Meet the Artist in Residence: Cathy Gordon

Cathy Gordon is one of our current artists in residence at Main Street Arts. She is working on mixed media paintings and cut paper pieces during the month of June, 2017. We asked her a few questions about her artwork and studio practice.

Cathy Gordon working in her studio at Main Street Arts

Cathy Gordon working in her studio at Main Street Arts

Q: To start off, please you tell us about your background.
While I grew up on Air Forces bases across the United States and always created art, my love affair with art began when my parents divorced. My father moved to Chicago and my mother, my sisters, brother, and I moved to western Kansas. I know that sounds odd because you would not associate art with a small town in Kansas but it was a critical time in my life and as it happened the high school art teacher in that small town was a truly great art teacher (and a gifted artist in his own right!). I can’t begin to tell you how many of his students went on to become artists, art teachers, designers, photographers etc… He continues to mentor me to this day.

I went on to paint, draw, and print my way through the University of Kansas and I eventually obtained my Master of Fine Arts from Fort Hays State University, a small school in Kansas with an exceptional art program. Once again, I was fortunate that my drawing professor, who became an important mentor in my life, taught by example. She was a great artist and held her students to very high standards.

My experiences with these two great teachers made me realize that not only did I want to teach but I had to “walk the walk” for myself as well as my students. I knew my students needed to see me create art. I have taught full-time at the college level for twenty-five years and have always used an active studio approach to my classes.

CathyGordonCutPaper

Cut paper piece by Cathy Gordon

Q: How would you describe your work?
My work has always been influenced by mathematics, Constructivist design aesthetics, and classical subject matter but most recently I have been inspired by the book, Visual Complexity, Mapping Patterns of information, by Manuel Lima. I am currently working on a series of cut paper drawings and mixed media collages that use the connecting lines and coordinates of mapping. Each coordinate represents a person, encounter, event, or transpiring moment in my life. The lines soon became a metaphor for the transience of life and our congruence with one another.

Cathy's workspace in her studio

Cathy’s workspace in her studio

Q: What is your process for creating a work of art?
For me, the process of creating a work of art is ongoing. I can’t turn it on and off. I am constantly contemplating a work of art whether it is in its early stages or almost completed.  It is a little embarrassing to tell you this, but I lay in bed at night thinking about artwork that I am either struggling with or considering. There is no question that the most important aspect of creation is to listen. If you truly listen to the artwork it will guide you.

On a practical note regarding creativity, it is imperative that you work on this process every day. The best-case scenario is to be in the studio working every day but if that doesn’t happen you still need to have your head in your work whether it is searching for ideas, taking notes, journaling, or exploring. We all hit creative road blocks. I once had a teacher tell me that when I feel empty and I don’t think I have anything to give, pick up a pen and draw straight lines. Keep drawing the lines as a form of meditation and the next thing you know you will be drawing. It works!

"Pear With a Five", mixed media painting by Cathleen Gordon

“Pear With a Five”, mixed media painting by Cathy Gordon

Q: What are your goals for this residency?
A: There is no question that my main goal for this residency is to create and produce art. This residency is a gift. It is a such a joy to walk into the studio and not have any of my regular life demands trying to draw me away from the studio. I am usually pretty good at dedicating time to creating art everyday but to have all day, every day to work has been nothing short incredible.

Creativity is often nurtured through experience and the fact that I came here from Texas is in and of itself, an experience. I am calling my month here, “Zen and the Art of Art.” I am looking at art along the way, creating art in the studio, meeting new people, seeing new landscapes and just trying to absorb the experiences.

I am working on both painted mixed media and cut paper projects while I am at Main Street Arts and I am working on incorporated mapping and charting into the works.

Q: What’s next for you?
A: I am a drawing and painting professor by day and an artist by night. And while that will continue, I am changing the location. As soon as I get back to Texas I will be packing up and moving to a new college in Kansas where I have accepted a new position. The adventure continues!

Q: Where else can we find you?
A: Check out my website at cathleengordonart.com

View and purchase a selection of Cathy’s work at the gallery and in our online shop

From The Director: Utopia/Dystopia

Installation view from "Utopia/Dystopia", painting in foreground by Polly Little

Installation view from ‘Utopia/Dystopia’, painting in foreground by Polly Little

Juried exhibitions are interesting from my perspective as a gallery director. There is much less control of the outcome in an exhibition like this. Typically, I get to choose each artist—and many times, each specific piece—that will be included in a show. From the beginning, I have an idea of how the exhibition will come together and how it can be installed to become an interesting thing unto itself. However, in a juried show I have no control over what will be displayed, only how it will be  displayed.

