Posts tagged Interior
Ivana Carman

Ivana Carman (b.1991) is an emerging artist living and working in Philadelphia. Six years ago, she was a psychology major on track toward becoming a psychologist. After taking a few life-painting classes, she realized she couldn’t do anything else, and took a big leap of faith in transferring to The School of the Art Institute of Chicago. Little did she know how relevant that field of interest would be to the work she makes today.  


I find inspiration in the obscured, hidden in cabinets, drawers, and old notes, in the parts of my mind that unfold in solitude. As an observational painter, I’m simultaneously looking out at the world while registering my internal responses and desires, observing the overlooked outside of myself and within.

In my recent body of work, I deepen that exploration of interior vs exterior, expressing acute perceptions of my personal world and the psychological attachments underlying ordinary objects/spaces. I often use windows and mirrors as a symbol for a bridge between two worlds, revealing the ambiguities of the domestic space. Painting deeply personal objects and spaces from life requires a detached eye, making the final work evoke both intense vulnerability and emotional distance.

Carl Jung and his concepts of the unconscious mind – the idea that there is a well of fears, desires, and trauma just beyond the surface – inform my explorations. My recent work draws familiar materials from childhood (cut paper, pastel and crayons), which allows me to respond to my own unconscious desires with naïve spontaneity. After years of restricting myself to paint on canvas, I feel a greater openness to experimentation as my practice expands beyond the weight of historical painting traditions.

The Economy of Poetic Verse: Interview with Stacey Beach

Stacey Beach is a painter without paint, making two-dimensional works of fabric, both solid and patterned, incorporating hand-drawn and screen-printed elements. Inspired by the economy of poetic verse and the transgressive in fashion, she works with collage, beginning with a pared down vocabulary of shape and form. Beach allows the fabric to make its own moves once it is sewn and stretched on a panel, allowing the wrinkles and pulls in the textile to add to the composition.  The works embrace awkward and uneasy relationships, exploring the concepts of beauty and anti-beauty, construction and decay, form and void.

Stacey Beach lives and works in Berkeley, CA. She received her MFA from California College of the Arts and has exhibited in California and New York, where she worked as a studio assistant to Takashi Murakami.


Tell me about your creative journey so far. Were you creative as a child? What made you decide to pursue art?

Art making has always been a part of my life, and from my earliest days in school, the art room was where I felt at home and felt that I belonged. My parents were always supportive of any direction I wanted to take, so when I decided that I wanted to pursue art in school, they supported that 100%. I went to both undergrad and grad school for painting and have never looked back. It has always just been what I do. This means I have worked many odd jobs, waitressing, in cafes, galleries, and as an art assistant, but have always had the mentality that these are the job but my work is my artwork. I have had my ups and downs with that balance though, and at times the 9-5 job has defeated my creativity. I feel like I've come to a place where I don't feel like I have any more time to screw around, like this is it, and my drive is stronger than ever to make the work that I see in my head.


Where did your interest in textiles come from?

Since I was a child, fashion has fascinated me, and I love the idea of decorating one’s self. I love the drama of fashion and pattern, form and proportion. I learned to sew when I was young and it has always been a tool in my home, but never a serious pursuit. Painting was my main interest creatively. But after a few years of creative frustration after working as an art assistant in NY, I started quilting when I was pregnant with my son, and sold quilts for a time when I was feeling that I just wanted to make useful things rather than art. I quickly realized I did not find joy in recreating my quilt designs and what I was making was becoming much less quilt-like and much more like my paintings. I feel I’ve finally found a medium that is much more personally connect to my sense of self than paint.

What is your current body of work about?

I am currently working on a series that focuses on textiles and highlights the medium of fabric as the subject of the work. The craft of construction through sewing is of critical importance, the textiles are joined by a thread, not glue, resulting in pulls and wrinkles when stretched on the final panel support. The pulls create line and texture, imperfections and a tactile closeness. I am currently interested in spaces that are traditionally female like interiors and looking at objects of decoration.


Talk about your experience working with Takashi Murakami. What were some highlights and important things you took away from it?

