Posts tagged Studio
New from RijksCreative - How to paint in the style of Karel Appel!
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We recently introduced the YouTube Channel RijksCreative, a series of art tutorials created as an initiative by the Rijksmuseum in Amsterdam. If you have always wanted to try painting or experiment with a new style, we encourage you to check out RijksCreative’s most recent lesson. In it, you’ll watch Ruud Lanfermeijer give instructions on how to paint in the CoBrA style of famed Dutch artist Karel Appel. Visit RijksCreative online to learn more and see the entire collection of instructional videos! 

Here’s the direct link to watch ‘How to create a Karel Appel painting’. Take a look at the video notes for a complete list of the supplies you’ll need before you begin!

About RijksCreative

As part of an initiative that brings both greater awareness and appreciation of the vast collection of masterpieces exhibited at the Rijksmuseum, the RijksCreative YouTube channel allows you to delve deeper into the style of prominent figures throughout art history. On RijksCreative you’ll find how-to videos in which art teachers from the museum demonstrate the steps to creating compositions like Rembrandt or painting self portraits like Van Gogh. Each video explains one art technique in detail so that even beginners can follow along! 

Check out the RijksCreative channel here.

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About the Rijksmuseum

The Rijksmuseum in Amsterdam is the Dutch national museum dedicated to the arts and history. The building was designed by Pierre Cuypers and opened in 1885. The Rijksmuseum has on display over 8,000 objects and a total collection of over 1 million. A walk through the galleries is a journey through 800 years of art and history. Some of the museum’s masterpieces include works by Rembrandt, Van Gogh, Frans Hals, and Johannes Vermeer. The Rijksmuseum is the largest museum in the Netherlands and welcomes over 2.5 million visitors each year.

For more information about the museum please visit their website

Studio Sunday: Kestin Cornwall
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This week’s Studio Sunday goes behind-the-scenes with one of the represented PxP Contemporary artists, Kestin Cornwall. In his interview, he discusses an early memory with his mother that inspired him to start drawing, why working with certain mediums are important for his style, and how he gets into a state of flow in his studio. PxP will have two of his works in our upcoming fall exhibition, which we will be announcing shortly!

Bio

Kestin Cornwall grew up in the Windsor Ontario area. His father is Grenadian and his mother is American, and he spent much of his youth in Detroit, Michigan with family. In 2001, he moved to Oakville, Ontario to begin his training at Sheridan College. While completing the Art Fundamentals and Illustration programs, Cornwall’s focus and love for the arts grew quickly. He increasingly combined both classical drawing and painting with modern digital reproduction and screen-printing. In 2006, Cornwall won the CAPIC Best In Show Award. Over the past ten years, Cornwall has focused on creating relevant progressive art. He has used a varied practice of combining hand drawings, digitally removing the human hand and then forcing the element of the human hand back into the work. Using elements such as painting, wheat-pasting, screen-printing, installation and drawing to explore the relationship between art, human rights, politics, sex, and freedom. Cornwall critically charts current political, social, and economic landscapes with compositions brimming with references to media, popular culture, music, and art history. He enjoys challenging what’s considered “common” and feels it is the duty of an artist to add beauty to the world while invoking the unending social responsibility to capture thought. Many of his influences include contemporary graphic realism, street art and old comics, with a complimenting factor of mystery, often mirroring timeless depictions of pop culture. Each piece depicts an analysis of our obsession with beauty, age, and change. Kestin Cornwall lives and works in Toronto.

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When and how did you first become interested in art? 

I was a little kid, grade 3 or 4. At that time, if my family was not in Detroit visiting my aunts or at church we were at home with an old tv that had just three stations and no video games for the most part...not much to do most days in the summer after you completed your chores. Small town shit. My mom was trying to keep me busy and decided to show me how to draw an elephant. It blew my mind how much it looked like the real thing to me. Her drawing was so simple and didn't have much detail but I knew what it was and I loved that. That moment felt like it lasted forever, instead of a word it was an image, a thousand words as they say. From that evening on I wanted to draw an elephant as well as she did, and draw as often as I could. 

I loved art and sports and as I grew up life was hard at times, art and sports provided a place to channel my energy. What is interesting, is that studies have shown that young male aggression and creativity follow the same line on a graph, and at peak male aggression, creativity peaks. So having outlets are important. Outlets are valuable. Again, I didn't know this at the time but art and sports gave me a direction and an outlet, I got to work with my hands and create objects and images. That's why it felt so great to do it, that’s the core of what I grew to love about it, all the other reasons came after. 

