, simply put, paintings.”
Jonathan Torres is a Puerto Rican artist born and raised in San Juan, Puerto Rico. He is based in Brooklyn, NY since 2010 and was recently a resident at the Sharpe Walentas Studio Program in DUMBO. In his paintings and sculptures a sense of otherworldliness and living in the diaspora recur. For over 15 years, Torres’ practice has grown from exploring different emotional and mental stages that have affected the way people interact with each other throughout various stages of life—crisis and anxiety with a bent of dark humor that have been crucial to the development of Torres’ imagery.
Painter Elisabeth Condon’s reflections on a painting by Sam Francis were initially presented in the third episode of Elisabeth Condon Describes a Painting, a new series artist Amy Talluto has launched in her podcast Pep Talks for Artists. In each episode in this series, Elisabeth Condon shares her way of looking at one painting, here, at Sam Francis’, Untitled, 1968 -1969, acrylic on canvas, 96 x 156.25 inches, hails from the series known as Edge, Sail, or Open Paintings. Untitled is currently on view at the Los Angeles County Museum of Art through July 16 in the exhibition Sam Francis and Japan: Emptiness Overflowing.
Deanna Sirlin’s Wavetable, on view in the lobby of 211 East 43rd Street, New York, includes seven recent paintings, all 7 feet by 5 feet, arranged in a line that turns a corner. Produced between 2020 and 2023, at the height of the pandemic, the paintings in Wavetable offer an eye-popping meditation on connections. As the world went into lockdown and our interactions and connections with others were circumscribed, Sirlin explored interaction and connection through these paintings.
Neither the exhibition text nor the online imagery, although both generous, adequately primed me for Rafael Delacruz’s spellbinding painting exhibition at Mitchell-Innes & Nash. The moment I stepped into the gallery, I was engulfed in a world with vibrant enigmatic narratives, layered as a fusion of drawing, lino-cut-like marks, and a kaleidoscope of restless patterns, all shimmering under the play of vivid paint. The paintings reveal recognizable elements like cars or figures while hiding drawings underneath, daring us to embark on a delightful game of artistic hide and seek.
William Norton’s large-scale paintings at The Boiler – ELM Foundation evoke imagery of oppression and protest through gestural graphic marks and bold color on recycled vinyl advertisements as canvas. “We are always being sold something in this age of hyper-ventilating propaganda. And there is just enough of the advertising image left over to titillate the viewers’ eyeballs,” Norton says.
The exhibition PRESENT at 490 Atlantic gallery features nine paintings by Jessica Weiss. In this body of work, made during the pandemic, Weiss continues to combine wallpaper, silkscreened patterns, fabric, and paint—utilizing the optical and psychological power of these scraps from domestic life. Within the colorful and tactile surface, figures appear, and gesture becomes important. The exhibit opens Saturday February 25th, 5-8pm.
Paintings are the products of imagination whose language is feeling and form. My paintings describe an interior theatre where the relationship of energy to limitation unfolds in a drama that is primarily optical. The work references the natural world filtered through the lens of the marvelous and invites the viewers’ participation and interpretation…. a task ideally suited to painting.
Alice Zinne‘s paintings draw from literature and mythology to create dramatic landscapes in which light and dark interplay as main protagonists. Her oil paintings, watercolors, and drawings often depict floods of light intertwined with fragmented darker patches, evoking dense and fluid inner spaces.