FALL 2017
Cleverly designed collections ‘Made in New York by New Yorkers’
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KRISTIN BRIN
talks about her latest work: translucency and layering colors At this time my technique it is about translucency and layering of colors. This method is based on the soak-stain and color wash techniques developed by Frankenthaler, Louis, and Noland who went on to title this application Color Field painting. In such works, the entire space of the painting is conceived as a "field" that appears to spread beyond the edges of the canvas. My work fits into this contemporary abstract expressionist arena. Reproducing a technique born from a historical genre while bringing a new painting into the world in 2017 is a great challenge to me. It must be beautiful to me as well as the technique preformed to my utmost standard. I admire and honor the artists who came before me to define this technique. My current projects are preparing a new body of work for a group show this May, plus fulfilling two commissions. The group show is always invigorating. I pay close attention to the expressions and words from the audience. I want to know how they feel about the work. If the painting draws an emotional response from a person then I am glad to have been a part of it.
Most of of my work comes from my imagination. The process from concept to signing my name is exciting because I am experiencing not only creative freedom but also the freedom to depict things as I see them, not necessarily as they actually are. My paintings are often landscapes but I see them more as atmosphere. There is a gentle mood, an ambience that my work evokes. The softness is a direct reflection of how I feel about life. Peace, ease, happiness and joy.
One of my new commissions is a 10'x12' painting for a contemporary country estate. The project involves complex layering of mono-tone shades of white with so many layers that the depth tells a story of foreground and great distance despite the subtle colors. This painting will be poured on the floor and because of its scale I will use a variety of tools to move the fluid paint around the canvas such as sponges, mops, rags and squeegee. Each layer I add stains and soaks into the canvas. The transition from wet to dry is often a remarkable difference and it is marvelous in my eyes. See more: kristinbrin.com
Telegraph Road, acrylic on canvas, 60" x 108" Canyon Beach, “Color Field”, 2017, acrylic on canvas, 48” x 72”
White Lilac “Color Field” 2017 acrylic on canvas 36" 72"
Untitled Green “Color Field” 2017 acrylic on canvas 72" x 36"
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Kelley Schei
Drawing on the diverse influences to create surreal images
Kelley Schei works primarily in watercolor medium, creating semi-abstract landscapes composed of an intricately patterned visual grammar she has cultivated through constant experimentation in her studio. She has drawn inspiration from immersing herself in extreme landscapes, such as her travels through Iceland or her native Colorado, taking photos and journaling, then painting from memory when she returns to her studio. Her versions of landscape are filtered through her imagination and cultural and art historical images of natural environments. Her interest in art history allows her to layer inspiration from multiple historical traditions at a time within her paintings. She employs classic surrealist techniques such as automatic drawing to generate vocabulary for these paintings.
Her process foregrounds composition, rhythm, and color relationships in her paintings in a way that recalls art movements that relate to music, such as how abstract expressionists worked in tandem with the jazz movement in the mid twentieth century, or how psychedelic art movements sought to understand the crossing of sensory experiences such as vision and hearing. She also seeks to understand how artists in the past have used landscape painting to comment on their contemporary society. While working within the landscape genre has been a long time focus in her studio practice, she has recently reintroduced figures into her painting, drawing on her formal training in observational drawing and painting. The figures have added narrative elements to her work, bringing more explicit themes to
“Your Eyes are like Lakes on Another Planet”, 2016, watercolor on paper, 30” x 22”
her experiments in abstraction and composition. Though not overtly political, her paintings communicate contemporary themes about globalization and climate change. Her recent paintings have used figuration in the form of Roman sculptures and animals, as well as science-fiction inspired architectural structures, to formalize her personal anxiety about climate change. Alligators, for example, are one of the most ancient animals on a molecular level, having experienced little evolutionary change in millions of years, so they beWhalesong –A Sonar Dream, 2016, watercolor on paper, 8.5” x 12”
