Posts tagged New York
Moniker Art Fair | New York May 1-5, 2019
Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Create! Magazine is excited to be partnering with Moniker Art Fair for its 11th edition in New York this spring. Read on to learn more about what exciting things you can look forward to at this incredible contemporary art fair!

This May 1 - 5, Moniker Art Fair returns to New York, welcoming international and local collectors to a five-day celebration of New Contemporary Art in Manhattan.

Moniker Art Fair is an acclaimed contemporary art fair with urban influences, which has for 10 years delighted collectors and art lovers in both New York and London with hyper-curated, fully-immersive and broad-scope events.

The next edition, held 1 - 5 May 2019, will dominate the heart of the New York art scene in its 15,000 square-foot venue in NoHo, continuing the never-conventional, always-pioneering fair format that has launched the careers of numerous artists in the past decades in partnership with international galleries.

Moniker has become the go-to for art collectors to learn more about the contemporary art world and to buy art assured by the curation, instinct and advice of professionals.

Moniker London 2018. Photo credit: Sam Roberts.

Moniker London 2018. Photo credit: Sam Roberts.

NEW YORK EXHIBITORS LIST

INTERNATIONAL GALLERIES

GAREY THE THIRD | LA & Hong Kong

FIERCELY CURIOUS | Brooklyn

MAZEL GALERIE | Brussels & Singapore

FOUSION GALLERY | Barcelona

VINYL ON VINYL | The Philippines

ROMAN FINE ART | The Hamptons

CAKE AGENCY | Chicago, Illonois 

11.12 GALLERY | Moscow, Russia

LIVING ART GLOBAL | UK

ANALOG CONTEMPORARY | Philadelphia

PERSEUS GALLERY | New York

 

OPEN STUDIOS

SIRIS HILL | UK

FATHERLESS | Illinois

DEREK GORES | Florida

BURAK KARAVIT | Istanbul

NICK FEDAEFF | Russia

ARTHUR BECKER | New York

TXEMY & AMAIA ARRAZOLA | New York

 

SPOTLIGHT ARTISTS

EVOCA 1 | Dominican Republic

CHRISTIAN BOEHMER | Cologne

WK INTERACT | New York

ICY & SOT | Iran

YOK & SHERYO | The Philippines

ARINZE STANLEY | Nigeria

NUNO VIEGAS | Portugal

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

FAIR SCHEDULE 2019

Wednesday 1 May 2019
Collectors Day: 3pm-7pm 
VIP Celebration: 7pm - 10pm
$75 (Includes $50 towards your first original artwork purchase)

A program of educational talks, panel discussions and networking sessions
around collecting contemporary and urban art.

Thursday 2 May 2019 
Public Opening | 1pm - 5pm 
Opening Celebration | 5pm - 9:30pm 
$25

General Fair Days
Friday 3 May | 1 - 10pm 
Saturday 4 May | 12 - 8pm 
Sunday 5 May | 11am- 6pm 
$15

STUDENTS AND SENIORS

Students can visit Moniker free of charge. A valid student ID will be required before entry.

Seniors (65+) ticket price is $10 (+booking fee) with code: REDUCED.

FAIR ACCESS

Children under the age of 16 do not need a ticket to visit the fair.

Well behaved leashed pets are welcome on site.



For more information, please visit their website: https://www.monikerartfair.com/ or follow them on Instagram.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Paradigm Gallery at Art on Paper 2019

For their fourth showing at Art on Paper, Paradigm Gallery will be presenting artwork by Alex Eckman-Lawn, Drew Leshko, Evan Hecox, Hyland Mather, and Seth Clark. The artists have all created their artwork using their own unique methods, but will be coming together for a fair display not to miss. Click on the artist names below to see their collections. The newest pieces by each artist will be added to their linked collection pages on Friday, March 8th. Email sara@paradigm-gallery.com if you would like to see a preview of the collections prior to that date.