The usual exhibition at Main Street Arts has its beginnings in seeing a specific piece by an artist and slowly building the idea for the exhibition around that. The place that I end up may be different from where I started but it is this organic process that keeps things interesting for me from year to year.

The current national juried exhibition, Utopia/Dystopia features 40 artists from 15 different states selected by our juror, John Massier—visual arts curator at Hallwalls Contemporary Arts Center in Buffalo, NY. The idea for this exhibition came to me last year during the strange spectacle that was primaries and started out only as “dystopia”, with no brighter side. As a little time passed, it became important to add in “utopia” as the counterpoint with the hope for an exhibition that presented competing visions of the future. The resulting exhibition brings the realization that the themes of utopia and dystopia can be left to interpretation.

Installation view of 'Utopia/Dystopia', Painting by Sarah Peck in foreground

Installation view of ‘Utopia/Dystopia’, Painting by Sarah Peck in foreground

There are of course pieces in the show that are always read as depicting  dystopia (i.e. things that are on fire or demonic figures) and then there are those that could be both. Endless Pool by Anna Pleskow could be read either way, I see both isolation and serenity. Fretful Mickey by Jennifer McCandless  is meant to be “a dystopian Disney that is hot, crowded, and the only thing to eat is a giant turkey leg” (a quote from the artist) but I could also see this as an alternative version of the Disney classic that is perhaps even more captivating.

(left) "Endless Pool" by Anna Pleskow (right) "Fretful Mikey" by Jennifer McCandless

(left) “Endless Pool” by Anna Pleskow (right) “Fretful Mikey” by Jennifer McCandless

Even though I had a complete lack of control in selecting the work for Utopia/Dystopia, I am very happy with the selections made by our juror. It is an eclectic mix that makes you laugh, scratch your head, and maybe even get a little creeped out! Stop in before June 30, 2017 to see the show before it is gone.

Inside The Artist’s Studio with Mandi Antonucci

I like to think of myself as a crafter of visual stories.  I attempt to create drawings that provide more questions than answers, more ambiguity than certainty.  My intention is to leave the viewer with an open ended narrative that allows one to fill in the blanks from their own personal experiences.  

"Swarm"

“Swarm”

I grew up in Syracuse, New York with an unconventional family that instilled in me an appreciation for bird watching, collecting antique typewriters, and art.  My relationship with art was formed inside the walls of the Everson Museum where my grandfather served on the Board of Directors, and by watching my grandmother create ornate pieces with needlepoint.  These two factors served to inspire my great love for art history and attention to detail.  

"Family Tree"

“Family Tree”

I received my Bachelor’s degree in Studio in Art and Art History from Nazareth College, and my Masters in Art Education from Rochester Institute of Technology.  For the past 13 years, I have been an Art Teacher at Batavia High School.  I love my job.  It’s a unique opportunity that enables me to be constantly in the company of other artists.  I love the give and take of ideas, and the constant progression of concepts and materials that come with being an educator.  My students keep me on my toes, pushing me with their talent and insight to become a better artist while I help them to find their own artistic voice.  Nearly everyday, they give me hope for the next generation of creative thinkers.

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I like to invite my students into my creative process.  Aside from talking through my concepts and symbolism, many of them have become my subjects for my portraits.  They never seem to mind when I ask them to make weird faces or pose in a certain way.

"Queen of Crows"

“Queen of Crows”

My work as a whole is best described as Pop Surrealism, though I try my best not to label myself too strictly as I don’t want the identification to become a limitation.  While I will use a variety of materials, I generally use mostly colored pencil and graphite.  I love the control and versatility of my colored pencils; I love the feel of a sharp pencil and the look of a sharp edge. However, I also love the way in which colored pencil allows me to build subtle layers, like a recipe for the perfect color.

I generally don’t have a finished concept in my mind when I start a piece.  Rather, I like to start with a story in mind, or a picture I have taken, and let the creative process dictate my direction.  My best ideas come from the act of making, so it’s not uncommon for me to have five or six drawings in various states of completion as I work.