Tell us about the series you’re currently working on and a bit of what inspires you as an artist

So much inspires me. Resilient people inspire me. People that can get hit, have everything go to shit and keep going, like my parents. If you think about it, we’re descendants of the strongest. What’s the number...0.5 percent I think,  of the male population in the world have Genghis Khan geneticists.

I’m currently finishing up another skate deck, a series I started this year. The work is based on visual culture and ethnicity. It’s impossible to disentangle or separate the two. Visual art presents a direct opportunity to actively challenge images that are discriminatory or biased and create new imagery. I draw on not only my own racial identity but also include faces from my community. With the new work, I’m using images to examine the notion of how culture and entertainment including film and other media, shape the mass public perception of people of color in North American culture.  

I try to ask questions, do research, create and then repeat that process. A few friends and I had the idea to do a Jeffersonian Dinner, it was a great way to help form new ideas and shape future thoughts, but next time we need to add additional rules. I always say I like “happy mistakes.” One could argue that the creative process is just a series of mistakes.

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How did you develop your style? 

There were so many factors. From what I just enjoyed working with, to the longevity of the medium. Also what I grew up listening to. Hip-hop, rap, punk, and rock music raised us. My boys and I looked at artists before us as a path out. A way out you know? Some wanted to be ballplayers, some wanted to be rap artists or in a rock band. Guys like Mike Giant, Blek le Rat, Basquiat, Richard Hambleton, Shepard Fairey, Cope 2 are like the forefathers to some of us. I looked up to them and they helped shape my idea of what art is while trying to forge my own identity and my own vibe, my own cut, and line work.  

Early on I had no budget for tools and costly materials so it was whatever I could get my hands on… in a lot of ways that helped. It forces you to be creative and resourceful, do more with less. I think that's what separates the people that are creative enough to keep making personal art and those that stop. Keep in mind, making art is subjective, you could be an art director or teacher who never draws a thing and in some ways still, be making art.

Everyone has something that inspires them, you just have to search long enough to find it. Everyone has to find what they think is a great tool or what they think is real art. For so many,  if it's not done in a classic medium like oil, it's not real art. I respect oil greatly. It's a beautiful medium but you can't do with oil what you can do with a spray can or screen print and vice versa. I kept this in mind with all of my work and wanted to capture the contemporary culture and modern society not just in the images at times but also the material and technique. Nothing screams contemporary art like a spray can. 

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Describe your current studio space. What is important to have in it and how often do you dedicate time there? 

Coffee!!! Coffee is a prerequisite… lol

I work in a midsize space above a storefront, with lots of light and houseplants. I just got a new monstera, pretty stoked on that.  Learned how to propagate a monstera a few weeks back! So look out!

I like to live and work in buildings with history.  Like, if the pipes make noise, and there are old bricks that had to have patchwork done, I'm drawn to that! I like that.  

A lot of what I keep around and much of what decides when I work is the ability to know when I can or can't tap into flow. Ya’ know what I mean? That state where you’re so zoned in on a task that at the end, the time melts away leaving only the moment of creating it. An hour feels like 5mins. It’s just done. I can get two or three full images done in 8-12 hours when I’m inflow. I just come out of it and I’m almost done, and I crash because it takes so much out of you. The time dedicated varies, it all depends on flow.  

I need tools like a sander and mixed media. A glass of wine or bourbon to help me tap in to flow, you vibe? Makes it easier. You have to be on point, only a glass or two, too much and you’re out of flow or fucking up shit. I also can't start if I don’t have a fan or blow dryer to speed up dry time and a football or basketball to toss around the studio as I think or wait for the paint to dry. I have to have music… most of the time. Oh, music.  Music and painting are like steak and eggs, or old jeans and a fresh black t-shirt, they belong together.   

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Can you share a bit about your artist community and the art scene where you live?

The East Side of Toronto is diverse. We call it the Ark, in my hood anyway… due to the diversity. When you walk the core, you see two of everyone. Lots of 3rd generation black Canadians, lots of 1st and 2nd generation South Asians and 5th-10th generation white Canadians. You can get roti, samosa, oxtail or baklava all in a three minute walk on one street. 