Paradigm Gallery | Booth 105 | Featured Artists
Alex Eckman-Lawn
Drew Leshko
Evan Hecox
Hyland Mather
Seth Clark

Fair Dates/Hours/Location
March 7 - 10, 2019 | 299 South Street - Pier 36, Downtown Manhattan

OPENING NIGHT
Art on Paper Preview
Thursday, March 7, 2019 • 6:00pm to 10:00pm

PUBLIC FAIR HOURS
Friday, March 8 • 11:00am to 7:00pm
Saturday, March 9 • 11:00am to 7:00pm
Sunday, March 10 • 12:00pm to 6:00pm 

Art Miami Exhibitor Highlight: Leslie Feely Gallery

www.lesliefeely.com

December 4 –9, 2018

In its 29th edition, Art Miami maintains a preeminent position in America's modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries.

Friedel Dzubas,  First Run , 1972 Acrylic on Canvas, 96Hx96Win

Friedel Dzubas, First Run, 1972 Acrylic on Canvas, 96Hx96Win

Interview with Dakota Sica

Briefly tell us about your gallery and what type of art you specialize in.

Leslie Feely Gallery is located on the Upper East Side in New York City. We specialize in Post War and Contemporary Art.

What can visitors expect from your booth this year and what specific works should they pay attention to?

This year we have a dedicated a section to Richard Diebenkorn, highlighting works from every period of his career.

Including examples of early abstract drawings, stunning figurative works, and an impressive Ocean Park.

Another star of our booth is “First Run" a rare large-scale painting by Friedel Dzubas - this never before seen work is a Dzubas masterpiece.

It will be accompanied by smaller paintings that illustrate the artist’s contributions to color field painting.

We are also proud to present the works of Kikuo Saito. These large-scale gestural abstractions sing with color!

What tips would you share with new art collectors or fair visitors?

I recommend that visitors ask questions. It is very rewarding to talk with people about the work of an artist they may or may not know. Art Miami is an inclusive fair where experienced and new collectors come to learn and grow their collections.

Space for Women's Stories: Interview with Hiba Schahbaz

Hiba Schahbaz was born in Karachi, Pakistan and lives in Brooklyn, NY. She works primarily with paper, black tea, and water-based pigments. She depicts women’s bodies while referencing self-portraiture, creating a space for herself and other women to tell their stories and reclaim their histories. Since migrating to the United States, her practice has expanded from miniature painting to human-scale works on paper.

Schahbaz trained in miniature painting at the National College of Arts, Lahore and received an MFA in painting from Pratt Institute. Her solo shows include The Garden (Spring/Break Art Show, 2018), Hiba Schahbaz: Self-Portraits (Project for Empty Space, 2017), Hanged With Roses (Thierry Goldberg Gallery, 2015), and In Memory (Noire Gallery, 2012). 

Schahbaz has participated in numerous group exhibitions; including shows at NiU Museum of Art, The Untitled Space, and Center for Book Arts; and at art fairs such as Pulse Art Fair, Art.Fair Cologne, and Vienna Fair. Her work has been written about in Vice, Hyperallergic, The Huffington Post, Coveteur, Vogue, NY Magazine, Art Critical, and others.

Schahbaz has curated painting exhibitions in Pakistan and India. She was an artist-in-residence at Mass MoCA, The Wassaic Project, Vermont Studio Center, and the Alfred Z. Solomon Residency at the Tang Museum. She teaches miniature painting at the Art Students League in NY.

Interview by Sarah Mills

HIBA SCHAHBAZ__30_artist portrait_photo by Maxim Ryazansky.jpg

When did you know you wanted to be an artist?

I can’t say that there was a single decisive moment. When I was a young girl, I would keep little scraps of paper, markers, and a torch under my pillow. I would draw imaginary landscapes hidden under my blanket when I was supposed to be sleeping. I always assumed that I would be an artist, and luckily life flowed in that direction.

When did you decide to start creating large-scale works? What pushed you to do so?

I began painting larger human scale works a couple of years ago. It was a big shift from miniature painting, and although I’d been thinking about it for years, I was still hesitant to do so. I think the shift happened because I had become very comfortable and settled as a miniature painter. I needed to develop something different. I craved growth (no pun intended). 