Working for Takashi was a once in a lifetime experience, I am super grateful to have had that opportunity. I admire his dedication to work and art, and the team that I worked with was an amazing group of artists. We were really on a crazy ride together. Painting for another artist is something that was hard on me creatively, we worked such long hours there was nothing left outside of work. I kept pulling back my hours until finally, I needed to make a drastic change to reclaim my creative life and moved to New Mexico. I took this time as a time to work with no one looking, to reassess what was important to me in art. I focused on line drawings and collage. I didn’t paint again for years.


Describe your creative process. How does each work come to life?

It always varies, there may be an image that is stuck in my mind, like the coat in Matisse’s Woman in a Purple Coat and I really wanted to make a piece like that, that had a prominent textile as the composition. Other times there may be a pattern that I’ve designed and screen printed on several yards of fabric and keep playing with until it finds a home. Other times, pieces that didn’t turn out as I wanted are cut up and that edited form is the base for new work. I arrange and rearrange, snapping pictures on my phone like a sketchbook until it is resolved.

What is currently inspiring you?

Matisse, Georgia O’keefe’s biography, textile design, American folk art and the amount of women artists out there right now working like total bosses.

Rajab Ali Sayed

Rajab Ali Sayed is a visual artist who lives and works in Houston, TX. He received his BFA from the National College of Arts in Lahore, Pakistan in 2013 and his MFA from the University of Houston, TX in 2017, minoring in Art History.

Rajab has attended Augustana University in Sioux Falls, South Dakota as a Fulbright Exchange Scholar (2011) and completed the Sam and Adele Golden Foundation and Vermont Studio Center Residencies on the East Coast (2017). He has also taught drawing and painting at The University of Houston and Art League Houston.

Rajab was recently curated by Whitney Museum Curator Chrissie Iles into "30 under 30", an emerging artist showcase at Viridian Artists in Chelsea, Manhattan. His work has been acquired into private collections in the US and Pakistan.


My work creates a dialogue between identity and representation within the history of painting. I often co-opt visual cues from historical paintings and lived experience to express personal mythologies, placing figures in compositions as pictorial devices, or leaving figures out of compositions to reflect on human presence in absentia. My paintings are thickened internal narratives, and visual devices such as color, mark and perspective are married with titles to explore conceptual ideas within, and across multiple bodies of work.

Painting Kindness: Interview With Diana Dzene

My passion for painting started long ago with painting over the basement walls of parents’ house in an attempt to copy old masters. I studied books and painters to soak up as much information and skills as I could and learned the art of oil painting on canvas (as basement walls are not something easily available wherever one goes). 

After a coincidental meeting with Russia-educated Valery Baida and his wife Maija Jakovich at their home studio in Latvia three years ago, I received a kind invitation to participate at plein air painting gatherings. Since then, I have been a regular participant. 

Because of time spent there, my head and heart was full of new knowledge and ideas. By autumn, I was a student at the University of the Arts in London, Central Saint Martins, learning about painting techniques and mixing colours with Rodger Gill. 

A year later, at a plein air gathering, I met an American-Latvian painter, John Delgalvis, who shared about his studies at Arts Student League of New York in the 70s: the academic approach, the atmosphere and history of the place, the people, and the ideas got to my heart quickly. After a half year, I was lucky to join the school for a course on oil painting and Anatomy and Drawing course with Peter Cox. Along with studies there in the beginning of this year, my tutor suggested I seek a space to exhibit my work. Five months after came the opportunity with Conception Arts organization to exhibit in Manhattan in November 2017. 

Aside from latest exhibition in NYC, I exhibit in my home country, Latvia, in castles and countryside manors and Riga Old Town. 

Since some time ago when a friend suggested I put my paintings online, my works have been purchased and placed in collections of art admirers in Latvia, Russia, Saudi Arabia, Lebanon, Lithuania, Italy and Great Britain.


When did you first start painting? Share a little bit of your story with us. 

