Posts tagged abstract
Interview with William Tyler Story
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Create! Magazine is excited to share a new interview feature with artist William Tyler Story. Besides telling us more about the new series of abstract works he is excited to be focusing on this year, he also explains the pivotal moment in his early career that motivated him to pursue being an artist full-time. You can find more of his work on his website or via Instagram @peaceoot and @williamtylerstory.

Bio

Influenced by modern-day street art, driven by raw talent and intuition; my subject matter reflects self-discovery.

My interest in art began at a very young age, drawing things I would see in everyday life. Brought up in East Texas, art was rarely encouraged as a career path. Because of this I never saw art as a future career, but more as a hobby. My local community revolved around sports and everyone I knew aspired to be a professional athlete of some sort. Naturally, I followed in those footsteps and played a wide variety of sports trying to find a fit. Despite my athleticism, I knew deep down it wasn’t my calling.

My first year out of high school (2010), I moved into a loft in Downtown Dallas. This is where I began to experiment with the arts. Inspired by artists like Banksy and Zio Zeigler, I spent countless hours painting large murals on the walls of my home. In time, I began taking acrylic to canvas, continuing to expand my artistic process.

October 01, 2016 I decided to share my art with the community for the first time. Selling 4 of the 5 paintings I displayed sparked a flame that motivated me to strive for a full-time career in the art world. Since then my art has evolved and expanded its reach internationally. 2018 marked my first year as a full-time artist, selling paintings, prints, commissions, customized apparel and more.

My latest “DREAMseries” (2019) was the debut of my favorite style of abstract paintings. I found a technique that felt very natural to me after all of the experimenting with different styles of painting. I’m currently working on creating an extension of the DREAMseries and plan to share it publicly early fall. These paintings will soon be translated into my first large scale mural installation.

Can you tell us a little more about your early interest in art? 

When I was little I loved looking at the illustrations in MAD magazine. I was drawn to the imaginary caricatures. Only 8 years old, I sketched my first portrait of Kobe Bryant (image lost over the years). That moment I recognized my knack for drawing. The details of the face, proportions, etc. It all felt very natural to me. 

I continued to doodle over the years and my skills began evolving. I had a wide variety of drawings, but the one common theme was my desire to portray an alternate, unrealistic scene. I was drawn to cartoons and things that were a bit abstract to reality. 

I took a couple of art courses in school. However, I felt confined within the guidelines of what I was being taught. So I chose a different path and pursued a career in the Health & Wellness industry. At the age of 19, I was working and going to school full time. On the weekends I spent my time painting on the walls of my apartment. It was refreshing to have zero boundaries. Painting large murals of anything that came to mind. Exploring color palettes, types of paints, techniques, etc. After moving around a bit and having to paint over the artwork on the walls, I figured it was time to take my art to canvas.

What led you to first exhibit your work in 2016? After this successful showing, how did you develop your career?

After working a stable job for 8 years and painting personal pieces when I had the time, I decided to display my art in a local coffee shop to see what would happen. 4 of the 5 paintings displayed sold in less than a month. That was my sign to take a leap of faith and follow my dreams. I started painting more and steadily transitioning away from the Health & Wellness industry. Once I felt like I could survive minimally off of my artwork, making sales online anyway I found possible, I declared myself a full-time artist.

It seems like doing commission work is a significant part of your practice. How do you find clients and what are some of the exciting or challenging aspects of this type of work?

As my work began to expand internationally, I felt confident enough to begin accepting commission work to push my skillset further. The clients’ requests were always of a style I had never attempted before. This was an exciting step in my career. They were requesting portraits, animals, landscapes, etc. The thrill of exploring new techniques motivated me to keep going and try new things. I’d say the most challenging aspect of this type of work was fear of the unknown. I began questioning myself, “Am I doing this ‘right’? Will they like it?” Define ‘right’.  I was reminded of the days in art class where I felt confined within the rules of art. Those internal struggles gave me clarity on what art means to me today. I no longer feel that I have to be so structured or plan so far ahead when it comes to painting. I create a general concept and allow myself to feel more and just let things happen. It brought on a whole different level of enjoyment to painting.

Talk about your more recent abstract paintings and what has inspired them.