Some of the top upcoming galleries have moved from the West, where all of the upcoming and established galleries use to be, to the East. The contemporary art scene is very young. There’s a lot of great street art. There are some awesome artists, art studios and the music scene in the East is always popping off. 

Besides showing in the next exhibition with PxP Contemporary, do you have any other exciting projects coming up for the rest of the year? 

I have a few commissions in the works I'm excited about and an upcoming show I might take on next year.  I have an interesting project that incorporates art, that I'm excited about but can’t give too much detail on this just yet. I rolled out a new site layout earlier this year, so I'll add a store option with past and new work shortly. 

Yes! I’m excited to work with PxP Contemporary and am looking forward to the next show! I’m feeling that.   

Thanks for taking the time to interview me, and giving me the opportunity to share some details of my work and process with your readers, I truly do appreciate that.  Thank you.

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Studio Sunday: S.P. Harper
‘Vut-Ami’ Portuguese-cut Diamond,  Acrylic and oil on canvas wallpaper, 16 x 16 inches

‘Vut-Ami’ Portuguese-cut Diamond, Acrylic and oil on canvas wallpaper, 16 x 16 inches

This week’s Studio Sunday features the work of LA-based artist S.P. Harper. Her work focuses on imagery of glittering gemstones created in a way that mixes the traditional still-life with modernism. Learn more about the family ties that inspire her choice of subject matter and the strong interest she has in the Ecocentric art movement in her interview below!

Bio

S. P. Harper studied art at the American University in Paris, France with Paul Jenkins, USC Roski School of Fine Arts (BFA) and ArtCenter in Pasadena, California. After spending 12 years in New York City, Harper returned to Los Angeles to teach art and concentrate on Ecocentic Art. Harper’s grandfather, Archibald Picking, was a diamantaire (diamond cutter) before becoming a conductor for Pacific Electric Red Cars.

When did you first become interested in art? Where did you study and can you tell us a bit about the early years of your career?

My interest in art was first kindled when my parents took me to see Pop Art at the Los Angeles County Museum of Art. The boldness of Andy Warhols’s big Brillo boxes and Campbell’s’ soup cans resonated with me. Our public school system did not offer instruction in the arts so without art classes throughout my elementary, junior and high schools, ultimately my love of art and pleasure of working in a studio environment was discovered in college. I learned to paint and sculpt but did not have a solid concept or vision of what to create, initially accepting trompe l’oeil and design projects until slowly developing my focus over time, many years, in fact.

How has your work developed and when did you begin to hone in on the subject matter that you focus on today?

Ten years ago, collecting my daughter and her friend’s used clothing, tie-dying them and selling them back to school parents for annual fund raiser benefits initiated my interest in reclamation. This re-appropriating process led me to paint with discarded surface materials. The still life of the gem stone came around organically because they are the perfect object to see recycled patterns through the gem facets. Just recently, there is an awareness this subject matter may come from channeling my late grandfather who was a diamantaire (diamond cutter).

‘Prometheus’ Round-cut Diamond,  Oil and acrylic on canvas poster, 16 x 16 inches

‘Prometheus’ Round-cut Diamond, Oil and acrylic on canvas poster, 16 x 16 inches

What is your current work inspired by?

The iPad drawings by David Hockney and his unparalleled mastery of draftsmanship and color have long served as inspirational material for me. Like David, I abstract from nature and attempt to present my subject in an artful and positive light using David’s kiss-of-the-sun, California color palette. I am also inspired by the Ecocentric artist activist: Vik Muniz. His dramatic use of recycled materials and the sheer size of his “WasteLand” series are awe-inspiring.

Can you talk about your interest in the Ecocentric Art Movement and how your art fits into it?

I paint on and create sculpture with reclaimed materials such as discarded tablecloths, wallpapers, curtains, metal and wood scraps. By reforming and re-employing, my work brings materials back to life to re-use and up-cycle. There is a new scholarship emerging as a massive international movement of the 21st Century to reduce our dependence on mass produced goods takes hold. Ecocentric practice is filtering into the consciousness and the behavior of society and is being explored by many disciplines as human values recalibrate. The movement serves the needs of environmentalism and is also known as Neo Materialism.

Five Thousand Karats,  Steel, aluminum and door hinges, 24 x 24 x 24 inches

Five Thousand Karats, Steel, aluminum and door hinges, 24 x 24 x 24 inches

What kind of space do you work in to make your art? What is important to have in it for you?