In part, the transition also happened because I began painting the gaze. When I moved to New York, I wasn’t painting faces at all. Over time, I began painting the side profiles of figures and eventually the women in the paintings turned to face the viewer. At this time I wanted to make their eyes life size to further this engagement.

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How did your work in miniatures inform your large-scale works?

I trained as a miniaturist and painted within the genre for over a decade. I see the human sized paintings as an extension of my miniature works. I still paint very stylized bodies and imaginary landscapes. My use of tea, pink, and turquoise are the same colors I utilized in miniature paintings. I also still use a fine miniature brush to articulate areas of detail. Most of the materials I use are a direct extension of my miniature practice, such as handmade paper, tea, gouache, watercolor, and gold leaf.

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Can you tell us a little about your studio practice? 

I’m a full time artist. My studio practice is entirely self-disciplined and self-motivated. I like working at my own pace and being in a state of flow at the studio. I prefer to paint without goals for exhibiting my work, and I don’t need deadlines to get things done. I find I’m most satisfied when I work without pressure and my paintings develop organically. The opportunities to show these paintings arise along the way.

I appreciate harmony. I wake up with the sunrise and come to the studio first thing in the morning. Early mornings are very important to me, since I’m most centred and productive when I have substantial mental space and quiet time in which to work. 

In the studio I often work on more than one thing at a time. These days I’m not working from preliminary sketches or drawing or color studies. All my energy is going into the paintings themselves. If I get stuck, I shift my attention to another work until things fall into place. I often shift scale, moving from working on large paintings to small ones.

What has been the biggest surprise you have faced in your art career thus far?

I think the biggest surprise has been all the support and encouragement I have received from both inside and outside the art world since moving to New York. Even when things got rough in my own personal journey as an artist, I always feel stronger and more accepted when I received a note from someone who had seen and experienced my paintings for the first time. It’s always a surprise and it’s always welcome. I feel a lot of gratitude towards everyone who has supported me on my path.

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What is one piece of advice that you got that you feel our readers would benefit from hearing?

Believe in yourself and make work for yourself. If you’re fulfilled as an artist, the rest of the world will come around. Ninety percent of the validation you need should come from within. Consistency is key, so work everyday—it’s not about ‘feeling’ inspired. Lightning will probably strike you before inspiration does! You’re an artist, so create your own inspiration. Never give up.

Ken Goshen

Ken Goshen earned his BFA in Fine Arts with a minor in Printmaking from Parsons School of Design (NYC). Goshen was born in 1988 in Jerusalem, Israel. In his teens he studied art at various institutions in Israel and in New York, such as Charles A. Smith Jerusalem High School for the Arts and LaGuardia High School for the Arts, followed by three years of service in a highly classified IDF unit demanding a variety of artistic skills. He is also a graduate of the three-year Master Class classical painting program at Hatahana Studio for Figurative Drawing and Painting (Tel Aviv).

My work explores the role of representational art objects in an era of digital image ecstasy by highlighting the function of subjectivity in perceptions of the “real.” By bringing together traditional techniques with contemporary outlooks, I strive for my work to embody both the weight of nostalgia and an exhilaration of the unexplored.

This recent body of work, titled “Good Times Strange Times”, is my attempt to engage, express, and explore memories from my time serving in the Israeli Defense Forces. What captures me most when reflecting on those years is a sharp contrast between two opposing experiences: the somber reality of a nation in conflict and a seemingly inevitable ambient of youthful play. Israelis are mandated to join the military directly after high school, giving rise to a schizophrenic coexistence: the adolescent mentality must hastily adapt to incorporate mortal stakes and consequences. This results in an unstable hybrid of youth and maturity, full of charming imperfections. This project is inspired by moments when the child can be seen through the cracks in the soldier veneer, casting a dream-like spell on their everyday concrete surroundings.