The Sculpture Garden, 2017, watercolor on paper, 40” x 30” Desert LLadro’, 2017, watercolor on paper, 30” x 22”
come a symbol for a pending extinction event. She transfers ancient icons, such as a Roman bust of Caligula, to a contemporary context, loading them with open-ended meaning and evoking anxiety about political power and destructive cults of personality. These figures and structures are integrated within the landscape in mysterious systems, evoking a parallel or future culture, possibly post-apocalyptic, possibly colonized on another planet, while operating as a critique of our contemporary relationship with the environment. See more: kelleyschei.com
Tibetan Bat Orchid and Pluto, 2017, watercolor on paper, 11� x 14 “
Carly Silverman
The blur of the city
by Amy Brener
Carly Silverman in her studio
The women in Carly Silverman’s recent paintings are not all there. They flit and flicker like light bulbs during a storm. They are painfully self aware, yet weightless, as though drifting through a dream. Struggling to find themselves inside an urban haze that threatens to devour. Skin blurs, expressions are abstracted. Even their clothing tries to swallow them. With thoughts occupied by outside concerns, their bodies fold inward. They touch themselves as if to prove existence. Silverman captures these intimate gestures and the viewer’s attention. Silverman builds up her canvasses in layers with two or three paintings existing below the finished surface, veiled by thin white. The properties of oil paint are fully utilized in
these works–pigment is concealed, wiped and accumulated. The end result is rich in tone and texture; swashes of gauzy color treat the eye. Ghost images remain and permeate the paintings with a larger sense of time. The women exist in a moment within infinite moments that merge together in their surroundings. The setting, often unmistakably New York, is depicted as a frenzied blur, moving too fast for the eye to capture. This experience of time and space is familiar to us city dwellers, who move quickly through layer upon layer of stimuli. The city becomes a backdrop to our lives, fading to vapor beyond our points of focus. Other people, too, become part of this cloud and Silverman depicts them as faceless (opposite page) Jenny, Oil on Canvas, 2017, 20 x 16"
(clockwise from above) Celine, Oil on Canvas, 2016, 48 x 36" / Woman on the Go, Oil on Canvas, 2017, 16 x 20”/ Look Away, Oil on Canvas, 2017, 50 x 36”” / On the Fence, Oil on Canvas, 2017, 24 x 18”
extras. In Celine, a woman walks away from a shadowy man behind her. He is already mute and mouth less, relegated to the past as she moves toward the future. She carries a large purse on her arm, as though trying to gain bearings. She is still there. She is all right. Carly Silverman lives and works in Brooklyn, NY. She received a BFA from the Maryland Institute College of Art and an MFA in painting at the School of the Art Institute of Chicago. Silverman has exhibited her work in New York, Chicago, Miami, Houston, and Baltimore. Learn more at carlymichellesilverman.com.
Fête Esthète + The Art Party Two art art world veterans launch an online gallery and a new art space in Chicago While working at high-end contemporary art galleries, Jenni Button and Justine Salva realized that while nearly everyone is drawn to art, not everyone feels comfortable talking about, connecting with, and purchasing art. Even less than that are the number of individuals who call themselves collectors. That’s why they created Fête Esthète + The Art Party - to create a new way to view, collect, and talk about art. Their aim is to create a safe space free of pretense, where guests are encouraged to ask questions about process, techniques and methods with the hope of creating a familiarization and appreciation of emerging artists and a new, more confident base of collectors. The arts and entertainment business is two-sided, both with an online art gallery and an event driven, pop-up art exhibition service. Fête Esthète is the online source for high quality, accessible artwork aimed to empower and support emerging talent. Fête Esthète currently features eight multidisciplinary artists and will be adding more artists in the coming weeks! Featured artists include Aaron Tinder, Benjamin Kende, Britt Ryal, Czr Prz, Fatherless, Lizzee Solomon, McKenzie Thompson, and Tanner Bowman. The Art Party, on the other hand, is a highly curated event, breaking down gallery walls to bring guests a personalized artistic experience in the comfort of their own home. The seasoned
Photo courtesy of Formatographia. Left to right, Jenni Button and Justine Salva.
