artists

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Ky Anderson

Ky Anderson is a New York artist who received her BFA in 1995 from Kansas City Art Institute. She moved to New York from her hometown Kansas City in 1996. She has had solo exhibitions in New York, San Francisco, Nashville, Kansas City, London, Vancouver, and Sant Chamas, France. She has participated in many group shows nationally. Ky has taken part in artist residencies at the Saltonstall Foundation (2019), Ithaca, New York; the Vermont Studio Center (2017), Johnson, Vt.; and Look & Listen (2015), Saint Chamas, France. 

Ky comes from a family of artists in Kansas City. Her mother was a painter and her father was a photographer so she learned at an early age how to have a productive studio practice. She was further influenced by a strong community of family artist friends. Her paintings involve an ongoing exploration of abstraction with an underlying pictorial narrative that is produced by a combination of improvisation and intuition. She paints in acrylics, applying paint like dyes in thin layers. Her paintings emerge from layers and layers of color that are composed in her mind before she paints them. The story of each painting is revealed through color as it relates to memory. She has specific rules for her use of color and their combinations and what memories they evoke resulting in biographical poetic abstractions.

Ky Anderson
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Diane Ayott
Photo by Ken Yuszkus

Massachusetts based artist, Diane Ayott, received her MFA in Painting at the Massachusetts College of Art and Design in Boston. She has exhibited in many solo shows in New York and Boston as well as group exhibitions throughout the country. She has taken part in artist residencies including the Virginia Center for the Creative Arts (2016), Amherst, Virginia; the Horned Dorset Colony (2014), Leonardsville, New York; and at the Vermont Studio Center (1995 and 1987), Johnson, Vermont. 

Her intricate abstractions are produced by a layering of paint, color, and pattern. Her compositions are geometric yet playful with a visual language that includes repetition in color and form-dots, dashes, lines, slashes, circles, ovals, and loops-with a focus on spatial patterns and color shifts. 

“There is a deeply felt synthesis between the personal and the pictorial within my work. Committed to a visual language composed of a variety of marks and layered paint surfaces, I roll, scrape, brush, and squeeze paint into various layers of my works on paper and paintings. Skins of color and the accrual of information over time combine to create the works of art” - Diane Ayott.

Diane Ayott
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Khalilah Birdsong

Khalilah Birdsong (b. 1977, Cleveland, Ohio, and raised in Atlanta, Georgia) is a visual artist who creates large-scale abstract paintings and installations.  Birdsong has exhibited with galleries in Atlanta, Georgia, Cincinnati, Ohio, New York, New York, and Hamburg, Germany.  She has had solo and group exhibitions in the United States, Japan, and Italy.  Birdsong's paintings are in private and corporate collections around the world, including commissioned works. Her installation work has been commissioned by corporations in Atlanta, Georgia, and Tokyo, Japan.  Birdsong’s work can be found in 44th United States President Barack Obama’s private collection, which is being considered to hang in his Presidential Library.  


In 2019, Khalilah was named by Contemporary Art Curator (London, England, United Kingdom) as “100 Future Contemporary Artists in the World”.  Birdsong was invited to participate in the XIIth Florence Biennale in Florence, Italy where she exhibited four large-scale paintings and installation work in the fall of 2019.  In 2020, Birdsong was awarded a Hambidge Fellowship for the Creative Arts & Sciences.  Khalilah lived in the rainforest of Maui, Hawaii from 2017-2019, where she painted fervently in nature and discovered a new meaning of life that translates throughout her artwork.  Birdsong currently resides in the mountains of Georgia, USA.

Khalilah Birdsong
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Erin Cone

Erin Cone has twice been recognized in the national art press as one of the top young emerging artists in the country. After graduating with a Bachelor of Fine Arts degree in Painting from the University of Texas Austin and working briefly in the design industry, Cone had her first solo show at the age of twenty-four and has been painting full-time ever since. 

Since her first show in 2001, Cone has had twenty-five solo shows and has participated in more than a dozen group shows across the U.S. and in Europe. She has consistently enjoyed critical and commercial success. Cone has been interviewed on PBS and featured in numerous art magazines — appearing on the cover of American Art Collector Magazine and Southwest Art Magazine, among others. Cone's work is in hundreds of private, public, and corporate collections worldwide. She lives and works in Santa Fe, New Mexico. 