"Fate Of The Union" by Mike Davis at Spoke NYC

Opening Reception: September 8th, 6 - 8pm On view: September 8th - 29th, 2018

Spoke NYC is pleased to present Fate Of The Union, a solo exhibition by San Francisco-based artist Mike Davis. We are thrilled to be exhibiting his work at our Lower East Side location after a 10 year exhibition hiatus in NYC. Fate Of The Union will be Davis’ inaugural solo exhibition at Spoke Art, where he will be exploring themes of social and political dichotomies.

The artist’s highly complex narrative based works are painted in the style of Flemish Primitives such as Bosch, Bruegel and van Eyck. Originating in the 15th century, painters from the Flemish Primitives movement blended elements of realism and symbolism, creating worlds and scenes that had greater depth of emotional complexity than was ever seen before.

Davis’ paintings are full of symbolism referencing mortality, folly and egotism, creating rich scenes and storylines. Figures move across the landscape, building and carrying objects, busying themselves with bizarre tasks. Recurring elements are scattered throughout the landscapes, including keys, ufos, birds, snakes, ladybugs and butterflies. Hybrid creatures such as fish with legs and men with tree trunk heads inhabit this universe, creating an alternate reality that is surreal yet familiar.

Consisting of 15 oil paintings, the scenes are a combination of arcane personal symbolism and social and political commentary. In our current politically tumultuous times, the artist draws inspiration from the American political climate and the world at large, delving into the social divides of today to reflect our own reality though a new lens.

About the exhibition, Davis states, “my work depicts a world of myth and colliding timeframes, a land ‘on the other side of the bridge’ but one that resonates with our own - not as a memory but as a dream.”

Please join us Saturday, September 8th from 6 - 8pm for the opening reception of Fate Of The Union. The artist will be in attendance.

For more information, or additional images, please email nyc@spoke-art.com.

ABOUT THE ARTIST

Mike Davis is a modern surrealist painter who currently lives and works in San Francisco, California. Self-taught, Davis began painting seriously in 1997. His inspirations range from his mother’s

woodwork, hand-tooled leather, and home projects to art of the ancient world, to surrealism, to the Flemish masters of the Northern Renaissance. He renders complex surrealist works embedded with symbols of mortality, folly and hubris, fixed within whimsical compositions.

In addition to painting, Mike Davis is an active musician, woodworker and owner of internationally- renowned Everlasting Tattoo.

MIKE DAVIS: https://www.mikedavisfineart.com

FACEBOOK EVENT PAGE : https://www.facebook.com/events/1775813592468325

SPOKE ART : http://www.spoke-art.com

‘CON Art’ Exhibition Featuring Dan Alva at Guy Hepner (Curated by The Tax Collection)

- Guy Hepner and The TAX Collection present "Con Art" - an inagural solo show by Miami based artist Dan Alva (@dan.alva) 

- Opening reception August 16th (7-10 PM) at Guy Hepner Contemporary Art Gallery

- 520 West 27th Street, Suite 303, Chelsea NY

Guy Hepner is pleased to present our upcoming exhibition ‘CON Art’ featuring Miami based artist Dan Alva, and curated by The TAX Collection. Alva’s works are a hybrid of mixed media and pop culture references, often including subversive undertones. This particular combination of style comes from a family history of Spanish Fine Artists as well as his 12 year career in creative advertising. Much of Alva’s work is inspired from his experiences as a creative director in the advertising industry. He utilizes his marketing background to satirically comment on the messages of recognizable ad campaigns, highlighting the excess of materialism in lifestyle marketing. Alva’s artworks are a mix of words and phrases superimposed on prints. He will then puncture a spray can allowing the paint to freely explode on the advertisement. Alva shares his love/hate relationship with the advertising industry through his personal artwork which has no bounds.His ‘Brandalism’ series, which directly uses advertisements, with phrases and paint laid atop, is his most recent collection. Alva shares that his process typically begins with an online mockup of the potential outcome that he then recreates in real life. His actual creation of the works involves words and phrases being superimposed on prints. He then will puncture a spray can and allow the paint to freely explode over the advertisement, creating a stark contrast between his creative and marketing sides. While the two aspects compliment each other, they also act as opposing forces, shadowing Alva’s love/hate relationship with the advertising industry.He defines a clear differentiation between work and art by sharing that, “As a creative in the advertising world, ideas get watered down from time to time. The original concept rarely ends up being the final product. In the studio I have full creative control. It’s on me to make my vision come to life.”Escaping the advertising world to his studio allows Alva to make mistakes and create more freely. Guy Hepner + The TAX Collection invite you to join us for Alva’s first ever solo exhibition, opening August 16th at 7 PM.

