(On cover) Ky Anderson Things You Cannot See, 2014 Acrylic and ink on paper 72 x 60 in.
Kathryn Markel Fine Arts New York City/Bridgehampton Booth # 114
March 5-8, 2015 Pier 36, New York City
Marilla Palmer Marilla Palmer’s faux botanical studies are derived directly from shadows of handheld twigs and branches, and incorporate mushroom spores, pressed leaves and natural elements with theatrical embellishments made of sequins, glitter, holographic paper and beads. Her works on paper reect her overall interest in combining natural elements with fabricated materials. Her mixed media collages humanize her subjects in a way that questions how what one puts on can shift the the perception of who or what one is.
Marilla Palmer Iris, Ixora and Flame, 2015 Watercolor, silk, and pressed foliage on Arches Paper, 60 x 66 in.
Marilla Palmer Pansy Stack, 2015 Mixed media on Arches paper 30 x 22 in.
Marilla Palmer Tipped Stack, 2015 Mixed Media Arches paper 30 x 22 in.
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Marcelyn McNeil Marcelyn McNeil starts her work by developing two or three simple forms based on their ability to engage one another and make for a dynamic relationship. Most often these forms are animated, leaning slightly towards the peculiar. Considering a sense of “flatness” plays a major role in her painting, though her compositions create space and volume. She synergizes dissonant elements of rigid lines and soft shapes, neutral tones and bright colors to make a bold, yet quietly confident statement. Her animated combinations of elements encourage a connection to the viewer and welcome a personal interpretation.
Marcelyn McNeil Untitled, 2014 Pigment on paper 22 1/2 x 21 in.
Ky Anderson Anderson’s paintings inhabit their own unique space, while drawing from numerous sources, both traditional and contemporary. Straddling the line between abstract and representational imagery, her work contains elements of refined craft while also embracing an intuitive technique and a certain amount of crudeness. The imagery leads to a subconscious terrain, where elemental forces offer insight to the struggles and joys of an earthly existence.
Ky Anderson Things You Cannot See, 2014 Acrylic and ink on paper 72 x 60 in.
Jeffrey Cortland Jones Jeffrey Cortland Jones describes his near constant preoccupation with presenting reinterpretations of forms, objects, and colors as optical exercises. These optical exercises serve to see things in ways that othersprimarily his viewers who are not artists themselves-may otherwise take for granted, and to teach these others to see these things anew. Within these exercises, he works to explore the dynamics expressed between numerous different binaries: light and dark, matte and gloss, organic and geometric forms. The result are that the forms contained within-stacks of polygonal shapes, squares, and blocks-create a tension between each other. They seem to struggle for purchase, and some feel as if they are on the verge of toppling over; the work is geometric, and yet, not quite. Nothing is actually as orderly as it may have first appeared.
Jeffrey Cortland Jones Workt 3, 2014 Enamel, gesso, latex, and graphite on paper 26 1/2 x 20 in.
Jerey Cortland Jones Workt 5, 2014 Enamel, gesso, latex, and graphite on paper 26 1/2 x 20 in.
Jerey Cortland Jones Workt 6, 2014 Enamel, gesso, latex, and graphite on paper 26 1/2 x 20 in.
Martina Nehrling Compelled by the vivid and continuous cacophony of daily life, Martina Nehrling creates visual rhythms in compositions of accumulation. She uses multiple distinct brushstrokes for their staccato quality and graphic directness, but highly saturated chroma, in order to heighten the eect of color’s mercurial language. Utterly seduced by the formal complexity of color, Nehrling revels in its emotive slipperiness and enjoys mining its controversial decorativeness. The inextricability of these aspects unique to color, continually spurs her engagement.Â
Martina Nehrling Lost and Found, 2014 Acrylic on Montval paper 23 x 30 in.
Martina Nehrling Much Amok, 2014 Acrylic on Montval paper 17 x 16 in.
Martina Nehrling Bawdy Bungalow, 2013 Acrylic on Montval paper 17 x 16 in.
Anne Neely In 2004, Anne Neely read a book about global water issues, which led her to a decade’s search to ďŹ nd ways of painting unseen aquifers and the growing dilemmas of water in rivers, lakes and streams. Although she considers herself ďŹ rst a painter, she continues to broaden her practice to address increasing environmental concerns. She approaches each painting by asking questions, both metaphysical and visceral, and it is through this investigation that a painting is built with one curiosity layered on top of another. They are composed of a combination of randomness and intention. Her work evokes beauty, but also lingers on the edge of foreboding as they address water issues environmentally, ecologically, and culturally in our time. Anne Neely Series, #2, 2014-2015 Watercolor on paper 11 x 15 in. (approx.)
Josette Urso
Urso paints directly and urgently from life. Her paintings are “momentto-moment” extrapolations. In them, she taps a kind of “hyper” or “trippy” vision, as she looks simultaneously in all directions while zooming in and out of focus. She works in her studio and outside, always courting the notion of immediacy and always striving to discover and engage the known as well as the unknown in unforeseen ways.
Josette Urso Rocks and Foam 2, 2009 Oil on paper 14 x 11 in. Paper size 15 x 12 inches
Josette Urso Canada Violet Sea, 2009 Oil on paper 14 x 11 in. Paper size 15 x 12 inches
Josette Urso Cloud Day, 2009 Oil on paper 14 x 11 in. Paper size 15 x 12 inches
Ana Zanic Zanic’s abstract paintings are executed in media of watercolor and acrylic. Watercolors are built with layers of washes, intermixed with dynamic lines, scribbles and marks of ink drawing. There is often a quiet tension between the watercolor's fluidity, softness and calm, vs. the dynamic, rhythm and energy of drawing. Painting with watercolor evokes in her a feeling of quiet contemplation and intimacy.
Ana Zanic Origin (W-2015-2-2), 2015 Watercolor and ink on paper 35 x 38 in.
Tamar Zinn After an extended immersion in geometric abstraction, Zinn reintroduces gesture into her work in the Tangle series. She begins by working charcoal into the surface of the paper, creating a gray ďŹ eld of indeterminate depth. Using an eraser as her drawing tool, the choreography of her movements leaves its traces in the ďŹ eld: lines enter, change speed and direction, engage with other lines, then exit. Zinn describes her process as meditative and intuitive. Movement is recorded through a progression of subtractive gestures as it passes through time and space.
Tangle 33, Tangle 31, Tangle 34 Tangle 32, Tangle 40, Tangle 36 Tangle 37, Tangle 38, Tangle 35 2014 Charcoal on paper 8.5 x 7.75 in. on 13.5 x 10.75 in. paper, each
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