In progress

In progress

My work explores the themes of mental illness, loss, and the fragility of life.  I like to think of my drawings as a visual memoir of the struggles and achievements of myself and the others I share my life with.   My drawings often include the human form in some way, whether it’s with portraits or hands.  I am drawn to the automatic sense of emotion that comes with portraying the human form.  I want my work to tell a symbolic story of the strength of the individual while still leaving the details to the interpretation of the observer. My drawings attempt to show the vulnerability of my subject, their precarious and fantastical reality, and the effects their mental state has made in their lives.  

"The Future is Female"

“The Future is Female”

I tend to use a lot of pattern in my work as a design and symbolic element.  I am particularly drawn to the honeycomb pattern because it stands as a reminder that beauty can be born from chaos.  I feel like I’m just scratching the surface as to where I am headed in terms of my use of pattern; I’m excited to see where the process will take me.

 Antonucci04

"Daydream Believer"

“Daydream Believer”

When I’m not at school or in my studio, I can be found at home in Geneseo with my husband and two children, surrounded by cornfields and distant horizon lines.  

"Boy Wonder"

“Boy Wonder”

My work can be found at www.mandiantonucci.com or on Instagram @skywardagain


Stop by Main Street Arts to see Mandi’s work in our current exhibition “Utopia/Dystopia” (juried by John Massier, curator at Hallwalls Contemporary Art Center in Buffalo, NY). The exhibition runs through June 30, 2017. Mandi’s piece, “Boy Wonder”, is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside The Artist’s Studio with Neil Marcello

I was born in Bombay, India, before I moved to Dubai, where I spent my childhood years. Dubai exposed me to the various industrial landscapes, like oil and natural gas production, large-scale infrastructure construction, and shipping ports that helped transform this desert city into the thriving manufactured oasis it has become today. These industrial scenes also left a lasting impression on me that continue to inform the imagery I produce today.

Photo Credit: Joanna Kula, 2015

Photo Credit: Joanna Kula, 2015

I have been making photographs for the past 10 years, during which time my focus and approach to creating images evolved from casual snapshots, towards images that are research based and might take on a critical role that can raise questions.

I graduated with a Bachelor’s degree from the Indiana State University, where my studies were concentrated in conceptual design and urban architecture. As a photographer I am self-taught, though computer technology, Hollywood films, and filmmaking factored heavily in my understanding of the aspects of image-making, as have the works of Caspar David Friedrich, Charles Sheeler and Edward Burtynsky that influenced me at pivotal junctures in my development as an artist

My body of work takes on an abstract quality without losing the sight of its origins. This is not a deliberate effort in which I go looking to create an abstracted view instead I find it to be inherent in the evidence left behind by our highly evolved consumer society.

CA #014, Coincidental Accretion, 2015

CA #014, Coincidental Accretion, 2015

To record my images I use a medium format, analog camera and film stock that best compliment the subject matter. I print using large format digital printers. This hybrid approach offers me the best of what the analog and digital formats have to offer, while continuing to challenge my sensibilities as a photographer and an artist.

My projects focus on conceptual ideas derived from industrial solutions, often created in the name of progress, that I now view as having become problems that bear examination. When I approach a specific idea, it is usually with the mindset that the viewer needs to be visually captivated before there is any chance of my idea being accepted. If the resulting image holds this type of interest, then it might draw the viewer into further discussion and thought on the perspective about the subject matter. Overall I think my work communicates a contemporary view more than it does any kind of popular view or trend in art.

#1JKS, Beyond the Heliopause, 2012

#1JKS, Beyond the Heliopause, 2012

With my most recent project, titled “Sweet Tooth”, the focus is on synthetic dyes derived from crude oil, and their role in the mass production of candy.

Sweet Tooth Series, 2014-2016

Sweet Tooth Series, 2014-2016

The project’s concept touches on themes of industry, mass production, consumerism and some of the resulting negative effects which may be seen in the piece, titled “Good and Plenty”, featured in the “Utopia/Dystopia” exhibition at Main Street Arts.

The idea for “Sweet Tooth” was born out of a need to find healthy candy for kids trick-or-treating on Halloween in my neighborhood when I was living in Los Angeles. I discovered news articles and a radio show on National Public Radio, that discussed the topic of synthetic dyes being used by candy companies in the US for their production of candy, while using natural dyes in the same candies in Europe.