Art as a Celebration: Podcast Interview with Alonsa Guevara

On this episode, join us for a fun and inspiring conversation with artist Alonsa Guevara. Alonsa shares her journey of growing up in Chile, moving to New York and developing her career as a brilliant painter.

Alonsa and Kat talk about inspiration, overcoming challenges, making money doing what you love and showing up for yourself as an artist. Alonsa's breathtaking paintings, personal story, hard working spirit and sunny personality will be sure to inspire you.

Alonsa Guevara is a Brooklyn based artist. She was born in Rancagua, Chile. Her paintings blur the lines between fantasy and reality while celebrating the connection between humankind and nature. A big part of her inspiration derives from her childhood spent living in the Ecuadorian rainforest with her family, growing up surrounded by tropical landscapes and a diverse wildlife.

Alonsa received her BFA from the Pontific Catholic University of Chile in 2009 and moved to New York in 2011. She was awarded the Elizabeth Greenshields Grant in 2013 while being at the MFA Program of the New York Academy of Art, and after graduating she was granted the Academy's Fellowship award 2015.

Alonsa's work:

https://www.alonsaguevara.com/

Anna Zorina Gallery:

http://annazorinagallery.com/exhibitions/

New York Academy of Art:

https://nyaa.edu/

It Starts With The First Stitch: Podcast Interview with Olek

On this episode, Olek openly shares her story of growing up in Poland, moving to New York and establishing herself as a leading contemporary artist. She offers invaluable advice on maintaining a rigorous studio practice, trusting your intuition, showing up for yourself and much more. Warning: Olek’s passion for art and community is contagious. 

Olek's Website:

http://oleknyc.com/

Other Links:

Betty Tompkins

https://www.instagram.com/bettytompkinsart

Olek's Art:

Work by Bruce Brooks 

Pointillism Revisited: Interview with Dimitri Likissas

Guy Hepner and Tax Collection are pleased to present the first US Solo show of Belgium-born artist Dimitri Likissas. The exhibition will run in the New York City gallery from May 10th to June 22nd.

Dimitri’s work stems from a long tradition of using distinct dots of color in art, which the viewer’s mind blends together to create the final image. Playing with chromatic tonality and the dissection of visual planes, Dimitri creates works that seem to move and undulate within the canvas as if attempting to escape their two dimensional confines. While the dots work together in harmony to create the image, their circular nature acts in opposition to his square or rectangular canvases, reminding us of the basic elements of life and how atoms are in a constant movement – propelling against each other – creating matter itself.

Having studied the works of the original Pointillist masters, such as Georges Seurat and Henr Edmond-Cross, as well as pop artists like Roy Lichtenstein and Keith Haring, Likissas gives us a fresh interpretation on the usage of dots in painting.

While having been painting and experimenting with dots and color for over 20 years, his body of work has maintained the same technical and stylistic approach over all these years while the content has developed as he has moved through different countries and life events.

What is your artistic background and training?

I am an autodidact (no formal training). I would say that I was born an artist. I have the personality of a creator, I have a need to create, conjure things and have a lot imagination and am driven to manifest my creations. 24 years ago I started to work in a newspaper as a graphic designer making advertisements the old fashioned way making Xerox copies of clipart books then cut the clipart with scissors and assemble an advertisement which was really a collage using adhesive putty, and then go to the dark room and shoot the ad, expose the film, make the separations, burn the plates etc, so I learned all this graphic work (pre-press) by doing. When I was a kid I used to paint Americana (logos) on jeans pants and jeans jackets for the kids in school for money. 