I work in a home studio which contains a wood shop and do the metal smithing at Molten Metal Works in Glendale, California. Good light, a large table space and a lot of unencumbered free time to create are top priorities. A room sized space is dedicated to storing a collection of salvaged materials in which painting and sculpture creation comes from. These materials are a constant source of inspiration. They tug at my heart stings to be rejuvenated and launched back into the world.

Are there any big projects, collaborations, or exhibitions that you are working on for the rest of the year that you'd like to share?

Seven Million Karats at the Audubon Center at Deb’s Park in Pasadena, California is my most recent installation. Seven Thousand Karats is included in Works On Paper at the Brand Library and Art Gallery in Glendale, California opening on September 7 and runs through October 25. A Diptych painting and sculpture will in included in Above the Couch at bG Gallery, Santa Monica, California opening on September 21 and runs through October 15. See you at the openings for art and cocktails!

Studio Sunday: Lizz Berry
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Create! Magazine is pleased to present a new Studio Sunday feature with Portland-based artist Lizz Berry. Learn more about what inspired her interest in fiber and textile art, the multiple reasons that she keeps a small forest of plants in her home studio, and what will be keeping her busy for the rest of the summer!

Bio

Lizz Berry is the founder, maker, and innovator behind The Wild Textile. All of the products she creates are hand crafted in her home studio in Portland, Maine.  She is a hand-weaver, natural dyer, quilter, and all around fiber enthusiast. 

Her love for cloth began at an early age, when she was exposed to family heirlooms from India - some over a century old. Colorful antique silk saris and other complex weavings were a part of her childhood - whether it be forts, canopies, or costumes. These fueled her love not only for textiles, but also for the color and textures that enliven them. Today you can still find her home adorned with some of the very same pieces that inspired her as a child. 

Lizz received her B.F.A. from Kutztown University in Pennsylvania, where she concentrated in Textiles. She spent her undergraduate years studying hand weaving, color application, and surface design via dyeing techniques.

More recently, she has integrated her fibers studio with her other life-long passion, the outdoors. She loves the simplicity of color in nature, and it never ceases to inspire her. Environmental conservation is also important to her, and she represents this value in her practices as often as possible. Color, the natural world, and fibers are the core elements of her creativity, and the unified embodiment of The Wild Textile.

When did you first become interested in art?

My interest in textile design has evolved from a variety of influences with one commonality: three dimensional, visual design. In grade school I wanted to be an architect, which later shifted to interior design and decorating. I experimented with every artistic medium that was available, both inside and outside the classroom. Throughout high school I took every single art class that was offered, except for Weaving. Ironically, I thought it sounded boring!  However, as a crafts major in college, my attitude quickly changed. I developed a passion for textiles after taking my first class. My focus began to gravitate towards functional pieces - scarves, blankets, linens, tableware and various items of home decor.  Throughout and following my college years, I worked in a sewing studio and fabrics store. This experience supplemented my passion for textiles with exciting new disciplines - sewing and quilting! On weekends and after work I also taught myself to forage for natural dyes and use my kitchen scraps for free sustainable colors that told a story. All of these practices have become key elements of The Wild Textile, and I suspect that my artistic interests will only grow more diverse in the years to come.  

Tell us about what inspires you creatively.

Plant life, abundant light, and nature in every form. Whether it’s the ever-expanding urban jungle in my home studio,  the rocky coasts and sandy beaches of Maine, or the alpine zones of my favorite mountains - I constantly integrate the textures and colors of my natural surroundings with my work. Exploring the outdoors inspires me to build lively color palettes that facilitate unique combinations of surface designs. It is always an extra special day when I come across natural dyes to be foraged in my travels! Another key source of my textiles inspiration emanates from my family heirlooms. My grandmother was a missionary surgeon in Assam, India, and she bestowed to my family a variety of handwoven Indian saris, tapestries and fabrics. The standards of craftsmanship upheld by prior generations never ceases to astound me. I find myself connecting with these textiles more than ever, as I approach reading the end of her diary entries on life in India during the 1950’s. 

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What is your process like? 