Having just completed my work on “Mulholland’s Gold”, a project that dealt with the industrialization of water in Los Angeles, I was exposed to the various facets of the oil industry in California. So the connection between crude oil and synthetic dyes only became more apparent in my idea.

Oil #001, Mulholland's Gold, 2011-2014

Oil #001, Mulholland’s Gold, 2011-2014

The process behind “Sweet Tooth” was to place the candy that I was familiar with as a child and young adult, into an industrial backdrop. So I began with making rough sketches on paper to get the initial ideas down.

Good and Plenty Sketch, Pen on Paper, 2014

Good and Plenty Sketch, Pen on Paper, 2014

I would then scan and enhance these sketches in Photoshop to figure out the composition and color schemes.

Good and Plenty Schematic, Digital Rendering, 2014

Good and Plenty Schematic, Digital Rendering, 2014

Once I have finalized the schematic I set about building and painting the dioramas using household goods, broken or used model kits, architectural model building materials and synthetic paints mostly derived from crude oil.

Good and Plenty Diorama, 2015

Good and Plenty Diorama, 2015

Some of these dioramas measured up to 4 to 5 feet in height, width and/or depth, before I photographed them and progressed into post-production to create the final image and print.

Good and Plenty, Sweet Tooth Series, 2014-2016

Good and Plenty, Sweet Tooth Series, 2014-2016

The most challenging aspect to making my art is in how to rethink my fascination with the sublime in contemporary society, and translate this into a unique visual that can continue to attract and engage the viewer in a necessary dialogue about our time.

If you are interested in learning more about my works and background please visit my website www.neilmarcello.com. You can also connect with me on Instagram @neilmarcello and Facebook https://www.facebook.com/neil.marcello/


Stop by Main Street Arts to see Neil’s work in our current exhibition “Utopia/Dystopia” (juried by John Massier, curator at Hallwalls Contemporary Art Center in Buffalo, NY). The exhibition runs through June 30, 2017. Neil’s piece, “Good and Plenty, The Sweet Tooth Series”, is also available for purchase in our online gallery shop:
store.mainstreetartsgallery.com

Meet the Artist in Residence: Nick LaTona

Nick LaTona is one of our current artists in residence at Main Street Arts. He is working on sculptures and artist books during the months of May and June, 2017. We asked him a few questions about his artwork and studio practice.

Nick LaTona, artist in residence (May/June, 2017)

Nick LaTona, artist in residence (May/June, 2017)

Q: Tell us about yourself A: My name is Nicholas LaTona and I am from Churchville, NY. I currently work at Highland Hospital, Strong Memorial hospital and Entercom Communications. I’ve always been interested in the arts as far back as I can remember. When I was a junior in high school, I started to become invested in the arts and from there I attended college at SUNY Fredonia where I received my BFA. I was always indecisive about concentrating in a specific area but in my junior year is when I began concentrating specifically in sculpture. It took me 5 years to graduate because into the end of my junior year, I decided to have duel major in both sculpture and public relations.

Installation from a residency at The Yards in Rochester

Installation from a residency at The Yards in Rochester

Q: Tell us about your work A: Through the years in college I was exposed to many materials and was specifically drawn to Plaster, Wax, Copper, and Paper. Since graduating my work has drifted more towards using Paper, thread and pigment.

April 19th, artist book

“April 19th”, artist book about a day that changed my life

Q: What inspires you in the studio? A: I draw my inspiration from the medical experiences I’ve been exposed to. I find this helps me process what I’ve seen or have been through personally. This is what I have been concentrating on the past year. I also work on different pieces inspired by everyday experiences and various media I am introduced to.

Inside Nick's studio at Main Street Arts

Inside Nick’s studio at Main Street Arts

Q: What is the most useful tool in your studio? A: The most useful tool(s) in my studio would have to be my cutting board, x-acto knife and ruler. I use those tools the most and they are the most essential tools to have with me. I collect all scrap paper and strands of thread whenever and wherever I can.  I do this so when I make paper I can recycle these bits and pieces and reuse them to make sheets of paper.

Q: Who are some of your favorite artists? A: Felix Gonzalez-Torres and Maggie Taylor. I draw inspiration from many artists, but these two in particular inspired me the moment I discovered their work and they continue to inspire me to this day. Gonzalez-Torres works minimalistic but his works speak powerfully while focusing on activism. Taylor’s work is more focused on surrealism, creating fantasy and dream-like images that are manipulated in Photoshop. I am very inspired by the local artists in Rochester I have had the opportunity to work with or meet. Everyone is exploring great concepts and you learn different ways to see what’s around you and interrupt. This has helped me tremendously through my work by offering positive feedback and motivation.