Cone fuses the classical tradition of Western drapery painting with the meditative rhythmic force of calligraphic art in Eastern art traditions. Her abstract paintings create translucent transcendental magic in acrylic and oil.

Erin Cone
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Mary Corman

New York painter, Mary Corman, graduated from Stanford University with a BA in Art History and Studio Art in 2008. She completed her MFA from NYU Steinhardt Graduate School in 2015. She has exhibited her paintings in various New York, LA, and San Francisco exhibitions since 2012. Her gouache on paper, “Warning” was featured in Vogue USA, Vogue Italia, and the Wall Street Journal in 2017. While painting she has acted as an adjunct professor of painting at NYU Steinhardt School of Art in New York since 2013.

Building on the aesthetic traditions of the American modernist, Georgia O’Keeffe, Mary’s paintings “are concerned with light in space, shifts, instabilities, and absences. There are times when the depth within a shadow is truer than the object itself. I find empty spaces and photograph them endlessly. I sit with the images for a long time until something resonates-a slight shift in color, a different angle. Very often empty spaces have the greatest depth. I make watercolor sketches from the photographs… and from those sketches make the paintings. The paintings are made on portrait grade Belgian linen. The surface must be smooth with just a hint of tooth. It cannot distract from the subtle gradations in paint. My process is slow: winnowing down of the photographs is slow, the sketches are slow, the preparation of the canvas is slow, the movement of the brush is slow. There are long moments of contemplation in each stage of my work.”

Mary Corman
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Paula Crown

Paula Crown is a multimedia artist with a practice encompassing drawing, painting, video, and sculpture. Crown incorporates cutting-edge technology, social activism, collaboration, and a commitment to sustainability in her studio practice. 

Crown earned her M.F.A. in painting and drawing in 2012 from the School of the Art Institute of Chicago. She has had solo exhibitions at the Aspen Institute (2013), Dallas Contemporary (2014), Marlborough Gallery, New York (2015), The Goss-Michael Foundation, Dallas (2016), 10 Hanover, London (2017), Studio Cannaregio, Venice (2018) concurrent with the 16th Venice Architectural Biennale, and Fort Gansevoort, New York (2018). 

She has participated in several group exhibitions also nationally and her works are in numerous public and top-100 private collections including Agnes Gund Collection, NY and Tishman Speyer Collection, NY. 

Crown’s Public Art Installations include: TRANSPOSITION: Over Many Miles, Miami Design District, Miami, FL (2014-16); JOKESTER in Aspen (2018) and the Miami Design District, Miami, FL (2018), and FREEZING RAIN, Aurora: Future Worlds, Dallas, TX, and Thoughts & Prayers, with For Freedoms, Chicago, IL (2018). 

In 2009, President Barack Obama appointed Crown to the President’s Committee on the Arts and the Humanities. She is a member of the board of trustees of the Museum of Modern Art in New York, where she chairs the Education Committee. She also serves on the Aspen Institute Committee of the Arts. 

Born in Marblehead, Mass., the artist lives and works in Aspen, Colorado and Chicago.

Paula Crown
Mary Didoardo
Mary Didoardo

Joanne Freeman is an abstract painter who lives and works in New York City. She graduated from the University of Wisconsin with a BS in Fine Arts in 1976. She received a master’s degree in Fine Arts from New York University in 1981. She has worked as an artist and guest speaker at the New York Studio School and the Massachusetts College of Art and has taught painting and drawing at New York University and New York Studio School for Social Research. She has participated in many solo and group exhibitions nationally and internationally. 

She is strongly influenced by the early 20th century German Bauhaus School, which focused on a combination of ideas and techniques of art, architecture, and design and attempted to unify the principles of mass production with an individual artistic vision.

When creating works on paper, Freeman paints gouache on Khadi, an Indian paper made by hand from long fibers of cotton. She uses linen as a support for her oil paintings. Her compositions incorporate bright colors, crisply defined geometric shapes on white backgrounds producing a reductive bold visual language inspired by urban symbols, architectural models and the interaction of shadows and light. 

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Maeve D'Arcy
Photo by  Fiercely Curious

Maeve D'Arcy is a New York-based artist. She received her Master of Fine Arts degree from London’s Central Saint Martins in 2013 after attending Bard College and receiving a BA from CUNY Hunter College between 2004-9. She has participated in many group exhibitions nationally and internationally and has participated in residencies at the Virginia Center for Creative Arts (2015) Amherst, Virginia; the Contemporary Artists Center (2015), Troy, New York; and the Vermont Studio Center (2010), Johnson, Vermont and has received many awards.