I started by painting over the basement walls of parents’ house, in an attempt to copy old masters. It led to painting on porcelain, fabric and other materials. After a while I wanted to know more, so got down to books, google, parents and painters to soak up as much information and skills I could to learn painting techniques on canvas (as basement walls are not something easily available wherever one goes:). In 2015 summer, I joined Latvian group of professional painters of various associations at one of the most known plain air gatherings in Vestiena, Latvia. Because of time spent there – head and heart full of new knowledge and ideas – by autumn I was a student at the University of the Arts in London – Central Saint Martins, learning about painting techniques with Rodger Gill. Year later I joined Art Student League of New York for Anatomy and Drawing course with Peter Cox. I put a great effort into being able to spend my vacations from work by studying art and painting at home in the evenings. I started by posting my paintings on Saatchi Art online gallery and after a successful sell there, I thought wow – that’s is a greatest feeling when someone recognizes or relates or likes what my inner world creates. That’s amazing! Joined Fine Arts America soon after and I’m very thankful for feedback from American painters and art lovers like me. Starting from year 2014 I was lucky to exhibit in castles and manors across Latvia and in 2015 March received an Excellence award at an international All Women 2015 art exhibition. In November 2017 was chosen among many to exhibit my work at the Conception Arts art exhibition in lower Manhattan, and now looking to participate in more exhibits I NYC, it is a great experience! I’m also a proud member of StartUpArt young artists’ platform in Latvia, providing opportunity to show and sell work of emerging painters.


We love how you transform daily objects and scenes to beautiful paintings. Tell us about what inspires you and how you choose what to paint. 

I’m inspired by acts of people. For example, my best portrait was done right after a friend called me and said she organized an exhibition for me, without me knowing about it. Or I was dating a man who very much liked the shape of cumulus clouds – I have two beautiful paintings of such clouds and I love the emotions it brought me. Or I made bright, elegant Mediterranean interior paintings after a friend surprised me by creating me a website – best surprise I’ve received recently. One can only be thankful.


What do you think your art is about?

It is about kindness. 

Describe an ideal day at the studio. Do you love to listen to music, have certain items or plants around you when you paint?

I paint at home in the evenings or weekends. I stay late or get up really early on Saturday and have a sketch before breakfast. Probably best time to paint is when it’s raining - most productive, and also - when I need to be somewhere else:) It’s terrible but I find myself often with a need to paint couple hours before I need to leave and then I’m late but I can’t stop, need to finish. 


What is a book, poem, film or piece of art that really moves you?

I have couple of paintings I remember seeing in art books when I was a child. And when traveling I visit museums, galleries and it is the most brilliant feeling of seeing the same childhood painting but it’s original, hanging somewhere right in from of me. It’s like meeting an old friend. And of course I look at other artists works. I have Pinterest profile with my own digital gallery collection - I can browse for hours and I never get sick of museums, galleries or paintings.


What is your favorite way to get inspired?

My favorite way is to see other painters work. It is amazing how people see and have skills to put what the see on a canvas. When I realized I see things differently, I tried learning to express them somehow. For long time I very much related to a meme with caption “DRAWING. Why you no come out as I imagined in my head?!” J Now I don’t have this problem.


What are you looking forward to artistically this year?

I have applied for couple juried exhibitions I hope to get into, fingers crossed. And honestly I hope to sell more paintings to have new ones to paint. I have Gulliver plans, I love to be in motion all the time - hopefully it takes me somewhere good!


Capturing Domestic Life: Interview with Mychaelyn Michalec

Born in 1977, Michalec is an artist who lives and works in Dayton, OH. 

My work focuses on domestic life in a convergence of abstract and the figure. The dichotomy of the family is emotional closeness yet frequently, missed connections. My paintings often show members of my family staring at their devices, huddling together but watching TV, eating dinner around a table but involved in thought. Painting for me is a way of both embracing and resisting domestic life. Motherhood is like a love affair. We fall in love, we fantasize, and it is all so perfect. Then we see the reality, and feel guilty. 

Abstraction and the figure compete for attention in my work just as being an artist and a mother compete for attention in real life. Waiting at the Verizon store, watching TV, eating dinner—what is lasting among seemingly mundane experiences? The memories are intimate yet universal, influential yet forgotten.

“Love is paying attention”
— Fairfield Porter 
studio view.jpg


When did you first begin exploring domestic spaces and modern relationships in your work? 

I stepped back from my studio practice for about 12 years to focus on raising a family.  When I started to make work again, I thought about how I filled that creative void. That is when I started exploring the ideals of home and family life in my work. For me, there has always been a conflict between not having a career and being a parent, because our society is so fixated on what you do as a reflection of your worth. Painting for me is a way of both embracing and resisting domestic life. Motherhood is like a love affair. We fall in love, we fantasize, and it is all so perfect. Then we see the reality, and feel guilty.