Recent works of my DREAMseries reflect this epiphany of freedom to move about the canvas in the way I enjoy most. Sharing the inner depths of my subconscious using colors that reflected however I felt in that moment and letting shapes take form. Listening to music…sitting in silence…rested…exhausted…these paintings have pieces of me in every little corner. The colorful DREAM painting can be rotated to any side, creating a new perception with every turn. A fun twist that allowed me to paint from every angle, giving the collector 4 paintings in 1.

The DREAMseries also displays my first paintings composed in black & white. 

I spent many restless nights wondering what was next for me. I sat up thinking about how I got to where I am today and what the future may look like. And then it happened. I was able to finally close my eyes and dream. Hopping from one reality to the next, waking with blurry details in my mind…I picked up a pencil and began sketching. There was a new fire burning within my soul as the shapes began to take form. I felt the creativity flowing with every stroke. There was less planning…more feeling…it was eye-opening.

While painting the DREAMseries, I discovered a unique style that came very natural to me and I’m excited to continue to share my work with the world as I grow.

Do you have any other exhibitions or projects planned for the rest of the year or into 2020?

I am currently coordinating my first large scale mural installation and exploring different opportunities with gallery displays for 2020. From there I hope to continue painting on a larger scale and help more people connect with my work. 

Is there a quote, mantra, or piece of advice that is especially meaningful to you?

Find your passion, be persistent & remain patient. Forever grateful. Forever humble.

Crystal Latimer
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Crystal is currently a full-time painter based out of Pittsburgh, PA. She is represented by BoxHeart Gallery and Studio Director at Radiant Hall Susquehanna. Crystal completed her BFA Slippery Rock University. She then went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively.

Crystal's work has been shown extensively in both solo and group exhibitions, including at the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Framehouse and Jask among others. She has shown her work in Hong Kong, China, as well as participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal's work has been featured in Local Arts PGH, Art Maze Magazine, Ruminate Magazine, and Fresh Paint Magazine. Her work is included in both public and private collections including those of Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp.

Statement

I stood at a Wal-Mart in Escazu, Costa Rica, and felt like I was experiencing that moment in late autumn when you realize that all the fiery reds and oranges had faded and fallen to the ground. My life had been a staccato of visits to my mother’s native Costa Rica and, in that second, I realized that I was witnessing the dilution of the vibrant culture.

My paintings explore the hybridity of Western and Latin American identity. For me, understanding identity, and its existence within a historical context does not assume a position in words, but in shape. Embedded in my compositions is Latin American culture: its intricate folk arts, tropical flora, and warm hues; while graffiti tags, bold mark making, and images of conquest interrupt this patchwork of shape and color. Patterns, both traditional and commercial, are fragmented and pieced together. Colors infused with Latin flavor are diluted by a ubiquitous white. Organic, blooming forms are contrasted by flat or rigid fields. My paintings use the tools of paint and brush to consider the colonization of Latin America, and its continuing role as “colony” in Western society. Without taking a political stance, I aim to draw attention to the visual tapestries and unknown histories of this underrepresented area.

www.crystallatimer.com


Studio Sunday: Seth Remsnyder

We’re so excited to be bringing you a Studio Sunday feature with Seth Remsnyder!

My current body of work is titled: “Signage”. These are paintings on metal pieces like signs. The paintings are non-representational works focused on color, arrangement and movement. Some are placed on sign posts and installed in the public to play off of the signage that covers our communities. The intent of this body of work is to place serious works of visual art in a public context that deals with the concept of taking notice of the world around us. Signage is intended to grab the attention. So is visual art. The difference is often the context. Why do we so often miss what we are supposed to see when we are out in the world? Is the benefit of visual art in the public space the benefit of helping us remember how to see? I propose that it is. My current work aims to play off of the concept of signage to confront the public with visual art work in the public spaces that we traverse and all too often ignore. Perhaps most important is the basic idea that works such as these hold the possibility of brightening the days of the residents of our communities.

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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 became interested in art when I was about 9 or so? I liked to draw well before that but my Mom stashed a little post Impressionism/Impressionism catalogue in her magazine rack and I saw a painting by Vincent van Gogh called “Stairway at Auvers” and I was blown away. I tried to paint a lot after seeing that. I think I know how to say it better now than I could have when I was younger but I looked at “Stairway at Auvers”, it was unreal, almost cartoonish in a very good way, but also, so real, so tangible, and dense that I felt like I was there with him. I never thought a picture could make me feel as strongly as that one did. I still get chills when I look at it. If you’re reading this, look it up.