In her work, D'Arcy uses repetitive marks of dots, circles, and lines as a manifestation of time and emotional memory. Her mark-making becomes a form of meditation.

“Borders, boundaries, and language, exist throughout my work and have manifested themselves in my sensibilities as an artist. The repetitive mark-making within my practice explores the relationship between chaos and order, and the ways in which it is possible to manipulate or exaggerate time. I'm interested in creating spaces that translate the micro and macro perspectives within urban and rural environments, and introducing a new possibility for the viewer of abstract navigation through real and imagined terrains.” - Maeve D'Arcy

Maeve D'Arcy
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Debra Drexler

Debra Drexler is an American painter, installation artist, curator, and professor. She has participated in over thirty solo, and over 100 group, exhibitions in US, and international, venues. She maintains studios in Brooklyn, N.Y. and on the island of Oahu, in Hawai’i.  Recent solo exhibits in and around New York include Van Der Plas Gallery (2015, 2017, 2018), The Dorado Project, White Box-The Annex, Pool Art Fair, Chelsea Hotel Blue Mountain Gallery, HP Garcia Gallery, and Java Studios Gallery. In addition, Drexler has exhibited in group exhibitions in New York including The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, and Stephan Stoyanov Gallery, and Sideshow Gallery and numerous exhibitions at Front Room Gallery. She has had solo exhibitions in Hawai’i at The Honolulu Museum and Maui Arts and Cultural Center, where she also has a forthcoming three-person exhibition. Debra Drexler is a Professor at the University of Hawaii, where she is Chair of the Drawing and Painting Area.

Debra Drexler’s most recent work includes highly experimental primarily large-scale abstract paintings in oil, acrylic, and mixed media.  In a recent review of a two-person exhibition at Gallery Gary Giordano (Whitehot Magazine, 2017) Drexler's work references the tradition of American abstraction and the legacy of the New York School.

Drexler’s work is an alchemy of New York’s resurgent contemporary abstraction and the legacy of living in the Post-Colonial Pacific for close to three decades. Numerous layers, with contrasting areas of depth and flatness, organic and synthetic color, matte and gloss surfaces, create complex spatial interactions of liquid lushness.

Debra Drexler
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Lee Essex Doyle

New York-born artist, Lee Essex Doyle spent most of her childhood in Zimbabwe, Botswana, and Kenya. She now works and lives in Boston, Massachusetts. She attended the New York School of Interior Design, graduated from Roanoke College in Virginia, and studied at the New York Studio School of Drawing, Painting & Sculpture in New York. She has had solo exhibitions of her work in New York, Boston, and Palm Beach, Florida, and has participated in many group shows. 

Lee’s paintings are influenced by the palette of the Impressionists, Fauve painters, and later 20th century European and American modernists such as Henri Matisse and Marsden Hartley. Her unique form of contemporary modernism combines color abstraction fused with layers of translucent realist architectural references inspired by her extensive travels through India, Africa, Europe, and Florida. Lee’s paintings are informed by magical realism where the memory of a place is given structure and emotion through her masterful use of color and form. 

“A finished painting is an act of fixing in time an impression of millions of feelings, thoughts, images, and longing and like all memories, there are so many versions that are true.”

Lee Essex Doyle
Joanne Freeman

Joanne Freeman is an abstract painter who lives and works in New York City. She graduated from the University of Wisconsin with a BS in Fine Arts in 1976. She received a master’s degree in Fine Arts from New York University in 1981. She has worked as an artist and guest speaker at the New York Studio School and the Massachusetts College of Art and has taught painting and drawing at New York University and New York Studio School for Social Research. She has participated in many solo and group exhibitions nationally and internationally. 

She is strongly influenced by the early 20th century German Bauhaus School, which focused on a combination of ideas and techniques of art, architecture, and design and attempted to unify the principles of mass production with an individual artistic vision.

When creating works on paper, Freeman paints gouache on Khadi, an Indian paper made by hand from long fibers of cotton. She uses linen as a support for her oil paintings. Her compositions incorporate bright colors, crisply defined geometric shapes on white backgrounds producing a reductive bold visual language inspired by urban symbols, architectural models and the interaction of shadows and light. 

Joanne Freeman
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Sydney Licht

Grace Johnson is a New York artist who graduated from Columbia
University with a BA in Art History in 2012. She completed additional
studies in painting at the New York Studio School and the Grand Central
Atelier in New York.


