unstretched canvas – Art Spiel

April 18, 2024April 15, 2024, by Etty Yaniv

Anne Sherwood Pundyk: Beauty Out of Bounds at East End Arts

Featured Exhibition

A room with art on the wall

Description automatically generated — Beauty Out of Bounds, East End Arts 11 West Gallery Installation. Painting on the left: Moonset. Painting on the right: The Center Will Hold. Photo courtesy of the artist

Anne Sherwood Pundyk’s solo exhibition, Beauty Out of Bounds, features a vibrant selection of her color-intensive works, many on public display for the first time. Her large, unstretched paintings reveal layers of stained drop cloth canvas interspersed with geometric shapes, cascades of color, bold stitching, sharp lines, and imprinted grids of paint. Her smaller pieces on stitched paper reflect the experimental approach of her larger works. A series of photographs that obscure handwritten journal entries bridge visual art and literature, underscoring the artist’s dual identity as a painter and writer. At the heart of the exhibition is Pundyk’s artist’s book, The Garden, which integrates printed pages and narratives prominently along the gallery walls. Her artworks collectively navigate themes of trauma and forgiveness. “By setting aside received wisdom, I make room for curiosity, investigation, and especially vulnerability”, Pundyk asserts. The exhibition spans both locations of East End Arts Galleries in the Arts District on Main St., Riverhead, NY, and includes various events designed to expand the dialogue.

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

Anne Sherwood Pundyk With Art Spiel – Part 3

AS: What can you tell me about your painting process?

Anne Sherwood Pundyk Mattituck, NY studio exterior
with canvas works in progress summer 2018.

Anne Sherwood Pundyk at work, Mattituck, NY studio spring 2018, photo courtesy The Suffolk Times.

Anne Sherwood Pundyk: To begin, I am alone in my studio out in the country. I clear away the past. I am free. I don’t need to do anything. I have no expectations based on prior work. I wait. An urge eventually calls me toward my materials. My materials are humble drop cloth canvas and house paint. They will be transformed and elevated. I want to make something new. It will affirm a hopeful light. It will hold a dark truth. It will be more than the sum of its parts. It will take whatever size and shape it needs to take. I am there to shepherd its creation. I start by mixing a color that matches my mood. I pour a large quantity of paint onto canvas on the floor of my studio or outside on the lawn. I watch the movement and density of the paint. I pour more paint or water to compose in response to what I see. I work with large heavy pieces of canvas sometimes soaking wet with paint and water, bending, rolling, and pulling. I learn as I go. I extend my body to my materials. The canvas becomes my skin and the paint is a bodily life fluid. Action becomes image.

December 19, 2018December 23, 2018, by Etty Yaniv

Anne Sherwood Pundyk With Art Spiel – Part 2

AS: I am curious why you chose to use the term “manifesto.”

Anne Sherwood Pundyk, “Being Blue,” 2018, 90 x 100 inches, Latex, Acrylic, Colored
Pencil and Stitching on Canvas.

Anne Sherwood Pundyk:I could say, “Artist Statement,” but that feels too passive as a prescription for how and why I paint. I associate the term “Manifesto” with an urgent call to action. Since 2009, my painting has formally become more reductive through three distinct bodies of work each with their own written manifesto . Respectively, each written piece affirms a new order in a different way. Common to all is my concern with the idea of agency taken together with my on-going re-examination of the tradition of the medium. As my thinking and understanding changes, so does my work.

September 4, 2018May 30, 2020, by Etty Yaniv

Alienation and Elation at Art During the Occupation

FIRST LOOK at Sharilyn Neidhardt’s solo exhibition

Opening later this week

Sharilyn Neidhardt , If I Can’t Find You There, I Don’t Care, 2017
oil on unframed canvas, approx 54 x 70 in, photo courtesy of the artist

Sharilyn Neidhardt’s vivid paintings in SUPERMASSIVE BLACK HOLE, at Art During the Occupation Gallery resonate with the zeitgeist of late-stage capitalism, when human connections are strained by a barrage of information and convenience. The fractured urban landscapes she portrays bring to mind reflective surfaces and fragmentation, altogether projecting a simultaneous sense of alienation and elation that are associated with any big city life. Continue reading “Alienation and Elation at Art During the Occupation”