The Party, 32 x 24 inches, acrylic on cut canvas, 2018.jpg

There is something poetic and sentimental about finding beauty in the mundane moments through art. What do you hope the viewer takes away from your current paintings?
I don’t think that family dynamics have changed that much, but I do think the way that they are portrayed has changed. In an era of curated Facebook feeds highlighting the best in family life, I hope to show a more realistic depiction of domesticity - though what I do show is still warped and twisted through my own filter and shaky-handed sketches. There is more of a need for the real in this life and less #liveauthentic. The importance of the mundane and the seemingly uninteresting is that - it is wherein most of our life experiences come from. Narrative work is so open to interpretation. Standing back and listening to others' interpretation is often an interesting way to analyze the observer. 

There is a bright light coming from the kitchen, I did not turn a light on there, 50 x 50 inches, 2017, acrylic on canvas.JPG

How has your studio practice challenged the way you think about our homes, relationships and the introduction of technology in your own life? 

I think the cell phone is the television of my parent's generation. My parent's generation fretted over access to it, time spent in front of it, and the content of what was being shown. They thought it would be the ruin of my generation. While it was not, I don't want to be either dismissive or alarmist about technology in our own lives. I think screens are pervasive, an unstoppable force, and yet there has always been a sort of disconnect between families or relationships in general. That is nothing new, nor was it new as I was growing up, though the scapegoat has changed.

The Dance, 58 x 42, acrylic on cut canvas, 2018.jpg

What do you love to do when you are not in the studio?
I am a normal person; I do normal things. I run out to pick up a 12 pack of root beer for the boy's student council meeting due this afternoon, or a container of air-dry clay for the girl's landforms projects due in a week. I shop on the internet and take the dog for a walk. I make at least three trips to the grocery store a week. Sometimes I meet friends for coffee.

Rite of Spring, 52 x 37 inches, acrylic on cut canvas, 2018.jpg

Where does the imagery and references for your paintings come from?

The images come from my own life. I frequently sneak out my phone and try to covertly capture what is going on in our own lives. It is important to me that most of these moments are captured without my family being aware. With the advent of the digital camera, it is so easy to edit our lives.  Photos can be disregarded without a second thought; I try to capture what most people would disregard or not even bother to take.


What are a few of your favorite artists and influences?
Three artists whose work I am most interested in are Honoré Sharrer, David Humphrey, and Brian Harte. I love Sharrer's use of color and her complex narratives. I recently fell in love with her paintings, and her color schemes have influenced my work. I find David Humphrey's work interesting. He has a lot to say about the human condition and society. His use of humor and drawing is very engaging. I love the work of Irish artist Brian Harte. He also captures domestic life. I find his male perspective of the subject especially interesting.  Another big influence for me is the short stories of Raymond Carver and Lydia Davis.  Their narratives and the dialogues of their characters are a big influence on my work and how I title things.


Share a favorite quote or piece of advice. 

"Love is paying attention"- Fairfield Porter 

"We never look at just one thing; we are always looking at the relationship between things and ourselves"  -John Berger

Constructed Environments by Jeremy Miranda

We love the way you create dream-like scenes by combining the landscape and interior. When did you initially get inspired to paint these images?

Thank you. That was a series I did back a few years back. At the time, I was interested in memory/time and trying to construct spacial environments that gave the sense of those things folding into themselves. I worked in that vein for a few years, panning for gold, and then honestly one day I walked into the studio and it all just looked like someone else’s work. I'm not sure why, but it just didn't fit anymore, which is great. I like moments like that in the studio, because they signal that you're being honest with yourself and that something exciting and new is about to happen. From there, I switched back to acrylic paint and began to revisit past ideas and ways of working that I actually felt ready for.   

Early Evening.jpg

When did you first decide that you wanted to be an artist?

Growing up, I always was in love with drawing and thought I’d be a children's book illustrator or something like that, but I owe it to a handful of artists from my hometown (Sue McNally, Luke Randall, Tom Deininger) for exposing me to the idea of being an artist with a studio practice. They were awesome teachers and were nice enough to let a high school kid visit their studios, which were these big mill spaces with paintings and sculptures everywhere, and I was just completely hooked from there. Tom took me on as his assistant when I was a junior in high school, while he was in the midst of working on a solo museum show, so that really gave me an intense and intimate view into the daily life of an artist.  

truro deck .jpg

Tell us about your process. How does each painting come about from reference to execution? 