Grace primarily paints in oils in a contemporary realist style focusing on
commonplace objects as well as landscapes and figural works. As a
native New Yorker who has spent much time painting out East, her
palette is influenced by Long Island plein-air painters such as Childe
Hassam and William Merritt Chase. Her interest in objects and scenes
from everyday contemporary life was further shaped by the works of
more contemporary Long Island and New York artists such as Fairfield
Porter, Larry Rivers and Alex Katz and Californians such as Wayne
Thiebaud.


Her chosen subjects often reflect her interest in contemporary issues
surrounding identity, food, and consumerism.
“My work often involves our preoccupation with diet. Many of us say
we’ve been “good” or “bad” at the end of a day, referring to our food
intake. Trendy health foods like green juice and matcha can take on an
aura as we ascribe virtuous qualities to them and their consumers. I
became especially entranced by matcha after weeks of photographing
my own food.” (Johnson)

Grace Johnson
Grace Johnson
Marcelyn McNeil

The painter Marcelyn McNeil lives and works in Dallas. She graduated from Pacific Northwest College of Art in Portland, Oregon with a BFA and received her MFA from the University of Illinois at Chicago. She has been the subject of many solo exhibitions and has participated in many group exhibitions nationally. Her recent artist residencies include MacDowell Colony (2012), Peterborough, New Hampshire; 100 W Corsicana (2016), Corsicana, Texas; and Vermont Studio Center (2017), Johnson, Vermont. She is known for her exuberant abstractions where bulbous abstract shapes push against each other playfully. “The work is about push and pull.” (Marcelyn McNeil) Under her paintings, bold colorful surfaces are carefully worked and reworked passages.  “The paintings are all about relationships between shapes and color.” - Marcelyn McNeil

“My studio process embraces trial and error as I focus on 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 “flatness” plays a major role in my painting it may seem counter-intuitive that I continually think about mass and form sculpturally.  If the flat shapes depicted were able to step off the canvas and occupy space, how much would they weigh, are they bulbous, muscular, lithe, or buoyant, and do they have a bodily connection to the viewer? The work is both formal and idiosyncratic.  While I would be happy if the paintings read as somehow familiar the forms described are not abstracted from specific objects or figures.  Rather each piece involves discovery and learning and at its best displays independence and charisma.” - Marcelyn McNeil

Marcelyn McNeil
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Sydney Licht

Sydney Licht is a New York-based artist. She graduated from Smith College in Northampton, Massachusetts in 1976 and received her MFA from the Art Institute of Chicago’s School of Art in 1983. She has been the subject of many solo shows and has exhibited in many group exhibitions nationally. She has participated in several artist residencies including American Academy in Rome (1997, 2010 and 2016); Yaddo (2008), Saratoga Springs, New York; and Skowhegan School (1976), Skowhegan, Maine. Her early explorations in abstraction evolved into a preoccupation with still lifes as an experiment to think about and research color relationships and patterns in our world. By flattening her forms and paint surface, ordinary objects took on an abstract presence. She is interested in how light falls on form in space and is attracted to very ordinary objects that are part of everyday life and tries to see them in a new way. She will think not just about the objects themselves but what is going on around them. The negative spaces are just as important to her as the objects themselves.

“I realized when I first started the still life project that the negative space around the objects was the real subject matter; meaning can be found in how the space around the forms impacts those forms...I am attracted to non-Western approaches to making two-dimensional works … I love Indian miniature paintings because of the emphasis placed on shape and pattern, flatness and color, Remnants of our consumer culture keep finding their way into my work. Our visual lives are cluttered with packages, clothing, and furnishings that come at us in a swirl of color and pattern...We acquire and discard constantly. Knowing that the objects I’m depicting are on their way to the recycling bin affects the way I paint them. This enables me to think about those items from a more complicated perspective. Underlying my scattering and gathering activity is an expression of both desire and loss. - Sydney Licht

Sydney Licht
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Trixie Pitts

Trixie Pitts is a Canadian painter, based in Nashville. She has lived and painted abroad in London, Atlanta, and Hong Kong. Pitts studied in New York under Larry Poons and Kikui Saito at the Art Students League. She is an award-winning artist and member of the National Association of Women Artists and various other artists’ organizations. She has participated in many group exhibitions nationally and has been the focus of many solo exhibitions in New York City and elsewhere. 