1992–2016, artist book

“1992–2016″, artist book

Q: Any advice for other artists? A: If I were to give another artist advice, it would be to double the amount of time you think it will take for you to complete work and to allow things to change as you progress through a piece. Everything I have made to this day has changed from my original intent to the finished piece.

Q: Where can we see more of your work? A: You can check out my work on Instagram @Nick_l.art


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: May 31, 2017 for a residency in July, August, September 2017.

Meet the Artist in Residence: Sam Bogner

Sam Bogner is one of our current artists in residence at Main Street Arts. She is working on celestial sculptures and extra terrestrial relics during the month of May, 2017. We asked her a few questions about her artwork and studio practice.

Sam Bogner, artist in residence

Sam Bogner, artist in residence (May 2017)

Q: Tell us about your background.
A: I am originally from Cleveland but I am currently living in Jersey City, NJ. I earned my BFA in Sculpture and Expanded Media at the Cleveland Institute of Art. This coming fall I’ll begin my graduate work at Rutgers University, where I’ll be studying archives and librarianship.

Q: Tell us about your work.
A: My work is almost always object based, but includes a range in size from miniature sculpture to large scale installation. My material range is also very broad and changes from project to project. I want to tease out sci-fi camp qualities from the material I’m using over any specific medium. My work stems from science fiction’s relationship to science—how as humans we have a cycle of wonder and inspiration, which leads to exploration and discovery. It is so enveloped in pop-culture that we can’t help but confront it. My work embodies the same visual language of classic sci-fi films. Campy effects are used in my installations and objects to create an other worldly experience—one that asks the viewer to suspend belief, to wonder where humanity can go, and what waits to be discovered in the cosmos.

UHO, Destination Moon, detail at dusk  2016 Varying sizes between 18” and 12’  Installation; Mylar, fabric, video, various color-changing lights, resin

UHO, Destination Moon, detail at dusk (2016) Varying sizes between 18” and 12’
Installation; Mylar, fabric, video, various color-changing lights, resin

Q: How would you describe your studio practice?
A: My studio practice is primarily research based. I spend a lot of time making an archive for myself of images, experiences, video, material, pop culture phenomena, etc. I also make a lot of models and plans for work that I don’t have the time or space to make, but maybe someday will realize it. There is something precious about this work for me, I can keep changing it and evolving it over years and when the opportunity strikes, it is ready and waiting. On residency though, I have time to make physical objects based on my research. I rarely have a direct plan, an artwork like this references bits of my archive, but often is directly involved in the experience of the material I’m using.

Sam Bogner, at work in her studio

Sam Bogner, at work in her studio

Q: What is your most useful tool in the studio?
The internet. Its an addiction. When I don’t have the time to re-visit a museum or library, it can fill the void. I don’t keep a traditional sketchbook, rather a large mess of files of interesting things I find. At any given moment I have 20 tabs of things that I want to search into more.

Q: Who are your favorite artists and why?
A: I am always interested in the works of Laurie Anderson, Isa Genzken, Lucio Fontana’s sculptures, Marsha Cottrell, Sarah Sze, Pipilotti Rist, Mike Kelley.

My favorites change a lot, lately I’ve been obsessed with the Instagram feeds of Laura Catherine Soto, Esther Ruiz, Stephanie Sarley. Their range of material, texture, and experience are what keep me coming back to their work.

Giant Sediment from Juni River Delta, Planet Hjl  (2015) 8”–28”  Sculpture; Foam, paint, glitter

Giant Sediment from Juni River Delta, Planet Hjl (2015) 8”–28”, foam, paint, glitter

Q: What do you hope to accomplish during your time here?
A: I am working on a series of space rock formations based on NASA and SETI images. I am also continuing to make a series of extra terrestrial relics.

Q: Where else can we find you?
On instagram @samb0gner and at www.sambognerart.com


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: May 31, 2017 for a residency in July, August, September 2017.