Pretty much everything is invented. If a painting is too mapped out, I get immediately bored. So, the only references I use are some pretty ugly, grubby sketches I make in the early morning.  I usually have a handful of paintings going so I can balance them against each other, and I’d really describe the process as intuitive, or maybe trial and error is a little more accurate. 


What advice would you give other painters for breaking through barriers and trying something new in their work?

I would refer them to Diebenkorn's "Notes to myself on beginning a painting" (provided below):

Notes to myself on beginning a painting

1. Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion.

2. The pretty, initial position which falls short of completeness is not to be valued – except as a stimulus for further moves.

3. DO search.

4. Use and respond to the initial fresh qualities but consider them absolutely expendable.

5. Don’t “discover” a subject – of any kind.

6. Somehow don’t be bored but if you must, use it in action. Use its destructive potential.

7. Mistakes can’t be erased but they move you from your present position.

8. Keep thinking about Pollyanna.

9. Tolerate chaos.

10. Be careful only in a perverse way.

What are some of your favorite things to read, watch or listen to that inspire your work?

I guess kind of everything? I haven't finished a book since our son was born, but I was working my way through all of Michael Chabon's books (whom I find very inspiring). But honestly, anything that's well made makes me want to make things in response.   


Tell us about some of your other interests aside from art-making.

It’s not a super interesting list. Hiking, gardening, cooking, those kinds of things. I’ve been playing guitar since I was very young, but it’s all self-taught and not proper in anyway.  Honestly, I'm interested in anything that gets me out of the studio for a bit.  If you asked me to go play golf in the rain, I’d be pretty excited to do that.  

Do you have a daily ritual?

I do. My wife and I split the week up watching our kid, so when it’s my work day I get up at 7:00, make a pot of coffee and talk with my good friend Tom on the phone for half an hour (which we've been doing for about 15 years).  When I get into the studio, I spend the first hour making very loose drawings. The drawings are what I end up making the paintings from, so it’s important that they're made right away when the images are fresh in my mind.  From there, I'm usually juggling a few paintings that are all in various stages of completion. Also, I listen to the same 2 albums on rotation all day. I'm hoping I'm not the only one who does this, because it feels pretty weird. But I can't paint in silence, and podcasts and spotify are too stimulating and tend to pull me out of the work. So I just repeat an album I like until it becomes this rhythmic, meditative, white noise. 

still life.jpg

What would you say your paintings are about and how do you want the viewer to feel when they experience them?

I have a handful of different series going on right now and each one is about something a little different. I have series going of shelters (I guess you could call them cabins really) which are, on one level, about the play of interior vs exterior and space and light, but they're also about how the making of art is its own kind of shelter or insular world one occupies. I have another series of studio interiors with fictional "works in progress" which are my version of a self-portrait. But sometimes I don't know what something is about.  I have a group of these sink paintings, one of which is the largest painting in my studio right now, and I feel compelled to make them, but I really am not sure what they're about. All in all, I’m equally concerned with the content as I am with the physical surface, and I spend a lot of time thinking about paint handling and line quality and texture.  My hope is that the balance of those things creates an immersive experience for someone viewing the work.      

What would you say you are most proud of up to this point?

The fact that I'm still painting. 

Magdalena Lamri

French artist, Magdalena Lamri received her Diplôme Des Métiers d’Art from the National School of Applied Arts Olivier de Serres in Paris. Her figurative paintings and drawings juxtapose her realist technique with darker subject matter, often exploring the human body. She describes herself as an artist motivated by sensations rather than ideas, and her aim is to make manifest those feelings in her works. She has exhibited internationally in both solo and group exhibitions, and is the winner of several awards in France for her paintings.

She lives and works in Montreuil, France.

Giulia Piera Livi

Giulia Piera Livi is an emerging interdisciplinary artist from Philadelphia, now living and working in Baltimore City. Her work in painting and instillation is an investigation of interior space and design, focusing on form and function. Giulia is a Visiting Professor of Art at St. Mary’s College of Maryland (St. Mary’s City, MD). She earned a B.F.A. in Painting and Drawing from Penn State University (2015) and an M.F.A. in Multidisciplinary Arts from the Mount Royal School at the Maryland Institute College of Art (2017).