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When did you decide to use dots to create your images? What initially inspired you?

In the very beginning I somehow always wanted to incorporate 2 to 3 circles in my works. I felt they had a certain energy. My reasoning was that there is ‘circulation’ in a circle compared to a square that has corners (no one likes to be pushed in a corner) in a circle you are free. Freedom is important to me. I also likened the combinations of circles or dots as a molecule which is a group of atoms which have patterned geometries and vibrate. I used to call them powerdots. Lateron I discovered Roy Lichtenstein’s and his use of ‘Ben Day Dots’ which almost came as a revelation to me where for example a mass – methaporically, just like the molecules, atoms of one color spread out in a pattern can make up an other color, like a pattern of magenta dots, spread out far enough creates pink. The only thing I didn’t like is the pattern, a pattern is again where we lose freedom, it’s a set of rules. But in life we need to follow a set of rules to reach certain goals. In my case I use a combination of that pattern which creates not only illusions of colors of its own but also each neighbouring different color dots like with Albers’ color theory create yet again another color illusion. All this fascinates me. 

What would you say your current work is about?

Since I use that pattern and colors, no matter what colors I give each dots which in turn create a visual subject from a distance, in the past, now or in the future, my work is about the interaction and affecting the sensations of the viewer.

Name a few artists both historical and contemporary that inspire you.

Victor Vasarely for his geometrical abstract art

Roy Lichtenstein for the use of his dot patterns

Warhol for putting singular objects on a pedestal

What do you hope to communicate through your latest exhibition at Guy Hepner?

I hope to convey that we are lucky to be alive and to be fascinated with life, to not see things as they are but to be curious and explore.

Tell us about your typical day. What do you do to stay inspired and productive in the studio?

I am not aware of days and hours (I am in my own world, which can be annoying to get things done in the real world, synchronicity), so I work in the studio at hours when I feel like it, however, my mind is constantly focused on creating things. Once a work is started, it becomes an obsession. I have a sketch book which is full with clips from magazines, newspapers and other print mediums. I cut out images that give me a certain sensation. I have enough inspiration to paint than I am able paint!

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Share a piece of advice for artists trying to find their unique voice and style.

Finding your unique voice and style comes from within you and being true to yourself and which can only come from experience, I mean, your ultimate style is shaped until it fits you totally. It can take years. It must also be something you are personally happy with. It is also sticking to your guns.

Frieze New York 2018 Top 10

By Sarah Mills

Frieze New York 2018 brings together more than 190 galleries from 30 countries, showcasing the world's most significant artists, a series of talks, and the city’s most talked about restaurants, all in a bespoke structure in Randall's Island Park.

Create! Magazine's top picks from this year's fair.

Art New York 2018: Interview With David Benrimon Fine Art

David Benrimon Fine Art

The Crown Building   

730 Fifth Avenue, 7th Floor 

New York, New York 10019

www.benrimon.com

Mel BOCHNER, Amazing, 2016, Monoprint with collage, engraving and embossment on paper, 30 x 22 in

Mel BOCHNER, Amazing, 2016, Monoprint with collage, engraving and embossment on paper, 30 x 22 in

Tell us a little bit about your gallery. What types of art do you generally focus on?

David Benrimon Fine Art specializes in Modern and Contemporary art, focusing on works that range from Modern masters paintings to Contemporary paintings, sculptures and editions.

Roy LICHTENSTEIN,  Water Lilies with Cloud  (C. 263), 1992, Screenprint enamel on processed and swirled stainless steel, 65.5 x 44.75 in

Roy LICHTENSTEIN, Water Lilies with Cloud (C. 263), 1992, Screenprint enamel on processed and swirled stainless steel, 65.5 x 44.75 in

What should visitors expect from your booth in Art New York this year?

DBFA’s Art New York booth will exhibit artworks in a variety of different mediums, such as editions, sculptures and original paintings. There will be something for every collector at our curated booth.