I often find my process fluctuates between meticulously planning and complete improvisation. In some instances, I plan each weaving in precise detail to make sure they will work logistically. In these cases, I create multiple scales of drawings with different colorways, pattern options, and sizes. On other projects, I allow my process to depend solely on my instincts. This approach involves designing my pieces while simultaneously crafting them, and has created some of my most interesting weavings to date. I love making up patterns on the loom that have never existed, and perhaps never will again. I often find myself in a meditative state where my feet move across the foot pedals while barely looking down at what I am creating. Some weavers may find this odd, but I think this technique can create truly authentic combinations of texture and color. I am always anticipating the next weave structure to be accidentally discovered!

Describe your current studio space. What is most important about it or one thing that you can’t live without in your work area?

I work out of my home studio in Portland, Maine. I have A LOT of house plants (over 70) scattered throughout my small apartment, which has abundant natural light. The plants are therapeutic to me, and also very functional in the photography process. I use them as backdrops in an effort to help the viewer visualize my products in a livable space. As an added bonus, it allows me to hide the nicks and bumps in my not-so-perfect wall from the early 1900’s.

What is one piece of advice that has stuck with you or a quote that you think is especially meaningful?

If you want to keep it, so will someone else! That’s how the majority of my products have developed. Create something for yourself - something that embodies the colors, textures, and emotions that inspire you - and before long you will have orders for more. 

Are there any exciting exhibitions, projects, or collaborations going on this year that you’re currently working on or will be soon?

I have recently signed on as Show Coordinator for the Maine Crafts Guild, which puts me in charge of organizing four large fine craft shows throughout the summer. This will keep me pretty busy over the next few months, but in my spare time I have been experimenting with a slew of great new materials for product prototypes. I am currently working on a brand new Fall line for the The Wild Textile, including more home decor items than ever, zipper pouches, sling bags, backpacks and more. Keep an eye out for this exciting release!

Check out The Wild Textile online or follow along on Instagram!

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Studio Sunday: Samantha Morris

It’s Sunday and you know what that means - another behind-the-scenes look at one of the artists from our community! This week we’re so excited to be sharing a brief interview with Samantha Morris, who we’ve had the pleasure of working with on our very first exhibition with PxP Contemporary.

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Bio

Samantha Morris was born in 1995 and grew up in Madison, Connecticut; she now lives and works in Brooklyn, New York. Morris graduated from The University of the Arts in 2017 with a BFA in Fine Arts with an emphasis in Painting and Drawing. In addition, she will begin her graduate studies in the MFA Fine Arts program at Pratt Institute in September 2019. Recent solo exhibitions include:  Kanna Rými, Listhús Gallery in Ólafsfjörður, Iceland; and BFA Thesis Exhibition, The Space Between, The University of the ArtsSelected group exhibitions include Black and White, Site:Brooklyn, Practice: In Progress, NARS Foundation, and Space Invaders, Fountain Street Gallery among others. Morris’ work has been published in FreshPaint Magazine, Opción Magazine, ArtMaze Magazine, and Underground Pool.

Statement

In my artwork, I focus on the idea of an individual traveling through a space; exploring place through architecture and landscape, abstracted through line, shadow pattern, contrast, and negative space. I am interested in dynamics, what can and can’t be seen. The seemingly mundane aspects of everyday life, one light shining through the square of a window frame, or the corner of a plant casting shadow on glass. Influenced by photography and film, my work investigates the stillness of night; the frozen moments before something happens. It exists in the “in between”, the time when your eyes adjust to the contrast of natural illuminated light and the depth of darkness. I feel immersed, traveling through such spaces. Each piece has reference to an environment, while existing in its own space.

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How did you first become interested in art and can you explain a bit of how it led you to the work you create today?I have been passionate about art for as long as I can remember. I knew that it was what I wanted to pursue, which led me to earn my BFA from University of the Arts. There, I was able to develop my artistic practice that now informs the work I create today.

Describe your current studio or working area. What is most important about it or one thing that you definitely need in your creative space?

Right now I have a studio at NARS (New York Artist Residencies and Studios) in Brooklyn, NY. The most important aspect of my studio is having expansive wall space. I’m currently working on large wooden panels directly on the wall, which gives me the ability to step back and view my paintings from a distance. It’s also very important for me to have reference material surrounding me in the studio. This can range from drawings, collages, photos, and film stills, all of which inform my work.

Tell us about the inspiration behind your paintings.

In my artwork, I focus on the idea of an individual traveling through a space; exploring place through architecture and landscape, abstracted through line, shadow pattern, contrast, and negative space. I am interested in dynamics, what can and can’t be seen. Influenced by photography and film, my work investigates the stillness of night; the frozen moments before something happens. It exists in the “in between”, the time when your eyes adjust to the contrast of natural illuminated light and the depth of darkness. The work is influenced by Scandinavian architecture, from experiences in Iceland and Norway. Each piece has reference to an environment, while existing in its own space.