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We love that your work is so bold and colorful. Can you tell us about what inspires you and what inspired your series of metal painted signs specifically?

Well, van Gogh absolutely drove me to just go after color and to not be afraid of it so I think that was very formative for my approach to a palette... Perception is such an important part of life... attentiveness to what is going on around us or passing us by, and with my current body of work I am really getting a lot of imagination material from horizons that I see. Sunsets and sunrises and the stuff of life that’s kind of all crammed underneath the skyline is what I imagine most when I’m painting the lines in my work. So, if I see a certain gradient in the sky I try to amplify it a little as a backdrop for the lines I’m painting. I also just tend to think in masses of color so sometimes I just spray down a color and stare at it for a while and see what it reminds me of or what other colors it calls to mind. It never ceases to amaze me the way our minds make connections to certain colors. Another inspiration for the motifs, the lines and the compositions I’m making with them, is a sort of visualization of relationships. We travel along through life with other people, cross paths etc. and so I’m often painting two lines at a time together and then basing the rest of a piece off of those interactions. I think that we think of life in a very linear way... I don’t means straightforward, but rather, the concept in general. I think we all tend to see ourselves going through life in a kind of GPS kind of way. We imagine ourselves going places and we think of life as a path and that concept really interests me. I think lines are really an endlessly interesting motif.

What is your process like?

My process has changed a lot with the current work I’m doing. Spray paint and air brush removes a certain kind of control that I had spent a lot of time developing with a brush and I am really enjoying that. It has helped me forget myself in an important way. I was always very emotionally connected to the brush, the romance of an expressionist stroke runs deep with me so detaching myself from the work with spray has helped me think more clearly about my paintings. I’m more in tune with the formal elements now I think. Process is a strange thing... it always has to start with something metaphysical, as in, what got me working on a given day... and then its a matter of either improvising or trying to fulfill a plan. With my public work I’m really focusing on a certain kind of place to put my work. I want them to be in spaces that are easily visible but neglected. We don’t always see what we’re supposed to see when we’re out and about and we could probably go on all day about why that is but this work is meant to just go straight at a solution to that... namely, putting serious paintings in a signage form and trying to snag the eyes of passers by. I pay more attention to my world when I think I might be missing art along the way.

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

My current studio is on the first floor of my house. I love it. It’s fairly well lit and my family is around. I don’t need much space right now but I am really grateful for what I have... right now at least it’s more than enough.  Music is important to me, I kind of like everything. I do sometimes like to paint without it because the background noise of my kids watching Scooby Doo Where Are You or the old Batman TV show is such a happy kind prof background noise to me. Or, they’ll get caught up in such a good little kid jam session just playing some imaginary game together, my seven year old daughter playing with my three year old is the sweetest noise I can think of. They’re pretty hilarious too so I just listen to them and laugh while I work. One thing I definitely need is a pot of coffee. I’ve been burning the candle at both ends for too many years now and that’s my need I guess.

What is your favorite thing about being an artist?

My favorite thing about being as artist is the way that it has helped me learn to use my eyes. I’ve been really fortunate to pursue my Masters Degree in painting at the Savannah College of Art and Design over the past few years and I think the most important skill I’m leaving there with is a vastly improved ability to take notice of my world, the ability to really use my eyes and take things in. I’m so glad for that. I think it’s also helped me sharpen my memories too. I can remember colors from my childhood better now. I know that sounds strange but I think it’s true.

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Do you have any big collaborations, projects, exhibitions, etc going on during the rest of the year that you'd like to share?

The big things going on for me right now: I graduate on Friday, May 31st!! I’ll be in Savannah to walk and get my degree! Who knows, maybe I’ll leave some signage behind too... My thesis exhibition is in Richmond, Virginia on Friday, June 7 at Gallery Edit on Broad Street and I’m excited to install this show. Last but not least, my wife and I added our fourth child to our family at the end of April!  His name is Hank and he’s the sweetest little guy. Mom and baby are both doing well. Oh yeah, getting picked up by PxP of course. Grateful.