Please share a few tips for new collectors and those interested in investing in art for the first time. 

Our greatest advice is to always be an educated buyer! Learn about the artist and their practice, and always examine the condition of an artwork. Also, collect and surround yourself with artwork that you love and speaks to you.

Robert INDIANA,  LOVE (red/gold) , 1996-2002, Polychrome aluminum, 18 x 18 x 9 inches

Robert INDIANA, LOVE (red/gold), 1996-2002, Polychrome aluminum, 18 x 18 x 9 inches

What are your favorite aspects of participating in art fairs?

A paramount aspect of participating in art fairs is meeting collectors from near and far. We especially appreciate New York fairs, as the high representation of local collectors enables us to create relationships with dealers, buyers, and art lovers in the region.

Name a few important works we should keep an eye on when visiting. 

Yayoi Kusama and George Condo are super hot in the current art market, and visitors can look forward to seeing signature and compelling works by both artists at our booth.

(Above image by Yayoi Kusama)

"Be Still" Exhibition: Interview with Loribelle Spirovski

The TAX Collection + Guy Hepner present ‘Be Still’, a solo exhibition by Loribelle Spirovski. Opening March 22nd, ‘Be Still’ is a collection of Spirovski’s’ latest body of work exploring how the concept of ‘space’ interacts with an occupant and the conversation that exists between a figure and the space around them.

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Tell us a little bit about your background. What was your upbringing like and how do you feel it has shaped your work?

I grew up in Manila with my Filipino mother, while my dad, who is of Serbian/Macedonian ethnicity, lived and worked in Australia. Due to visa restrictions, I didn't meet him until I was 7 years old, but I felt his presence very strongly throughout my childhood. He would send me care packages which included the first picture book I had ever read; it was one of those personalized books, so the protagonist was named after me. I think this was a hugely defining moment for me, because I began to associate myself with pictures, as well as forging a lifelong love of books. As well as this, my dad's brother happens to be a painter also, and for my 5th birthday he sent over a drawing of me and it was my most treasured possession. I was always a very introverted kid, so I spent most of my time drawing, creating play-doh sculptures and reading. 

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How do you feel your art has evolved over the past few years?

Evolution is probably the defining trajectory in my artistic practice over the past few years. I began in late 2012/early 2013 after graduating from university, having trained as an art educator rather than an artist. This degree fostered in me a love of art history  (which is probably evident in my work). However, the technique wasn't a focus of the degree, so is essentially a self-taught painter, my practice started off with finding me feet as well as my voice, through paint. I was initially drawn to realism/photorealism because it was demonstrative of skill, and taught me a great deal about observation and color mixing. My work is tied very closely with events in my life, and in 2014-15 I created a successful series called 'Memento Mori' during an emotionally fraught period - this was the beginning of my departure from realism. In 2016, I created the last of the 'Memento Mori' series with a portrait of my (now) husband Simon Tedeschi, who is an acclaimed Australian pianist - however, after successive rejections from portrait prizes that I attempted to enter with this painting, I decided to take a step back and reevaluate my practice. I made the decision to depart from photorealism (which I didn't much enjoy due to its labor intensive nature) and the 'crutch' of the grid method or projector, which aids photorealists in getting the most accurate reproduction of a photograph. Since then, my practice has been about honing in on a fleeting and ever-changing aesthetic quality, and on trying to use paint in a way that embraces, rather than hides its raw state. 

Being married to a musician has significantly affected my practice - Simon is my perennial muse and I've since done countless paintings and drawings of him. He has become a conduit through which I can take risks, and as such, my portraits of him are indirect self-portraits. 

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What do you hope viewers of your recent exhibition with The TAX Collection and Guy Hepner experience?

I want viewers to feel the ghost of my movements on the canvas - as their eye traces each line, stroke, dash and splatter, I want them to sense the physicality of my presence in every mark made. The faces are panted from memory and imagination, so I want the viewer to see themselves and to read their stories in the symbols. I was so affected by the extent to which the paintings resonated with attendees of the opening night, and having heard their very personal and varied interpretations and reactions, I feel that it's been a successful series indeed.