curatorial staff carefully designs a custom art exhibition for each client, that is revealed at an exclusive event (that guests barely need to lift a finger to plan), in turn making them the host with the most (awesome art). Artwork featured in the Fête Esthète is a curated selection of all artwork offered from the bilateral business. Art shown in Fête Esthète may not be the same
work that guests see at their own Art Party. Jenni and Justine Party with a deep pool of artists, working in a range of mediums - from fine art to graffiti in Chicago, and beyond. Each party is curated and tailored for each guest, showing new and unique artwork, in a variety of genres and price points, at each and every Art Party. Learn more: www.TheArtParty.gallery
(clockwise from right) Tanner Bowman, “Silver Drip Vase”, 2016, pigmented hot glue, 11” h x 9” w x 9” d / Benjamin Kende, “Red Building”, 2016, dye sublimation print on aluminum 13.25x16” / Britt Ryal, “Color Theory”, 2016, inkjet on archival paper, framed framed, 13” h x 16” w x 3/4” d
McKenzie Thompson “Life In The Dreamhouse” 2016 neon, acrylic, transformer, and standoff mounts 11” h x 62” w
Czr Prz 2016 “Untitled No. 312” mixed media 96” h x 96” w
Fatherless “Is Born” 2016 screenprint on reclaimed wood 12” h x 12” w x 1⁄2” d
Lizzee Solomon “Fast Food” 2016 plexi, plywood + acrylic, framed framed: 12” h X 16” w
Anna Charney
I’m a proud native of Denver, CO and have lived here for a majority of my life. I moved away in 2012 to attend The School of The Art Institute of Chicago. I graduated with a Bachelor of Fine Arts Degree in December 2015 with a focus in Painting and Drawing. I returned to Denver in summer 2016 and am excited to continue my growth as an artist here. I began doing mural work (in addition to my studio practice) last September after participating in Colorado Crush Graffiti and Street Art Festival. Since then, I’ve been focused on expanding my art practice to also include large scale paintings installations and street art. I am honored to have received a UAF grant to paint my wall on the Colorado Ballet’s Armstrong Center for Dance. The building is located in Denver’s Santa Fe Arts District. Not only is my new mural the biggest I’ve ever painted -- by far -- but it is now one of the largest in the district. See more: annacharneyart.com and @annacharneyart on Instagram.
Her mural in Denver’s Santa Fe Arts District
"In the Spirit of IMAGINE 2020. The Urban Arts Fund (UAF) is a graffiti prevention and youth development program which facilitates the creation of new murals in perpetually vandalized areas throughout the City and County of Denver. The UAF provides access to positive, creative experiences for youth and transforms dilapidated areas into well-tended and active community gathering spaces. As of 2017, with the help of over 3,000 youth, 750 community participants, the program by end of year will have created more than 200 new murals and helped protect more than 280,000 square feet from vandalism.”
Colleen Sandland
neo-impressionist florals
"rosewater" / 18x24 / acrylic on canvas
Colleen Sandland’s interest in plants and flowers has always been a source of inspiration for the Los Angeles artist. The exposure to the details in nature has given her the visual ornaments that reveal the secret language in her paintings. Colleen uses balanced color trios to draw the viewer in. She applies intricate layers of acrylic paint and resin with sophisticated details to give the viewer a lasting experience. Colleen Sandland’s artworks highlight a cognitive shift and the perspective of an open mind. Colleen categoriz-
es her work as “Neo Impressionistic Florals.” “The characteristics of a flower are delicate, and smaller, yet larger than life. The things we may lack to notice every day, such as a fragile flower, is an indication of the vastness of our existence. To speak of flowers in a transcendental term, the idea is now to bloom a new consciousness and awareness into our vision. Unlimited realities and new defining thought patterns bloom in our minds. Flowers are a reminder of a vastness of our existence, but the real key is to question if we are not limited to the idea of deterioration, but rather to regenerate.”
See more at colleensandlandart.com
"sunset" 30x40 acrylic on canvas
"tangerine" 18x24 acrylic on canvas