Browse Seth’s available works with PxP Contemporary.

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Studio Sunday: Kristen Elizabeth
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We’re bringing back Studio Sundays and this weekend we’re so excited to be introducing you to one of our PxP Contemporary artists, Kristen Elizabeth! Learn more in our interview below and then don’t forget to check our her available works in our premiere exhibition ‘Pilot’, which is currently on view online!

Artist Biography:

Connecticut based artist, Kristen Elizabeth (b.1986) formally educated in Industrial Design, has been developing her unique artistic voice over the past several years. Having grown up on the coast, she is heavily influenced by the sea and the dynamic tension between power and balance that can be observed around us. Her work seeks to draw viewers in through bold movement and a counterbalance of intricate mark making. Her use of a wide variety of materials such as acrylic, graphite, pastel, and more creates a visual statement that can be experienced on multiple levels. In addition to her art, she has been involved in many creative projects including painting a 50ft tall likeness of Lebron James in Harlem's famed Rucker Park, as well as - developed a new logo and fashion illustrations for New York's influential FABB charity event.  Her work has been featured in multiple publications including Create! Magazine, Art Reveal Magazine, and The Wall Street Journal.  

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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?

As long as I can remember, I’ve always had a passion for art. I grew up in a creative family and had practicing artists on both my mother & father’s side. I’ve always had a desire to be creative, but felt I had to be practical. Because of this, I majored in product design and was approaching graduation right at the beginning of the recession in 2008. The career and life I had been envisioning for the past four years all but evaporated, but this allowed me freedom from a traditional path and ultimately set me on the course to where I am today. It’s been quite a ride - with both highs and lows. I hope to express this dynamism that is life through my current and future works.

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

I currently divide my time between my small home studio and a larger studio space where I run my business, a children's art studio called SplatterBox. My space at home is peaceful, harmonious and filled with the books, art, and music I love. That space allows me to focus on smaller more contained works using mostly watercolors and inks. SplatterBox allows me the room to stretch out and work on larger pieces without worrying about making a mess - hence the name SplatterBox. That said, it can be a challenge! It can often be hectic & stressful but it is also highly rewarding. I was able to not only lead a fulfilling path teaching kids but also re-discover my passion for art amongst all the glitter, unicorns, & beautiful mess.

Tell us about the inspiration behind your work.

I really try to absorb my environment. I find the people and places around me to be incredible resources. I’ve found that some series tend to draw from specific experiences, while other inspiration could be found in more ethereal experiences. My ‘Mineral Girl’ series was completely inspired by a trip to the amazing mineral room at the Peabody Museum in New Haven, CT. To contrast that, my ‘Geo Swoosh’ & ‘'The Change’ series took from something much more intuitive and deep within myself. I spent much of my childhood by the sea and observed everything from grey misty mornings to deep dark raging storms. Drawing from these visual memories as well as exploring life experiences I had, helped guide my hand.  You can see this in everything from the large sweeping motions to the tapestry of delicate details and patterns.

What one piece of creative or business advice would you give to your younger self?

The one piece of advice I would give my younger self is DON’T WAIT. On pessimistic days I might see it as time wasted, but I have had a range of other experiences and challenges that inform my art today. That said, I held back from truly jumping into my art career for many years and wish I had started that path sooner. It can be intimidating to put yourself out there, but if you keep delaying and putting it off - you’ll never know what opportunities might come your way.

What are you working on now and for the rest of the year?

Right now I’m coming off of an exciting job working for FABB (The Fashion Accessories Benefit Ball) & can’t seem to stray from creating high contrast fashion illustrations. I’ve found these very cathartic and they allow me to create without the pressure of a series or having any constraints imposed (self or otherwise). I’m happy to say they have enabled me to gain a clear headspace and I now have two new series I’m in the process of designing. Both will be an expansion & evolution of my previous work. As a side note, I have to give a nod to the Podcast - Art & Cocktails - for the invaluable information learned while listening to the episode ‘How To Design A New Series’.

View her collection of available works with PxP Contemporary here!

