Ryan Sluggett

Ryan Sluggett
Installation View
Richard Telles Fine Art

Ryan Sluggett
Developer Bath, 2012
Fabric dye, tempera, acrylic and oil, on fabric in artist frame
109 x 76.5 inches

Ryan Sluggett’s new paintings evince his ongoing investigation of the language of painting that blends narrative and abstraction, delaying apprehension while teasing it forward with his lush paint handling, stitched fabrics, and framing. His use of enormous scale further attenuates this process, which ultimately amounts to depictions of daily life gone askew...

Excerpt from the Richard Telles Fine Art Press Release January 21 – February 25, 2012.

Laura Letinsky

Laura Letinsky
Untitled #29, from the series III Form and Void Full
2011

Recently, Letinsky’s studio-based practice has evolved in a new direction that incorporates photographs — from magazines as well as her own and others — to make images that play with the perception of space in her still-life compositions. Actual objects, such as papaya, cherry pits, silverware, and ripped paper, along with images taken from art reproductions as well as decor and cooking magazines, are carefully arranged, resulting in a disorienting collage within the photograph

Excerpt from Museum of Contemporary Art Exhibition, February7 - April 17, 2012.

Represented by Yancey Richardson Gallery in New York and Valerie Carberry Gallery in Chicago.

Nathan Mabry

Nathan Mabry
The Week of Kindness, 2011
Bronze, powder coated aluminum, paint
111.75 x 63 x 28 inches

Nathan Mabry’s work transforms the known into the new and the unexpected. Mabry engages with both art history and normative objects as readymades. A Duchampian trajectory is balanced by an art-making urge that springs from other early Modernists such as Brancusi, Lipchitz and Picasso, whose visual avarice led them to a range of “exotic” cultural material in an effort to create their own visual language.

Excerpt from the Cherry and Martin website.

Dreadful Sorry Clementine

Elisabeth Higgins-O'Connor's exhibition Dreadful Sorry Clementine takes its name from a children's nursery rhyme - the original being sing-songy and childish, but contrasted with dark, melodramatic lyrics. Elisabeth's work walks the line between familiarity and chaos. Working with commonly available materials such as bed sheets, bedding and other discarded domestic fabrics. Elisabeth's execution of the materials suggests both obsessive anxiety and wild abandon.

Excerpt from the Charlie James Gallery Press Release November 5 - December 17, 2011.

Trudy Benson

Trudy Benson Studio View

Trudy Benson
Inside Out, 2010
Oil on canvas
72 x 80 inches

Brooklyn based artist Trudy Benson just picked up by Mike Weiss Gallery in New York. I love this work.

KF + CM 4EVER

Keltie Ferris
!@#$%^&*()
2010
Oil, acrylic, oil pastel & sprayed paint on canvas
80x80"

Keltie's work is non-verbal, more like noise then language, more akin to flashing lights and potential energies then anything nameable. Therefore each painting is titled by a set of punctuation marks, such as (((!!!))) created by the artist and are emblematic of the emotive, nearly expletive nature of her work. Other titles (including the title of the show) allude to bathroom graffiti, notebook valentines, as well as the ambition of marking a space and marking a future.

Excerpt from the Horton Gallery Press Release November 18 - December 30, 2010.

Red, Yellow Blue

Portia Hein
Starry Night, 2010
Oil on canvas
48 x 36"

Portia Hein
Pastel forrest (PH10_15), 2010
Oil on canvas
36 x 48"

Portia Hein's newest paintings and drawings continue her translation of the natural world into a personally resonant language of marks, color and texture. Images of birds, trees and celestial bodies find themselves coalescing or breaking apart amidst rays of light, night skies and turpentine washes...Working largely from memory, Hein draws on the emotional as well as the physical attributes of place. Like memory, the surfaces of her paintings are varied. Some parts are thick, vibrant and richly textured, while others, like gaps in memory, are thinly painted and vaguely suggested rather than wholly depicted.

Excerpt from the Traywick Contemporary Press Release October 3 - December 18, 2010 .