Peter Saul, Raccoons Descending a Staircase, 2012. Acrylic, Colored pencil on paper,
50 x 35 in. Courtesy of Mary Boone Gallery.

Keith Mayerson and Peter Saul
July 8-August 8, 2014
Robert Blumenthal Gallery
1045 Madison Avenue, 3A
New York City
robertblumenthal.com

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Gamma, Gemach II (Chamber II), 2013. Oil on canvas, 82.5 x 70.75 in. Courtesy of Chambers Fine Art

Featuring: Chen Baoyang, Fu Xiaotong, Gama, and Wang Fengge

New Acquaintances
July 10-August 16, 2014
Chambers Fine Art
522 West 19 Street
New York City
chambersfineart.com

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Courtesy of the artist.

As an artist, working in various projects, I mainly focus on video art and paintings. Although I have a series of artwork based on a specific concept, the final artwork is abstract so it can be interpreted differently by each viewer. For my paintings I use plastic colors because they allow me to intervene directly in my artwork. I use the adventitious act so that my instinct can prevail over my academic knowledge of art. Therefore, I like the balance between these two elements. I get inspired by my colleagues when working together in team projects and by directors like Quentin Tarantino.

artiagallery.com

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Courtesy of the artist.

My inspiration comes from the nature surrounding the area where I live in the south of Sweden, on an island in the Baltic, from the human body, and from within. The nearness of water and the open landscape creates a lot of light in various shapes, and the way that this light alters objects and scenarios provides a constant challenge. I began my career a long time ago as a P.E. teacher, and my fascination with the body and movement has continued. In a painting, colors and space add dimension to movements and gestures, transforming them into statements about existence. I focus on the feeling or mood and translate it with color. Whether the final work is abstract or figurative lies in the eyes of the beholder.

annakajsa.se

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Courtesy of the artist.

My work consists of three major projects developed throughout my career: El Porqué de Valparaíso (Why Valparaíso?), La Huella del Tiempo (The Footprint of Time), and Del Salitre a Iquique (From Saltpeter to Iquique). It is vital to experience the geographical and ethnographic spaces in situ, in order to connect emotionally and intellectually with my painting. I have traversed the Atacama Desert, Valparaíso, and the southernmost region of Chile, to then recreate and interpret them in the solitude of my studio. My fourth project, Entre Marruecos y la India (Between Morocco and India), on which I am currently working, aims mainly to explore opposite cultures that join together for a common purpose.

roxanawerner.cl

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Courtesy of the artist.

My paintings, which are often referred to as “atmospheric expressionism” for their dreamscape colors and bizarre images, are largely an attempt to determine how far the human imagination can stretch itself, by allowing the work to push the limits of the mind’s eye. I believe the human imagination is as deep and as vast as the universe is expansive and limitless. It possesses the same compelling internal mysteries as the compelling external mysteries possessed by the starry universe. Usually, the experiment becomes an effort to depict an imaginary vision of the origins of the natural world, both as landscape and as skyscape.

paulscottmalone.com

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My mother also encouraged me without thinking about it, having taken me to the Met and the Frick Collection when I was very young and having intellectual conversations about art at a very young age. This was unheard of having been raised in a very tough neighborhood in the Bronx.

LO: What are the themes of your work and what inspires you to make art?
MB: My paintings are based on mythology, superstition, religion, and race. It is not necessarily a theme I set about going after, but they tend to go in that direction.

LO: Who are your influences? Teachers, artists?
MB: Michael Goldberg, Lucio Pozzi, and Marilyn Minter were teachers of mine whilst going to SVA. They were the ones I felt a close connection to. In my early years I obsessed with many of the female surrealists, including Leonor Fini.

LO: Why do you think art is important for the world and why is it important for you as an individual artist?
MB: I often think about this and think about how the average person would think it that it is a very bourgeois activity. Especially being a woman and a person of color, I often think about my roll as an artist. I began my early training in art school as an abstract painter because of the push to be one and how it was looked down upon to be a figurative painter. But, I felt I had so much to say as a woman, a person of color, and one who came from a poor working class family. So, in my third year I changed and began to make paintings which, to me, had more meaning and a subtle message that sometimes incorporates the figure.

LO: What advice would you give other artists who want to exhibit in NYC etc?
MB: My advice would be to not judge a book by its cover. Generally the ones who look the least important are the ones that are actually the most important, and have a website!

LO: Please talk about upcoming bodies of work, shows etc that you have coming up.
MB: I am continuing my series of paintings from the influence of living on the upper east side and dealing with class, race, and the bourgeois culture. I will be part of a summer group exhibition, “Juicy” at Gitana Rosa Gallery, Chelsea, opening June 19, as well as artmrkt Hamptons, from July 10 – 13. I am also excited to announce a group exhibition that I am curating, “The New Bitch, Twilight of the Idols.” It will be open from September 4 – October 4 at Gitana Rosa Gallery, Chelsea.

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Courtesy of the artist.

I’m driven by color—it excites and inspires me. As I paint, I’m conscious of the energies that colors possess, especially as agents of healing that can transform us. Color can change how we feel. I work fast and I’m always in motion, like dancing, I need space. Sometimes I work with paintings on the ground so I can come in from any angle. I love a translucent surface with depth to see through the layers into time and space. I try to reveal our natural source and it’s all there in the color.

ritakenyon.com

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