Paradigm Gallery: Scott Albrecht at Scope Miami Beach

Scott Albrecht was born in 1983 in New Brunswick, NJ, and raised in Bethlehem Township, NJ. In 2003, he received a degree in Graphic Design from The Art Institute of Philadelphia. Scott is currently based in Brooklyn, NY and a member of The Gowanus Studio Space. His work incorporates elements of woodworking, hand-drawn typography, geometric collage using vintage printed ephemera and found objects and has been published and exhibited both domestically and internationally.  

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What inspired your recent work?

A large part of my work is directly inspired by daily experiences or relationships that I have and I wind up using my work as a way to get a deeper understanding of what’s happening. I think this past year I’ve been influenced by a lot of situations that overlap on one another, and I’m more and more trying to understand my relationships and take stock in what is important. 

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How do you come up with the geometry and color palette in each piece?

All the works in this collection, in one way or another, stem from abstracted typography, so the base of each piece builds up from an underlying message. Since the words themselves are abstracted, the color palettes do a lot of the initial work in terms of setting the mood and tone of a piece. I spend a lot of time trying to think about how that idea can be translated with color.

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Tell us about the work that will be on display at Scope during this year’s Art Basel Week in Miami. What is this year's focus?

I’ll have a collection of new woodworks on view with Paradigm Gallery that are stemming from a few different series’ that I’ve been working on and evolving. Each work is comprised of several dozen (if not 100+) individually cut pieces of wood that are then sanded, painted and re-assembled.

Conceptually a bigger theme for me this past year has been the idea of acceptance and understanding and learning to embrace a situation as-is. I think the works in the collection that I have been meditating on the most are a triptych stemming from the Wabi Sabi philosophy that all things are imperfect, incomplete and impermanent.

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What is a day in a life like for you? How do you find a balance between your studio practice and other commitments?

Each day varies depending on what I’m working on or what my focus is, but I try to keep a pretty large pool of projects and pieces going that I can work on so that if I get burned out or just need to switch gears I can do that and come back to whatever it is with a fresh perspective. One day I might be in the wood shop working on some pieces, the next I might be getting proposals together or making a zine… it really varies day-to-day and I like that flexibility to keep the days from being monotonous. In terms of other commitments, I’ve learned that giving myself a set schedule in the studio is really important. I generally work from 10-7 and having that cut-off forces me to really focus on what I need to get done that day, otherwise I’ll totally just work all day and all night.

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What is an important element in your work that you want viewers to be aware of?

I don’t know that I want viewers to be aware of anything in particular. Because the work is more abstract, there’s something really nice in that someone may see something that I may not see, or that they can form their own relationship to a piece.

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Share a piece of advice with other artists that helped you along the way.

Always keep going. The harder you work, the better luck you have.

Also don’t compare yourself to other people. Everyone is at a different time and place in their journey.

Vanessa Lam

Vanessa Lam uses mixed media painting and assemblage to explore the hidden stories behind everyday objects. In her recent work, she compares the thinking process to be like “rearranging mental furniture” where shifting deep-seated beliefs are akin to physical exertion. As part of her investigation of the relationship between home and personal identity, Vanessa interprets the home as a compartmentalized reflection of ourselves. There are areas where we open up to others while other areas remain hidden. She is interested in exploring this inner realm where objects exist both in harmony and in flux. Through the process of layering and collage, Vanessa explores the tension of this relationship in her latest body of work.

Vanessa Lam lives and works in Vancouver, British Columbia as a mixed media painter. Her work was selected to be in a recent issue of Uppercase Magazine. She was also awarded first place in the 2014 Semiahmoo Arts Juried Art Exhibit. Vanessa has exhibited and sold her work at various community venues and public galleries across the city.

Interview: Tom French

'Born in 1982, Tom French grew up in Newcastle Upon Tyne, North East England. Tom began his studies at the Newcastle School of Art and Design and went on to graduate from the Sheffield Institute of Art and Design achieving a first class BA Honors in 2005. 

Through his work, French focuses on the reflection of the conscious and unconscious mind. His oil paintings are a skillful combination of academic realism and surrealism, enveloped in carefree, loose and ostensibly unfinished abstract forms. 
This unique fusion of figurative realism and lively abstraction treads the fine line between the beautiful and the unsettling, allowing layers of narrative to filter through whilst bringing life and movement to his compositions.'

