Susan Cohen – Engrossed in Egg Tempera

In Dialogue
Work in progress, Constellation, Nasturtium, egg tempera on panel.  Photo, courtesy of Cecilia Andre

Painter Susan Cohen began her artistic journey by depicting the interiors of the places she lived, drawn to the emotional resonance of light and shadow. While that early intensity has softened over time, her fascination with light remains the core of her practice — animating her still lifes, landscapes, cityscapes, and close-up studies of foliage.

Continue reading “Susan Cohen – Engrossed in Egg Tempera”

Jan Dickey with Amanda Millet-Sorsa

in conversation
A person sitting in a chair in a studio

Description automatically generated
Jan Dickey. Photo Credit: Farfar Studios

Jan Dickey moved to New York City during the pandemic by way of Hawaiʻi, where he completed his MFA from the University of Hawaiʻi at Mānoa. In New York, he has shown his paintings at My Pet Ram, D.D.D.D., and Below Grand gallery among other locations. Recently he completed a materials-based residency at the Sam and Adele Golden Foundation (2023) and this interview seeks to delve deeper into his unique use of hand-mixed natural painting mediums like rabbit skin glue, casein, egg tempera, and oil paint. Currently he has an exhibition of new work at Bob’s Gallery, an experimental space in Bushwick: “The Generations” on through August 18th, 2024. Dickey is also the newest member of Artcake, an art center in Sunset Park that provides artists with affordable studio spaces and artistic programming.

Continue reading “Jan Dickey with Amanda Millet-Sorsa”

Not knowing is most intimate at Amos Eno


Nishiki Sugawara-Beda, Installation view of Somewhere Around There, 2022. Photo courtesy of Maggie Pavao

It is perhaps in this state of “not knowing” that we first encounter the works in artist Nishiki Sugawara-Beda’s current solo exhibition Somewhere Around There, on view at the Amos Eno gallery. The exhibition, which presents works from the artist’s KuroKuroShiro series (‘black-black-white’ in Japanese), features dynamic shapes in shaded monochrome that seem to alternately emerge and recede from view. Faced with this shifting visual field, the viewer gradually develops a kind of intimacy with these unknown forms, opening up new possibilities for interpretation and engagement.

Continue reading “Not knowing is most intimate at Amos Eno”