What would you say this exhibition about?

This exhibition is about so many things, but mostly I see it as an introductory letter to the city of New York. Having created this body of work specifically for this exhibition, I really let myself be as free and intuitive as possible in the creation of the works, and as such, it embodies so much about me, my past, my present, and where I want to be in the future. It's a dynamic collection that exposes so much of my emotional state of mind, my artistic influences and themes that I find myself constantly drawn to. I could talk about how I'm drawn to spaces, to myths and to ways of exploring trauma and anxiety through symbolism, but ultimately, I want my paintings to have an ineffable quality because if I could express it perfectly in words, there would be no need to paint. 

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Where can we learn more and support your work?

The best place to find me is via Instagram @loribellespirovski which links to my website www.loribellespirovski.com You can also find me on Facebook on @loribellespirovskiartist 

Calli Moore

Calli Moore is an artist and curator based in Brooklyn, NY.  Born and raised in Iowa, Moore received her BFA in Painting and Drawing from the University of Iowa in 2014 and earned her MFA at American University, Washington, D.C.  in 2016.  

As an artist, Moore’s work deals with the physicality of paint as both a material and form, creating dense sculptural paintings that expand beyond the boundaries of the panel.  Moore’s abstract works incorporate a variety of materials (crystals, fabrics, acrylic paint, and foam), which extend her painting vocabulary through experimentation with non-traditional mark-making tools.  Moore has shown work across the United States and has held residencies at GlogauAIR in Berlin (2015) and the Chautauqua Institute, Chautauqua, NY (2016).  This past year, Moore exhibited work in several group shows including “Got It For Cheap” (The Hole, NY), “Soft Reboot” (PROTO Gallery, NJ), “3D IRL” (Galerie Manque, NY), “Four Steps To Self Help” (Small Editions, NY), and “No Vacancy II” (Squat Gallery, NY).

Moore is also the founder and director of See You Next Thursday (SYNT), an ongoing, weekly Instagram-based art auction featuring the works of emerging artists based in New York.  SYNT is a platform that provides the opportunity for artists to share and sell their work with a growing community of artists, collectors, and Instagram followers. SYNT directly supports independent artists who are in the process of building and establishing their career. The project encapsulates Moore’s passion for connecting and cultivating a community of artists.  This December 2017, Moore is curating an SYNT group show “Friends You May Know” at Ortega Y Gasset Projects in Brooklyn, NY.  

Meet Me At Delancey/Essex Exhibition at Spoke NYC

Spoke NYC is pleased to present Meet Me At Delancey / Essex, a group exhibition featuring over 20 artists living and working in the greater NYC area. As the local landscape continuously changes, Spoke Art recognizes the importance for the street, lowbrow, pop surrealism and new contemporary genres to have representation and an outlet to exhibit work within the community. The gallery aims to provide a cornerstone for supporters of these genres and to continue to build a sense of community within the art world in New York City.

About the exhibition, curator Jennifer Rizzo states, “Meet Me At Delancey / Essex is a celebration of community, in every sense of the word - by bringing together both emerging and established artists as well as being a physical hub for creative exchange, my hope is that SPOKE NYC becomes the go to destination for the lowbrow and new contemporary genres.”

Above image by Logan Hicks

Participating Artists:

Aaron Li-Hill | Beau Stanton | Bryce Wymer | Buff Monster | Caitlin McCormack
Dennis McNett | Ellis Gallagher | Fumi Mini Nakamura | Cash For Your Warhol
Ian Ferguson | Jeremy Hush | Jim Houser | Jordan Seiler | Justin Hager
Logan Hicks | Luke O’Sullivan | Olek | Scott Albrecht
Sergio Barrale | Swoon | Taylor Schultek

Meet Me At Delancey / Essex

A group exhibition curated by Jennifer Rizzo
On View: March 3rd - 25th, 2018