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What is your process like? Do you do a lot of sketching or make work more intuitively?

All of the work I create comes from places I have experienced first-hand. I start by using photography as documentation and reference, then drawing and collage to explore composition and space, which then translates into paintings on panel. I pay attention to the differences between being in an actual physical space, experiencing a photograph of that place, and then finally creating, and experiencing that space through a form of rendered imagery such as painting or drawing.

Do your works often undergo a lot of changes before you consider them complete? How long does a piece take?

I have found that painting with oil on panel most successfully captures the concept of the work. It allows me to build passages of color through the use of mediums and thin transparent layering. Through this process, a sense of internal light emerges from the work. Changes occur throughout the act of making, and painting in this way can take weeks, working in layers and accounting for drying times. I consider a painting complete when the space is compelling, and asks the viewer to enter into it through the depths of light and dark within the subtle differences in tone and value.

Are there any exciting exhibitions, projects, or collaborations going on this year that you’re currently working on or will be soon?

I am showing work in the exhibition Collage, at Site:Brooklyn from June 14th - July 13th in Brooklyn, NY, as well as Paperworks, at b.j spoke gallery in Huntington, NY from August 1st - 28th in Huntington, NY. I will also be exhibiting work in the MFA Welcome Back Show at Pratt Institute in Brooklyn, NY from September 16th - October 10th.

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Create! Magazine Community Playlist
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The Create! team wants to know what you’re listening to!

our director Of business operations, Alicia, had the great idea of putting together a collaborative playlist and including some of your favorite songs to listen to in the studio this summer! Enjoy the below playlist created based on your comments and suggestions.

Comment below or send an email to info@createmagazine.com to send us more songs to add to the playlist.

Listen on Spotify

Studio Sundays: April Zanne Johnson

April Zanne Johnson (b. 1970) is a graduate of Parsons School of Design/The New School for Social Research (1993) and received her M.F.A. at Montclair State University (2013). Her studio is in a rural northwest community in New Jersey.

April's work has been added to the permanent collection of the Williamsburg Art & Historical Center in Brooklyn, NYC. She has work held by several private collectors in Mexico City, New York City, North Carolina, Los Angeles, London and Australia. (Notable collectors including composer Javier Navarrete & actor Perdita Weeks) Honors include; Best of 2013, Saatchi Art, London U.K., curated by Rebecca Wilson, spotlighted in the series: One to Watch.  April was awarded Herhusid Artist Residency in Iceland. She was the Dedalus Foundation Fellowship Nominee as well as the Nominee for Executive Women of New Jersey Graduate Merit Scholarship Award chosen by the Montclair State University graduate faculty (2012,2013). Inka Essenhigh selected April for the Atlantic Center for the Arts Artist Residency in 2015.  In 2016, April was included as an IASAS Founding Member (International Association of Synaesthetes, Artists and Scientists).

Her work has been featured in numerous publications internationally. 

Statement of Artistic Approach

Zanne Johnson is a visual artist who perceives a combination of translucent color fields and patterns with sound and physical sensation. This creates the base for selected color and form development in the work.  The paintings meld neurological phenomena, biomorphic landscape imagery, perceptions in sexuality and a notion of the absurd.  Organic in form, the surfaces are slick and appear wet. 

Select portfolios contain oil paintings on translucent plexiglass and drafting film that deviate from tradition. They are set to stand off from the wall to allow natural light to interact with surface as a sculptural object.  The intention is to engage with the viewer's own neurological predictive coding, provoke questions and generate communication.

Zanne Johnson’s entire body of work revolves around creating multiple parallel planes existing within our own world and plays with fluctuating size and scale.   Reoccurring themes in the work include neurological predictive coding, technology compared to the biological world, and battles in the microscopic landscape. 

Studio photos by Thyra Johnson-Kelly

Studio Sundays: Chloe York

Abstract painter, Chloe York earned her BFA from Memphis College of Art in 2012. She has displayed her work in over 100 group and solo exhibitions throughout the mid-South and her solo exhibit, Decorators was named one of Memphis’s top ten visual art exhibits for 2013. She currently resides in Birmingham with sculptor, Eric Quick and ferocious daughter, Echo in their shared home and studio.