 

Her abstraction evolves from Abstract Expressionism, Surrealism, and the New York School of Painting. Pitts’ works are informed by gestural painting, the dynamism of abstractions, and the sensuous nature of paint and color.  Her varying palette is inspired by her travels, the anatomy of each place, and her love of nature, established during her undergraduate study of biology.

“ The practice of giving up on perfection and accepting the beauty of the unexpected when I paint has helped me do the same in my everyday life.”

Trixie Pitts
Denise Regan

Painter Denise Regan lives and works in Shelter Island, Long Island. She received her MFA from New York University. She has had many solo exhibitions and has participated in many group exhibitions nationally. Her painting has been recognized for distinction many times: 2013 John Simon Guggenheim Memorial Foundation Fellowship Candidate, New York, NY; 2011 John Simon Guggenheim Memorial Foundation Fellowship Candidate, New York, NY; 2010 John Simon Guggenheim Memorial Foundation Fellowship Candidate, New York, NY; 1979 Outstanding Young Women of America; 1987 Vermont Colony Fellowship (Vermont Studio Center), Johnson, Rhode Island; 1991 National Arts Club Nominated Member, New York, NY; 1998 Reader’s Digest. Her work is in numerous private, public, and corporate collections worldwide, including that of the United States State Department.

Her paintings use vivid colors combined with elaborate pattern combinations to create an expressive realist abstraction influenced by the exuberance of European artists such as Gustave Klimt and color use and geometry of American painters such as Ilya Bolotowsky. Her vibrant surfaces are future enlivened by her practice of underpainting her combination of oil and encaustic with metallic pigments.

“I am an artist who uses traditional tools in my practice of painting. To describe my practice to date, I have been working in the five subject areas of still life, landscape, interiors, geometries, and portraits...I'm inspired to bring iconographic, nearly primitive images into our contemporary world through my sensitivity to color and composition. [My] work has focused on still life. The paintings feature bold vases with flowers on tables. They are composed of a flat primitive point of view. Color and the relationship of colors to each other are paramount, as well as the paintings' compositional structure and patterning. Artist’s work is like that of a gardener. The gardener prunes, adds and removes” - Denise Regan

Denise Regan
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Yolanda Sanchez

Cuban born, the Miami raised and based artist, Yolanda Sanchez has participated in many solo and group exhibitions in New York, Miami, Indianapolis, and other cities throughout the US. A 1994 graduate of the MFA program at Yale School of Art, she has received many awards and scholarships including a grant nomination from the Joan Mitchell Foundation in 2017 and an artist residency at the American Academy in Rome through their Visiting Scholars/Visiting Artists Program in 2018. Her work is in many public and private collections.

 

Yolanda Sánchez's gestural painterliness is infused with the elegant control of calligraphy and grounded by the quiet of negative space. A polychony of color rains across a vibrant white ground filling each canvas with a flickering palette of greens, yellows, blues, and other pastel hues with radiant translucency. There is a dancer's rhythm to her work, celebrating gestural mark-making, the harmony of opposing forces, and the physicality of the paint itself. There are consistent references to nature, but each piece remains independent from a narrative. Instead, Sánchez translates and projects emotional and sensory experiences through the lyrical, yet geometrized, organization of forms and color. While influenced by Eastern philosophy and Asian art forms, Sánchez honors her Caribbean culture while considering herself a traveler roaming across borders. The dynamic energies, respect for nature, and spiritualities that connect and transcend cultures unite her work, offering praise to the world. 

Yolanda Sanchez
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Karen Tompkins

Throughout her lengthy career, Karen Tompkinsʼ artistic process has focused on revealing the mystery of the universe. By engaging with scientific knowledge, she creates large bodies of work that shed light on nature from the very smallest, sub-atomic particles, to the largest structures in the universe, such as galactic filaments. It is Tompkins' belief that we are all made of the “star stuff” which composes the universe and binds us to the ecstatic pulse of nature. These works reflect the complexity of an infinite cosmos in which everything is connected.

 

As a Visiting Artist at the American Academy in Rome, Tompkins researched the astronomy of Galileo Galilei at the Vatican Rare Manuscripts Library. His revolutionary discoveries of sunspots, the Jovian moons, and the craters on the moon all became the subject of her most recent series of paintings. Her most celebrated piece in this series was an 8x9 foot replica of the mirror of the James Webb Space Telescope composed of 19 hexagonal paintings of sunspots.