Tell us about how you got started. When did you know you wanted to be an artist?

Creative life began in childhood, my parents have always been interested in, and involved with, various forms of the arts, so anything creative was very much encouraged. My early childhood was very rural and we didn’t have a TV, so a lot of time was spent drawing or making things - trying to perfectly replicate album covers or attempting murals on the bedroom walls. My dad is an artist too, so I was often surrounded by his weird and wonderful creations. Being an artist wasn’t a decision I made at a particular moment, it’s more something I’ve always done, and I’ve just taken little detours along the journey.

We love the gesture and movement combined with elements of the figure in your work. What are some things that you think about when creating each piece? 

Most of my conceptual/theoretical work is already complete by the time I begin actually painting, so during the painting process my main concern is translating these preconceived ideas into a visual reality. 

The characters/figures in my work, the actions they carry out, and the environments which surround them, are more psychological than physical - metaphors for mental processes and fields of thought, rather than anything tangible. So when creating the abstract marks in which the figures are situated, I work in a very free and intuitive way - it’s not at all planned, going with what feels right. Rendering the characters, on the other hand, is a very considered task. I’m concerned with how they interact with their surroundings, but mainly how they interact with each other - directly or indirectly. A lot can be read into small figurative positional changes - a slight change in the angle of a head, or the way a finger is held, can make quite a difference to the flow of a painting, so often sections of the figures are repainted quite a few times until they have the desired effect. 

Does each work require a lot of planning and preparation? Give us a glimpse into your process. 

I tend not to plan my paintings as much as I have done in the past. I used to extensively plan my compositions and final outcome, but that way of working becomes rigid and feels restrictive over time. 

I spend a reasonable amount of time in preparing the physical canvas - I use a very fine grain canvas then prime and sand it back 3 to 5 times so the surface is a particular smoothness ideal for the painting techniques I use. For the latest works I used only black paint - no white other than the primer - so the black paint is applied, then wiped back so that the white of the canvas shows through it.

Once the canvas is prepared and dry I go straight in with the biggest boldest abstract marks, its fast paced and immediate, undoubtedly the most enjoyable part of the process. This abstract beginning largely dictates the position of the various elements to follow, allowing the image to naturally progress, harnessing as much of the unplanned/unexpected marks in order to retain a strong sense of immediacy. The process gets progressively less animated as the image develops, with the final stages being a very time intensive process of rendering the technical figurative elements and balancing the lights and darks in order for the structure of the image to pull together as whole.

Name a few of your favourite artists and influences. 

My influences span a lot of genres and eras so it’s difficult to summarise. The theoretical influences come from research into subjects like philosophy, psychology and physics. I relate to the progressive approach the surrealists took regarding perception and our interpretation of images. I’ve admiration for classical painting, abstract art and everything in between, and enjoy incorporating a blend of different genre’s into the work, visually and conceptually. 

Congratulations on your solo exhibition at Unit London! What do you hope the viewer takes away from the show? 

Thanks! Everyone will take away something different, their individual experience, as is the nature of these things. Every now and then I get an email or message from someone who has really connected with the work - it’s meant something to them personally and they’ve felt compelled to share that with me. Its those kind of moments that make the time & effort work worthwhile.

What is the best advice you received as an artist?

A long time ago I didn’t understand the difference between criticism and critical analysis. Or more to the point, that criticism should be taken as critique. So many artists can’t deal with hearing anything about their work that isn’t a compliment. The ability to objectively consider your own work is, for me, one of the most useful tools for progression. 

Lynn Rybicki

Lynn Rybicki was born in Chicago, Illinois and has lived in Baltimore for most of her life. She studied painting at the Maryland Institute College of Art and has been painting and showing her work for over 20 years in the mid-Atlantic region and beyond. Her work is included in numerous private collections and in the Maryland Artist Collection of the University of Maryland University College. Lynn holds a B.S. in Music Education from Towson University, where she performed a multi-media voice recital, combining her vocal skills with her poetry and paintings. More images and information can be found at www.lynnrybicki.com. 