“My work explores identity, outward appearances, and the manner in which we decorate ourselves.”
— Chloe York

Submit to next week's Studio Sundays feature:

Studio Sundays: Michele Kishita

Michele Kishita is a Philadelphia-based artist who grew up in the vastly different landscapes of rural Central Pennsylvania and the Arizona desert. She uses colors found in nature that are not typically associated with “natural” colors and focuses on water as her primary subject. Kishita lived in Japan and is a Japanese print consultant, authenticating, translating, and appraising woodblock prints for auction houses and collectors. Her paintings are strongly influenced by the graphic, stylized quality of Hiroshige and Hokusai, as well as the compositions of ukiyo-e. Kishita’s paintings are in a number of private/corporate collections, including Toyota and Kaiser Permanente and have been shown extensively on the East Coast. She has been published in Fresh Paint MagazineThe Artist CatalogueCreate Magazine, as well as several literary journals, and was selected to exhibit at the Sharjah Art Museum in the United Arab Emirates. Kishita received both her BFA and MFA in painting from the University of the Arts. 

Studio Sundays: Lisa Denyer

Lisa Denyer graduated from Coventry University in 2009 with a BA (Hons) in Fine Art. In 2010 she received second prize in the Gilchrist Fisher Award, held at Rebecca Hossack Gallery, London. In 2015 she received first prize in the PS Mirabel Open. Solo presentations include Geode at South Square Gallery, Thornton 2014, Paintings as Objects at PS Mirabel, Manchester 2016, and MM Open Studio at Galerie Martin Mertens, Berlin 2017. Other exhibitions include About Painting at Castlefield Gallery, Manchester 2014, Contemporary British Abstraction at SE9 Container Gallery, London 2015, Sobre fragmentos y materia (two person show) at Kir Royal, Madrid 2017, and Contemporary Masters from Britain at Yantai Art Museum, China 2017. Lisa is based in Berlin.

Artist Statement

My practice looks at the contrast between the slow, considered process of painting against the sensory overload of daily life, and how contemporary painting deals with those polarities. The work relates to the body, the physical world, the transient nature of city living, the virtual, and the relationship we have with the spaces we inhabit.

The compositions are developed using collage, with a visual language of simple shape and line. Geometric elements are tested in variations before the composition is intuitively set in a dialogue with spontaneous, painterly brushstrokes.

My choice of supports reflects the solidity of materials and the objecthood of paintings. The surfaces are dense and weighty and often handmade; heavy plywood, panel, and sandpaper. These materials are selected for their textual qualities and their ability to withstand multiple layers of paint. The handling of paint and the interaction between the medium and the raw surface upon which it is applied is a primary consideration in my practice.

Studio Sundays: Vanessa Lam

Mixed media painter Vanessa Lam creates dialogue between collage and expressive gestural painting. While pursuing a career in health care, she maintained an interest in art that began with studies at the University of British Columbia. Progressing this interest, Lam entered into Continuing Studies at Emily Carr University of Art and Design. For the past five years, Vanessa has sold and exhibited her work at artist-run and public galleries both locally and internationally.  She was awarded the Vancouver Regional Award and Grand Prize Award for the 2017 Bombay Sapphire Artisan Series. Her work was also featured in Create Magazine and Uppercase Magazine. Vanessa Lam was recently an artist-in-residence at Takt Projektraum in Berlin, Germany. She currently lives and works in Vancouver, British Columbia.

Fun Fact: “Rock climbing gave me the foundation to start and sustain my art practice. It helped me develop discipline, persistence and the confidence to push through self-limiting beliefs.”
— Vanessa Lam
Studio Sundays: Jason Bryant

Born in 1976 in Wilson, NC, Jason Bryant now lives and works in New York, City. Bryant graduated from East Carolina University with a BFA and went on to the Maryland Institute College of Art for his MFA in painting.  Bryant moved to New York City soon after and began work with such notable artists as Kehinde Wiley and Bjarne Melgaard.

Heavily influenced by classic film, Bryant begins each painting by researching images from cinematic moments or magazine images of interest to fit various themes exploring loneliness, vulnerability and frailty. Bryant renders each image, at first as a pencil sketch on canvas without the use of projection and then by transforming the image through oil paint into a photo-realistically and beautifully rendered film still. Bryant then incorporates his signature skateboard graphics, a skateboarder himself, or paints in pixilated areas often cropping the eyes or other notable features of each character.