Giulia has exhibited both nationally and internationally with solo shows at School 33 Art Center (Baltimore, MD) and Patterson Gallery (University Park, PA), with an upcoming solo show at Arlington Arts Center (Arlington, VA). Other exhibition locations include Maryland Art Place (Baltimore, MD), Woskob Family Gallery (State College, PA), Philadelphia Sketch Club (Philadelphia, PA), Meyerhoff Gallery (Baltimore, MD), Edwin W. Zoller Gallery (University Park, PA), Indigo Bleu Design & Culture Center (Philadelphia, PA), Underground Arts (Philadelphia, PA), and the Trocadero Theatre (Philadelphia, PA). Giulia has a passion for mural work, as a former employee of the City of Philadelphia Mural Arts Program and Art@Work Baltimore, and has participated in international mural collaborations (Florence, Italy). She is a 2017 Bethesda Contemporary Art Trawick Finalist, and a 2017 Janet & Walter Sondheim Prize Semi-Finalist.


I interpose objects of the everyday to distort our sense of space, explore our ability to inhabit rooms, and merge the dreamlike with the rigid. My geometric objects and paintings focus on materiality to investigate light, form, and the weirdly functional. My work focuses on the acute and the polite, the domestic and the utilitarian.

This question of domesticity comes from a curiosity of the curated home space, how the imperfections of home life can conflict with the polish of interior design. By creating immersive environments for my paintings and objects, I present the viewer with the oddities of precision and practicality. Through this spectacle of abstraction and accessibility, I aim to figure out the artist’s role in a society with an aspiration to be modern.

Pick out your painting. Where will you put it?

Jesse Dayan

Jesse Dayan is a Melbourne based artist he has been a finalist in several major Australian art awards including, The Arthur Guy Memorial Art Prize, The National Works on Paper Award; The Heysen and The Ron Eutick Still Life Awards.  He has previously been shortlisted for the Brett Whiteley Travelling Art Scholarship and the Australia Council – Kunstlerhaus Bethanien Residency.  In 2013 he was invited to contribute to the Chris Kraus Symposium : Aliens and Anorexia at the Royal College of Arts London.


Working from his Melbourne studio Jesse Dayan’s practice is informed by continuous research and engagement with many traditions of image making and a keen interest in the narrative possibilities of painting. His recent body of work takes as a starting point the familiar interiors of everyday life.  These works are built upon a process of drawing from life which allows for the inclusion of a composite of impressions over time and an openness to the poetic possibilities of space.  Important to these works in both a psychological and spatial sense is the interplay of internal and external spaces. The paintings in this group are bound by a sense of longing marked by the entanglement of presence and absence.

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.

Bradley Wood

Working from the position of the outsider, Bradley Wood plays out fictitious fantasies on canvas in a voyeuristic view of lives lived inside the walls of his eccentric cast of characters. Luscious oils combine with ironic narratives to create a world that both attracts and repulses.  Intriguing individuals lounge languidly amidst highly decorative surroundings, all rendered with a painterliness that hovers between form and disintegration, and works to intrigue and unsettle as much as it does to delight. While Wood peppers his paintings with dashes of early modernist references — the richly patterned interiors of Matisse, the colours of the Fauves, the distortions of Ludwig Kirchner and the swirling brushwork of Chaim Soutine — his cast of characters are soundly rooted in contemporary life.

Likening his process to that of a film director, Wood casts a wide net when seeking inspiration for his subjects and their mise en scènes. Settings are inspired by a similarly diverse array of sources, ranging from Italian and French vintage porn films to interior design to real life. “I heard recently that Fellini would start a film by putting up images of people and things on the wall by his office desk,” says Wood. “This is very much how I begin my own work and draw inspiration for the stories I want to tell.”

Such references are blended then strained through Wood’s unique vision, emerging delightfully askew. Carpets slide down the picture plane, recalling the raking perspectives of German Expressionism. Legs that seem to go on forever underscore the overall sense of an image on the verge of a meltdown. Deeply engaged with oil paint’s viscosity and using a loose brushstroke, Wood’s paintings have a deeply distinctive touch.