Recent events include: selection by esteemed artist/writer, Robert Berlind, for the 7th National Juried Exhibition at Prince Street Gallery in NYC, January-February 2015; “Navigation Puzzle,” juried show in 2014 at Delaware Center for Contemporary Arts, Wilmington, DE, selected by Bridgette Mayer, Owner, Bridgette Mayer Gallery, Philadelphia, PA; “It’s Abstract,” 2014 exhibition season, BlackRock Center for the Arts, Germantown, MD; MD Art @ College Park,” National juried group show in 2014, juried by Ann Shafer, Associate Curator of Prints, Drawings, & Photographs, Baltimore Museum of Art, at The Art Gallery, University of Maryland College Park Campus; 2014 Featured Artist, Saatchi Gallery Online, UK, Originals Art Collection Under $1500. Curated by Rebecca Wilson, Chief Curator and Director, Artist Development, Saatchi Art Director, Saatchi Gallery; 2012 solo exhibition, “Cosmic Manifesto," in Goucher College's Rosenberg Gallery, Baltimore, MD.

Statement

To the farthest reaches of the cosmos, light lives, life breathes, souls soar, and colors roar. From this dance, an ocean of feeling springs. In my work, I seek to express these unspeakable things. And always, to uplift. 

I paint to communicate the exuberance and joy of being alive in this space-time continuum. I paint to uplift people, and to persuade them to consider the depth of what lies beneath the surface of life. 

Often, I use bright, clear colors in my work. Much as they did for a renowned artist, Kandinsky, these colors remind me of the beautiful stained glass windows found in the churches of my childhood, and of the brightly colored Christmas tree lights. For me, joyful colors awaken the spirit and lead it on the path to the aesthetic experience of bliss. 

In order to communicate the more cosmic side of life, I choose to paint abstractly. That way, the visual assemblage of forms on the canvas cannot be easily pigeonholed as the objects and narratives of everyday life. 

My visual language includes abstracted landscapes and natural forms. For me, the landscape is the holy sanctuary of the earth. It is wild, and free, and elemental, much like the nature of man. 

My paintings begin with washes of thinned-out acrylic paint applied to the canvas in broad strokes of several colors that fade and bleed into one another and may drip down the canvas. As the washes dry, things in the shapes and tones reveal themselves to me, suggesting possible directions for the piece. From that point on, the process becomes a dialogue between me and the painting, with the painting telling me what it wants me to do next. 

The drips that have become more and more a part of my paintings sometimes serve as water and landscape elements and sometimes serve as veils and mists, behind which the unknown is taking place. 

For me, painting is a passionate, physical, gestural dance, culminating in a visual idea designed to engage the emotions of the viewer. 

I will leave you with a quote that is attributed to Buddha: “Your work is to discover your work, and then, with all your heart, to give yourself to it."

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Art Connect Picks: Abstract Art

By Julia Mari Bernaus

The beauty of abstract art is how it allows the viewer to read their own story in the artwork. The patterns and colours chosen by the artist form thousands and thousands of different stories depending on who’s studying them. So the question is:  What do you see when you scroll through these artworks?

Loes Koomen

Loes Koomen is an Amsterdam based artist who creates striking abstract paintings through the combination of geometric patterns and saturated colors. Putting a contemporary spin on the color field movement and specifically artists such as Kenneth Noland and Morris Louis, Koomen replaces the halo effect of the earlier artists' pigment staining technique with sharp, defined edges. In this way, Koomen's paintings are a visual Tetris game, where each shape fits perfectly with the others, all within the confines of the two-dimensional picture plane. 

All images courtesy of the artist.
See additional works on her website: http://www.loeskoomen.nl/

"Loes Koomen is a very interesting example of an artist whose abstract paintings are not only very good, but who also got a lot of followers on Instagram in a very short time: almost 500 in less than two months. This is a sign that abstract painting is alive. As long as it good and as long as it is appealing to a relatively young audience. I visited her studio in Amsterdam a while ago and immediately fell in love with her hard core abstract paintings that exude the atmosphere of "Swinging London" thanks to their bright colors and at the same time are reminiscent of the Color Field painters such as Kenneth Noland and Frank Stella or even the much younger British artist Ian Davenport." - written by Manuela Klerkx
COPYRIGHT: GALLEREASE.COM AND THE ARTIST

For more information about Loes Koomen please contact:
Klerkx International Art Management
+31 (0)6 81352448
manuela@klerkxiam.com