Bryant’s paintings have been exhibited across the United States, Europe and Australia, are represented by galleries in New York, London and the Gold Coast and are collected worldwide. His work has been featured and covered in Juxtapoz Magazine, Thrasher (U.S. and France), NY Arts Magazine, American Artist and Time Out New York.

Statement

A photo, a fingerprint, a signature, and DNA are all methods we use to identify a person, but they are just a means to match a name or face to an individual, not to describe who they are or to translate their identity. For as long as I have been using portraiture as the main focus of my paintings, it is not the identity or recognizable face in which I use to describe my portraits, but more of a blueprint of how I approach portraiture. Many levels go into what makes a person’s portrait. It’s a fabric of many layers, intertwined with a person’s favorite foods, music, and movies. I have used all of these concepts in building my portraits. Stemming from my lifelong love of the cinema, many of the subjects of my paintings are actors and actresses. However, I am not commenting on celebrity or the star system, but I use the celebrity as a hook to bring then viewer in. My work has never focused on the face to describe or examine a portrait. Instead, by cropping or hiding certain features of the face, I add more mystery to the portrait, bringing us to question who we are and what’s beneath the surface.

In my recent series of paintings, I have incorporated my love of skateboarding to explore themes of portraiture. With vibrant visceral iconic skateboard graphics coming from behind or bursting through the elegant black and white images of various actors and actresses, I’ve merged two of the most important parts of my life, skateboarding and art. I use the traditional format of the portrait, to simultaneously, comment on identity and create portraits that mean so much more than just the individual being painted. With most of my paintings, the figure is the focal point, but when all of the elements of the painting come into play, the work really explores the identity of others, not the subject being painted. There is so much to be learned from a person’s portrait, information that goes well beyond the face.

Studio Sundays: Chantal Khoury

Chantal Khoury (b 1986) is originally from New Brunswick, Canada but has been based in Montreal since 2006.  She obtained her BFA with distinction from Concordia University in 2012 and has been developing her practice ever since. Ongoing themes in her work examine the figure within contemporary portraiture, most often through her female characters. In recent years, her interest in memory and group dynamics have lead her work in a narrative direction. Her latest series Home and Haven was exhibited most recently in a solo exhibition at The Belgo Building in Montreal and will travel to Eastern Canada for another solo exhibition in 2018.  She has exhibited widely across Canada, in numerous solo and group exhibitions and her work was part of the 2017 Carmichael Canadian Landscape Exhibition: Tradition Transformed at the Orillia Museum of Art & History. She has worked as an instructor at The Beaverbrook Art Gallery and her work is found in both private and public collections, including the permanent collection of the University of New Brunswick. She is represented by Gallery On Queen in Fredericton, New Brunswick.

My artistic practice works both within and outside the conventional aspects of representational painting and drawing. It is anchored in the realm of figuration and landscape, with an expressionist approach to image-making. During the past several years, an ongoing theme has addressed the female ‘self’, where my characters’ identities are repurposed and re-imagined.

More recently, my interests lie in selective memory as I examine my own childhood, my place in the Lebanese diaspora and my relationship to ‘longing’ within the Canadian landscape; these subjects act as a point of departure.  My work takes on site-specific locations and addresses them through an idyllic lens. My resource material is pulled from found images and family photos while experimentation plays a major role in my process. My current series, Home and Haven explores the effects of selective memory over time by focusing on my own relationship to my childhood in Atlantic Canada. My practice always involves an exploratory approach to colour experimentation and composition, no matter the theme I am working on.

Fun Fact: My resource images are from my father's photos ( he is a photographer) which are already idealized. My works takes the images even further into the ideal and the utopian.

Studio Sundays: Jay Riggio

Jay Riggio, a self-taught visual artist, was born in Long Island, New York in 1978. Utilizing original source material from discarded magazines and books, Riggio’s work brings new life to once forgotten imagery through complex, handcut and pasted, mixed media collages. His works depict dream-inspired stories through unique, surrealistic visual pairings: a reflection of the artists interpretations on life, love, humor and the human condition.

In addition to exhibiting work in galleries around the world, Riggio has done commercial illustrations for brands likeGather JournalThe New York TimesBrooklyn Magazine, Alice McCall, A24 Films and more. 

Jay currently lives and works in Los Angeles, CA.