Born in Regina, Saskatchewan, Canada, Wood has a BFA from the Rhode Island School of Design, studied art and design at Art Center in Montreux, Switzerland, and new media and installation at CalArts in Valencia, California. Wood just had his second solo show with Angell Gallery, Toronto, this past November.  He was also a part of the following shows this past year:  “Human Condition,” an acclaimed site-specific exhibition in an abandoned hospital in Los Angeles, Context in Miami and a solo show at Pulse Art Fair in NYC, where he was a Pulse Prize nominee. In addition, Bradley will be doing another solo exhibition at Pulse in Miami December 2016.

Magdalena Lamri

“French artist, Magdalena Lamri received her Diplôme Des Métiers d’Art from the National School of Applied Arts Olivier de Serres in Paris. Her figurative paintings and drawings juxtapose her realist technique with darker subject matter, often exploring the human body. She describes herself as an artist motivated by sensations rather than ideas, and her aim is to make manifest those feelings in her works. She has exhibited internationally in both solo and group exhibitions, and is the winner of several awards in France for her paintings.” - Saatchi Art

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Brittany Marcoux

Brittany Marcoux is a photographer and visual artist from Massachusetts. In 2016 she received her MFA in photography from the Massachusetts College of Art and Design. She has exhibited at the Danforth Art Museum in Framingham MA, AS220 in Providence RI, §üb∫amsøn, Aviary Gallery, and Nave Gallery in Boston MA. Marcoux is currently a teaching assistant in the Visual and Environmental Science department at Harvard University.


Since my parents’ estrangement, four years ago, my perspective shifted into a realm of bitter contemplation, analysis, and critique. Their separation after 25 years of marriage has unsettled not only the foundation of our household but with divorce procedures just underway, I’m noticing that the effects of this event are altering everything: I look at places, people, and (most significantly) objects with different eyes, questioning their purpose, truth, and actuality. This shift accounts for the way I photograph my subjects, taking them out of their context, and into a separate environment for singular speculation. Using installation, edited home videos, and a photographic book, childhood memories are re-created and transformed into tangible layers of self-reflection.

These layers are made physical through constructed images, edited home video footage, and an installation of a room in my childhood home. Through the use of furniture, objects, wallpaper, carpeting, lighting, and scent, the room transports viewers into the past, mine and perhaps theirs. As the old TV flickers between repeating birthday parties, analog static, and cigarette smokers, the audience may recall moments from their own family history, gathered around the giant console TV set, just as it appears in the fabricated room. The video serves as a connector between past and present, personal and universal connection, and also the installation room and photographs. As actions are repeating on screen from a past era, scents, objects, and the book of photographs serve to bring the audience back into present day. The elements that make up the assemblage of my childhood room mimic the way that memories are recalled, questioned, forgotten, confused, and replayed.

Erika Hess
Erika b Hess is a painter who is known for her use and interest in color. Hess’s work has been exhibited nationally including Prince Street Gallery in Manhattan, NY, Last Projects in Los Angles, CA, and Boston Center for the Arts in Boston, MA. Her work has been published in various publications such as Poets and Artists, Fresh Paint, and in Post-Industrial Complex, a book released by the Museum of Contemporary Art Detroit. Her work was selected by John Seed to be featured in “Fifty Memorable Artists 2015”. She served as a visiting juror for Dayton Visual Art Center’s 2016-2018 biennial in Dayton, OH, and as a recurring juror for the Walker Art Prize at Boston University. She served as a panelist for Cleveland Institute of Art’s, “Feminism Now 2014: Exposing the Truth”, a symposium focusing on art, feminism and digital culture. Hess received her BFA from Wright State University and her MFA from Boston University.


I begin each of my paintings with a compositional idea in mind and a narrative derived from my day-to-day experience. The narrative may be based on a personal exchange or driven by an object in my studio. Recently the narrative in my work investigates objects that make up my day-to-day life: flowers from my garden, postcards hanging in my studio and small trinkets I have kept over the years. I arrange them on a milk crate against my painting wall, look at the light, and observe how a flower leans towards a postcard. They are arranged in a way that allows me to investigate the formalities of painting: the accumulation of paint marks, color, and value to form an image. While the formal properties are important, they are only a vehicle. It is the time spent looking at the objects, and painting them, that allows them to be transformed into something larger.

I began painting flowers after receiving bouquets for the birth of my daughter. The action of giving flowers is a tradition we still partake in for the birth of a child, a gift for a lover, the death of a friend. It is a way to communicate a deep emotion that we may not have the words to express. In that way, flowers are a way to visually communicate, like a painting.