Tompkins evokes the mystery and complexity of nature, that inspired the 19th-century artists, Frederic Church and Thomas Cole, as well as contemporary artists such as Olafur Eliasson and Tomas Saraceno.

Tompkins has participated in over forty solo and group exhibitions during the course of her career. She studied painting and drawing at the Academy of Fine Art in Rome, Italy, and at the Pratt Institute Graduate School in Brooklyn, New York. Her work is included in numerous private, corporate and museum collections. Tompkins lives and works in New York, NY.

Photo credit: Annie Watts

Karen Tompkins
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Deborah Zlotsky

Albany based artist, Deborah Zlotsky graduated with a BA in History of Art from Yale University in 1985 and received a Master’s in Fine Art in painting and drawing from the University of Connecticut in 1989. She has exhibited in many solo and group shows nationally. She is an Associate Professor in Experimental and Foundations Studies at Rhode Island School of Design in Providence and was awarded a Guggenheim Fellowship in the Creative Arts in 2019. In both 2012 and 2018, she received a New York Foundation for the Arts (NYFA) Fellowship in Painting. Recent residency fellowships include Yaddo, Saratoga Springs, New York; the MacDowell Colony, Peterborough, New Hampshire; the Saltonstall Foundation for the Arts, Ithaca, New York; and the Bemis Center for Contemporary Art in Omaha, Nebraska.

Zlotsky’s bold, colorful geometric abstractions reference 1960s psychedelia while employing Surrealist and Renaissance traditions of trompe l’oeil producing compositions with pulsating and unpredictable energy. In a 2017 catalog essay on recent paintings, Carmen Maria Machado, author of Her Body and Other Parties, wrote: “Deborah Zlotsky’s paintings are, at their essence, a convergence: of Renaissance images and pop art, of the past and present, of science fiction and reality, of physicality and illusion.”

“I connect visual fragments, accumulating, and connecting parts that don’t necessarily go together. From the generative logical illogic of my decision-making, a lopsided system eventually develops in each work that refers more broadly to the way history evolves through the accumulation of actions and reactions—in the way complexities and disruptions are built over time through the accidents that get baked in.” - Deborah Zlotsky

Deborah Zlotsky
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Sarah Trundle

Sarah Trundle is based in Charlottesville, VA. Trundle is represented by several galleries and her work is included in numerous private and public collections. Trundle holds a bachelor’s degree in psychology from Dartmouth College and a master’s degree in social work from Virginia Commonwealth University.  She established her career as a full-time artist following an early tenure as a mental health therapist which helped shape the metaphysical preoccupations of her work.

 

Her early allegiance to figuration has been replaced by a focus on abstraction influenced by Jackson Pollack’s radical dissolution of both form and hierarchical composition. Her paintings range from bold, geometric, brightly hued abstractions to more optically restrained minimalist compositions. Trundle is interested in experimentation, process, and mark-making.

  

Her unique and multi-layered paintings range from bold, geometric, brightly colored abstraction to serene, monochromatic minimalist arrangements. These seemingly disparate styles evidence the relationship between order and chaos, between simplicity and complexity. Her work explores the interdependence of these contrasting concepts. Trundle rarely works in a serial fashion; each painting represents a unique and constantly evolving process. Her approach is one of obscuring and re-defining, of complicating and consolidating.

Sarah Trundle

Sarah Trundle is based in Charlottesville, VA. Trundle is represented by several galleries and her work is included in numerous private and public collections. Trundle holds a bachelor’s degree in psychology from Dartmouth College and a master’s degree in social work from Virginia Commonwealth University.  She established her career as a full-time artist following an early tenure as a mental health therapist which helped shape the metaphysical preoccupations of her work.

 

Her early allegiance to figuration has been replaced by a focus on abstraction influenced by Jackson Pollack’s radical dissolution of both form and hierarchical composition. Her paintings range from bold, geometric, brightly hued abstractions to more optically restrained minimalist compositions. Trundle is interested in experimentation, process, and mark-making.

  

Her unique and multi-layered paintings range from bold, geometric, brightly colored abstraction to serene, monochromatic minimalist arrangements. These seemingly disparate styles evidence the relationship between order and chaos, between simplicity and complexity. Her work explores the interdependence of these contrasting concepts. Trundle rarely works in a serial fashion; each painting represents a unique and constantly evolving process. Her approach is one of obscuring and re-defining, of complicating and consolidating.