From The Director: Re-Emerging Artists

Installation shot from the exhibition

Installation shot from the exhibition

Our current exhibition, Re-Emerging Artists features two painters who have both been making art for longer than I have been alive. Considering this fact as a painter myself, I find it so encouraging and inspiring to see two artists making such fascinating work after more than six decades of making art.

John Greene and Robert Marx met each other around the year 2000 but their history goes back to the 1950s when John purchased a print of Robert’s in a gallery on Madison Avenue in New York. Over the years, John acquired more of Robert’s work and was delighted to find out that he lived and worked in Rochester when he was in town for a meeting at the Memorial Art Gallery. The two met in Robert’s studio and immediately became friends.

Fast forward to 2017 and we have the first showing of their work together in an exhibition at Main Street Arts!

In Robert's studio at Anderson Alley. An early, in-progress shot of the painting "Solana" that is in the exhibition.

In Robert’s studio at Anderson Alley including an early, in-progress shot of the painting “Solana” that is in the exhibition.

I had the pleasure of visiting both artists in their studios multiple times in preparation for this show. With Robert, both in his studio at Anderson Alley and in his current basement studio in his home. He spent almost 30 years in the Anderson Arts building on Goodman Street in Rochester. He now has the convenience of not having to commute to and from the studio—unless you count the walk from the kitchen to the basement steps.

Making the initial selection of work for the show back in May of 2016

John and I in his studio, making the initial selection of work for the show back in May, 2016

I visit artist’s studios frequently and going to see Robert was a quick trip to Rochester. However, visiting John’s studio meant going on a bit of a road trip—he lives in the Hudson region about four hours southeast of Main Street Arts. During our first visit in May of 2016, I was thrilled to be welcomed into his home studio to see his encaustic paintings in person for the first time. I was particularly drawn to the “Dimensional Landscapes”, four of which are included in the exhibition. I had never seen a painting stick straight out from the wall before!

Dimensional Landscape, oil and encaustic on wood—John Greene

Dimensional Landscape, oil and encaustic on wood by John Greene (two views)

The seeds of this exhibition were sown in September, 2015 at an opening reception at Main Street Arts. Grant Holcomb, former director of MAG and Marcia Lowry, on the board of managers at MAG, approached me with the idea of having a show with Robert and John. Already being a Robert Marx fan—and soon to become a fan of John Greene—I quickly obliged and we set the date of April, 2017 for the show. All of us thought that 2017 sounded so far away, but here we are!

One of the sections of the show where John and Robert's work is paired together as one

One of the sections of the exhibition where John and Robert’s work is paired together as one

One of the things I looked forward to the most, besides seeing all of this work in person, was being able to curate it together in one space. I am always drawn to the idea mixing things up. Rather than have John’s work in one room and Robert’s in the other, we have sections like the one shown above, where pieces by each artist are hung as a cohesive singular installation. Other areas of the show allow for specific pieces to be highlighted on their own but for the most part the exhibition is a unification of both artist’s work.

Pictured from left to right: Marcia Lowry, John Greene, Gwen Greene, Bradley Butler, Francie Marx, Robert Marx, Grant Holcomb

Pictured from left to right: Marcia Lowry, John Greene, Gwen Greene, Bradley Butler, Francie Marx, Robert Marx, Grant Holcomb


Re-Emerging Artists runs through May 12th, 2017. On Saturday, April 29th, from 10:30 a.m. to 1 p.m., John and Robert will be discussing their work in the gallery (discussion begins promptly at 11 a.m.) RSVP by calling or emailing the gallery. More info: Artist Discussion Facebook Event

Purchase work from the Exhibition in our online store.
See photos from the exhibition and opening reception on Flickr.

Meet the Artist in Residence: Kara Lynn Cox

Kara Cox is one of our current artists in residence, she’s working in one of our two studio spaces during the month of April 2017. We asked her a few questions about her work, life, and more:

Kara Cox in her studio at Main Street Arts

Kara Cox in her studio at Main Street Arts

Q: To start this off, tell us about your background. 
I am from Rochester, New York, but currently live in Yonkers. This move was accompanied by my studies at SUNY Purchase for my BFA in Painting and Drawing. I have been keeping track of my studio hours, and guesstimate I’m around 3091 hours at this point. (I’ve been keeping strict track of my studio hours starting at the rough estimate of 3000).

I sort of have a day job… I wear many hats. Currently I am a Listings Editor for Artcritical, and have published writing with them as well. I’m also a studio assistant to various artists, and I will often freelance odd jobs. This is the only way I could support my nomadic studio life style and still have a place to live in New York City!

