Posts tagged Acrylic
“Potholes" by Los Angeles-based artist Henry Fey

First Amendment Gallery is pleased to announce, “Potholes,” a new solo exhibition by Los Angeles-based artist, Henry Fey. Fey’s latest collection of works incorporate acrylic painting and image transfers of the artist’s photographs in an engaging installation of twenty-four 8x10 inch pieces, a departure from his previously exhibited large-scale paintings.

For “Potholes,” Fey uses his signature blend of digital and analog processes to simulate a visual journey of a casual ride through a cityscape. Individually, the works recall innocuous colors and textures that seamlessly flow into another to then be punctuated by abrupt darkness - a pothole that only disrupts your journey momentarily before sending you back on track. Collectively, these examinations recontextualize familiar forms with the framed works acting as windows into particular moments of that ride.

Henry Fey (b. 1993) is an artist and San Francisco Art Institute alum living and working in Los Angeles. Using painting as a tool, he draws from his surroundings and recontextualizes images through abstraction.

For further inquiries on the artist or available works, please contact

Nic Koller

Nic Koller is a multidisciplinary artist whose works explore the outer-boundaries of collage. He creates collage-inspired acrylic paintings, video collages, a surprising take on “analogue” video work that is shot and displayed on multiple iPhones, and even extends collage into the audiosphere by layering found sound into musical compositions. 

These works iterate upon themselves, overlapping conceptually and thematically, and share a distinct, complementary visual language. Regardless of the medium, Nic depicts common people (and places as representations of people) while embracing spontaneous, collaborative moments as the foundation of his process. This ongoing exploration has expanded Nic’s understanding of his composited style. It’s not just about seeing multiple angles and different moments in time at once; it’s also about fractured human relationships. 
At first glance, Nic’s pool series is an homage to David Hockney’s swimming pools of the 60’s and early 70’s. However, these paintings are not about light interacting with water or even the pools themselves. Instead, this series focuses on small group dynamics. Nic combines moments captured from his everyday life to recreate emotive, neo-figurative memories in these paintings. Each person depicted is absorbed in their separate story, including the viewer, who is simultaneously ignored and posed for, a part of the pool party group and a voyeur. The collaging and containing of Nic’s subjects suggests isolation within these groups, and that these memories have distorted, combined and simplified over time in order to form something new. 
Nic was raised in the outskirts of Austin, attended the Fine Arts Program at the University of Texas, and has been chasing bigger cities since. He spent eight years with the 70’s architecture and swimming pools of Los Angeles before relocating to New York, where he currently lives and works. Nic’s works were recently featured in the nightly video program at MonkeyTown 7 in LA, premiered at the Video Art Experimental Film Festival at Tribeca, and exhibited with the Brooklyn Collage Collective. Nic currently curates for STRAIGHT THROUGH THE WALL, a guerrilla Arts Collective that projects video art onto walls throughout NYC.

A Metaphor For Our Memories: Interview With Mariu F. Lacayo

“The infinite world of possibilities of elementary particles is the basis of human freedom,” says writer Alicia Montesdeoca. In addition, I follow the course of these particles, building the lines of our lives through the emotions attached to the skin, such as my steel and polymer strings, oil, and acrylic on canvas and/or methacrylate. This is the metaphor for the way we pull off memories; I sand off fragments of the overlaying colors, map of multiple experiences that build the crust of our being plotted in this dimension. Contrary to what we believe – that time moves forward – really everything happens in parallel interdimensions, hence the theory of multiverses that I paint, stitch, scrape, sand and chart, weaving, painting and pasting layer over layer. Similarly, our unconscious keeps our every human experience in its dark memory that suddenly jumps into light as the tones of each layer of color that abruptly appear, bringing into light lines that cross over multiple underlying colors, previous experiences learned and inherited. These are my SUPERSTRING MIRRORS, hybridizations, because of their language and symbolism.

Mariu F. Lacayo.jpg

 Briefly tell us about your journey as an artist.

