In The Studio
January 10, 2017, 8:35am
I'm visiting one of two studios that Ted Laredo occupies, and he shows me an anomalous piece with text that reads: Art is easy. It's an unexpected bit of humor in his otherwise refined body of work, and not what I expected. This piece upends his minimalist aesthetic, and hints at the range of his studio practice, which is expanding in all kinds of ways. - Diana Gaston, New Mexico Contributor
August 08, 2016, 3:37pm
The monsoon season is late in coming this summer, but the rains are finally upon us. Scott Greene (NAP # 18, #30, #54, #66, #78, #96, #108) has been imagining this deluge for some months, as he works on a large painting in his studio just north of ABQ. His work is shown with regular frequency in San Francisco, to the point where it might be easy to think of him as a Bay Area artist, but he has been rooted in New Mexico since completing his MFA in painting from the University of New Mexico. – Diana Gaston, New Mexico Contributor
January 06, 2016, 9:42am
Dyani White Hawk’s (NAP #113) acrylic on canvas paintings are bold, delicate, and deeply intricate. Their brightly saturated hues and geometric shapes create repetitious patterns that draw in the eye and compel viewers to want to see more. Upon further inspection, White Hawk’s paintings reveal a trick of the eye in that her brushstrokes mimic and simulate a beaded and quilted aesthetic, all in layer upon layer of fine details and repetitive brushes.
In the Process of a Painting, White Hawk walks us through her step-by-step process from the very beginning in building the stretcher bars for the canvas to showcasing the finished piece, Wičháȟpi Wakíŋyaŋ Wíŋyaŋ (Thunder Star Woman), along with its companion piece, Čhokáta Nážiŋ Wíŋyaŋ (Stands in the Center Woman). - Ellen C. Caldwell, Los Angeles Contributor
January 04, 2016, 8:46am
Occupying a small space in the long-since vacant, historic El Sol Theatre in downtown Silver City, New Mexico, John Phillip Abbott’s second floor studio is made immediately recognizable by the makeshift spray booth on the wall just outside his front door. Inside, I found him busy packing work for two solo exhibitions opening the same weekend in January: Turquoise Sunset at Devening Projects + Editions in Chicago, and On Any Sunday at Pierogi Gallery in New York. While the work that comprises On Any Sunday is a continuation of his familiar geometrically abstract text and word paintings, Turquoise Sunset marks the beginning of a newer, slightly more experiential body of work that has Abbott revisiting his approach to painting. –Claude Smith, Albuquerque/Santa Fe Contributor
July 14, 2015, 9:14am
Camille Hoffman beautifully applies paint and mixed media to create collaged worlds that are fantastically mesmerizing, while also grounded and painterly. Her works inhabit a liminal space walking the line between realistic and other-worldly; timely and eternal.
In her recent work, Buried High in Heaven: Journey through nine antinomic realms, Hoffman uses golf course calendars, hair, plastic from a tablecloth, photos, and oil paint to create a monumental ode to her own artistic process and practice. Many of the allusions and collaged images in the work include references to her past weaving installations, thus welcoming viewers into a meditative space to reflect upon Hoffman’s own challenges, goals, and successes as a practicing artist. - Ellen C. Caldwell, Los Angeles Contributor
Camille Hoffman | Buried High in Heaven: Journey through nine antinomic realms, 2015, Oil, photos, plastic tablecloth, golf course calendars, and hair on board, 108 x 48 inches.
June 16, 2015, 9:25am
Anthony Palocci’s (NAP #104) large-scale paintings are at first glance abstract grids of beautifully painted lines, repetitive marks that vibrate with painterly energy. Then, with a steady gaze, their thing-ness snaps into focus, taking enough time that you may indulge in the liminal shift, from the initial effect of reductive abstraction to a three-dimensional view. In Looking Up, I first saw an entire building with a few glowing windows, the accident of who was still awake in that building at 1 am, before I realized the subject was actually much closer to me. - Shana Dumont Garr, Boston Contributor
June 01, 2015, 11:57am
Heidi Draley McFall (NAP #30, #113) creates monumental pastel portraits that are haunting and endearing, personal and startling. Through heightened contrast in black and white, she invites us to explore the souls and personalities of those she depicts. There is an openness and volatility to her subjects that instills a closeness and sense of shared humanness between the artist, her viewers, and her subjects.
McFall first takes photographs, then prints them, and then draws with pastel on paper to create these large six feet portraits. She recently updated her process, embarking on a darkroom photography class so that she could add an extra layer to her process by printing the photographs herself rather than going through a lab.
In this installment of Process of a Painting, please explore McFall’s fascinating multi-step process and read her own words about her work below. - Ellen Caldwell, Los Angeles Contributor
February 25, 2015, 11:35am
Susan Logoreci (NAP #61, #109, 2003 MFA Annual) draws urban sprawl in the most beautiful way. As Los Angelenos, New Yorkers, and big city dwellers know well, the view out of your airplane window when you arrive back in your city is often one that is at once overwhelming and bittersweet. I love the feeling of coming home and am at once warmed over by the minuscule aerial view of my large hometown, though I have panged feelings of being simultaneously shocked and awed at its sprawling enormity.
Logoreci captures that feeling beautifully in her drawings. In this Process of a Painting, we are looking at her detailed hand behind the creation of U.S.C. (Urban Swarm Contemplated), 2014. Using colored pencil on paper, she creates a wonderfully and surprisingly rich and bold palette, while exploring an equally intricate subject.
After seeing her process, I asked Logoreci to tell us about the inspiration behind U.S.C. and her aesthetic approach to the commission. Please follow along and join us on this wonderful aerial adventure.
May 02, 2014, 9:18am
Thinking back to my senior year of college, I lived in a co-ed rental house with a bunch of guys and I remember the shocking and seemingly exponential amount of dirty socks that would congregate in the living room. In fact, there were so many that I christened a plastic laundry bin as a permanent dirty sock receptacle, living quietly behind one of the leather sofas.
Dirty socks are Chris Thorson’s (NAP #109) recent subject for her three-dimensional cast and painted works. These discarded, twisted forms carry a life of their own that tell a number of stories – where they were that day (mud from a hike or wetness from the rain), what kind of activities ensued (knee-high soccer socks or thin black dress socks), and what kind of mood the wearer might be in (sleeping sloth socks or whimsical polka-dots). For something so ugly, dirty, and potentially smelly, these worn socks carry a beauty that Thorson illuminates in her works.
April 17, 2014, 9:58am
Cary Reeder (NAP #108) paints industrial sites in a very particular manner. These normally cold places are made to feel slightly warm because of her attention to precise details like shadow, color, tone, and hue. They are also compelling, as if Reeder is able to call our attention to details that we might have overlooked in our own neighborhoods and cities.
In this Process of a Painting, we join Reeder on her lengthy, complicated, and rather grueling process toward completing “They Still Work.” Follow along with Reeder’s thoughts and insight embedded throughout her equally important visual documentation of the process. – Ellen C. Caldwell