Since I remember, textiles have been an integral part of my life. I started admiring aboriginal textiles when I first got my hands on a Mexican mop. These unbleached cotton fabrics that resist everything and more, and have been part of everyday life in every home in Mesoamerica, symbolize my first contact with textiles and color. So, I started painting them 15 years ago, and then I built an installation with them and then I knitted braids in different fabrics, as models for my paintings and sculptures, before landing into these quantum vibrations that are a hybrid between acrylic painting, spray paint, methacrylate and warps.

The humble swabs were the masters of the weft that I have been retaking with the brush and mixed media these days, introducing myself into the postulates of quantum physics and string theory, which proposes scientifically what the Mayans already said as a motto in their language, IN'LAKESH, meaning "I am you, you are me, we all are One".


How do you feel your cultural upbringing influenced your art?

My artworks are a proposal to learn to live in tolerance and universal acceptance of the Universal tissue we are in charge, and thus improve the quantum maps of the world in which we live. This is also a tribute to my father, a psychiatrist, who taught me to observe my thoughts and emotions, as a whole, and not as isolated events.

Mariu F. Lacayo, QUANTUM LANDSCAPE, oil on canvas, 115 cm. x 148 cm. 2017.jpg

Tell us about your process. How do you come up with each painting? Do you spend a lot of time planning and sketching, or is the process more intuitive?

I get inspired by my love for the invisible world that is happening in parallel to our surroundings. My artwork can be described as an ongoing abstraction of the mysterious worlds of molecular biology and particle physics. My paintings and sculptures and art cubes explore the complexity and appearance of the invisible and unknown to linear reason. I work intuitively and start painting at 3:00 am, feeling that we all are immersed in a vibrational experience.

Mariu F. Lacayo,  Super Brane, aluminum sculpture, resin and acrylic painting,  160 x 0.80 cm. 2017..jpg

What does a typical day look like for you?

I understand that each day is a chance where we all can choose which warp and in what shapes and colors we can knit to live the world we want. Each day is our chance to leave behind our beliefs about ourselves and begin to recreate new experiences in which the different dimensions I represent in my artworks, are in fact the experience of beauty whose reality allows us to immerse ourselves inside.


How do you prevent artistic burnout and get inspired again?

I never get burned out because my thoughts create my actions and words and formulate a vibrational environment in myself and around me that reinforces creativity and the best vibes to feel fulfilled every minute.

Share something important about your work that you want the viewer to be aware of.

My artwork has the purpose of elevating the consciousness of each of you my friends, towards personal satisfaction, inner joy and confidence in yourselves so that each time you observe one of my artworks you can elevate your spirit and your quality of life with a positive vibratory frequency.

Mariu F. Lacayo, QUANTUM TRIPOD, aluminum sculpture with resin and acrylic painting,  74 x 60 x 20 cm. 2017., e.png

What are you currently working on?

I am working on a variety of different textural sensations in every composition. Many of my patterns are abstract in subject matter though they can echo elements of geometry, stripes, or even florals. I love the way the soft movements break up each art piece and bestow visual interest. Washy colors, soft textures, and subtle tone variations are some of the reasons I work poetry with brushes and acrylic on canvas, methacrylate, steel threads and aluminum sculptures.

Erika Stearly

A lifelong resident of Pennsylvania, Erika Stearly holds an MFA from Indiana University of Pennsylvania and a BFA from Kutztown University. She is the recipient of several artist grants, most recently through the Puffin Foundation for her work with Take a Painting. Her works have been exhibited in numerous solo exhibitions, including at Penn State University in 2015, while she served as Artist in Residence. Ms. Stearly is an adjunct professor and leads classes in arts organizations across eastern Pennsylvania and New Jersey.

Julianne Strom Brill

Julianne Strom Brill is an artist living and working in the Boston area. She received her undergraduate degree in Fine Art/Art History from Skidmore College and her Masters in Art Education from Massachusetts College of Art and Design (MassArt).


My current work focuses primarily on the painting process and exploration of materials. Using primarily liquid acrylic mixed with different media, I aim to discover new visual experiences by constantly changing how I mix, apply, and interact with my tools and paint. Taking the focus away from the final product and aiming it instead at the process of art making has allowed me to develop a new style of work that is both unexpected and engaging.