"Interference Blue" (Acrylic paint, house paint, on canvas)

“Interference Blue” (Acrylic paint, house paint, on canvas)

Q: How would you describe your work? 
My preferred medium is acrylic (painting). I also draw realistic portraits of people and dogs, but I don’t consider it part of my practice. As of late I think the paintings operate in the liminal space between abstraction and realism. They are rooted in their abstract formal elements, but are contingent on the structure inherent to photography (and physical objects/subjects of the reference photographs).

I’m really interested in how perception influences each of our individual experiences. The paintings have addressed this in their formal properties, such as hyper-gloss, or slightly differing colors. These formal decisions require the viewer to physically walk around the painting, as it is never fixated in a single moment.

Q: What is your process for creating a work of art?
First my paintings start with my environment. 
My recent body of work originated from my attention to objects and surfaces that were easily dismissed or quite often devoid of monetary value. These quotidian objects felt deeply important to me; such as dirt piles, cracks in the sidewalks, or scuffs in the wall. I would then extract a pattern using Adobe Illustrator- either re drawing sections or using the program’s algorithms for selecting an element of the photograph and create a multitude of black stencils to project onto the surface of the painting. I think about the projection as if it were a grid…something to build off of and mold the image.

Still using this process I now think of my paintings as an exploration in perception, between subconsciously choosing what is brought to the foreground of my attention in an environment, and the way this information is translated through a digital lens.

Inside Kara's studio

Inside Kara’s studio

Q: What are your goals for this residency? 
I would like to utilize my time at this residency to produce a few new paintings, but also attempt to create a few short animations. I’ve been interested in making work about our perception of the immediate/physical world and how it is changed by our relationship to the digital/non-physical. I think exploring moments of quietness through extensive labor and the tedium of drawing them out frame by frame will allow me to respond in reverence to these dwindling moments of subtlety and stillness. I’m also interested in how a video might possess an unsalable quality, or have a veil of egalitarianism in its accessible/sharable aspects.

I’ve learned it is better to set very mild goals on a residency. This allows room for exploring new routes and ideas that may be unique to the experience, instead of shrouding new developments with an aggressive or unforgiving goal, mislabeled as productivity. I think some of the quietest, unsuspecting moments in our lives are the ones that fuel progress the most, and it is important to remain open to them.

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Kara at work in her studio

Q: What is the most useful tool in your studio?
Hands down it would be my projector. Runner up is my computer. I’ve developed a real attachment to working this way, and these devices have really shaped my visual language.

Q: Who is your favorite artist and why? 
I would say Trevor Paglen with his investigation into data collection and mass surveillance, and Hope Gangloff with her incredible color relationships are equally tied in first place for me. Runner-ups might be Sarah Sze, Agnes Martin, Donald Judd, and Dan Flavin.

Q: What type of music do you listen to? How does music affect your artwork?
I listen to so many kinds of music, but I find that I listen infrequently. I think listening to music while working discourages mindfulness, so very rarely will I listen while I’m painting. I think it is important to be fully present in activities (which is probably encouraged by my interest in our relationship to the digital).

Yellow Sun (Acrylic paint, house paint, on canvas)

Yellow Sun (Acrylic paint, house paint, on canvas)

Q: What’s next for you?
I’m going to head back to New York, and try to wear fewer hats. I’d like to stop freelancing, and find a consistent part time or full time job. I’ve already found a very small studio to rent for a few months, so I plan on slowing down on the nomadic residency life style for now. Other than that, as long as I can keep making and seeing artwork… I’m a happy camper.

Q: Where else can we find you? 
I can be found on Instagram at karalynn_cox, website at karalynncox.com, and email at karalynncox@gmail.com


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: May 31, 2017 for a residency in July, August, September 2017.

Meet the Artist in Residence: Stacey Rowe

Stacey Rowe is one of our current artists in residence, she’s working in one of our two studio spaces during the month of April 2017. We asked her a few questions about her work, life, and more:

Stacey Rowe in her studio at Main Street Arts

Stacey Rowe in her studio at Main Street Arts

Q: Tell us about your background.

A: I moved from the Syracuse area to Rochester to attend college at Nazareth. I have a B.S. in Studio Art and an M.S. in Art Therapy. I think I started painting on canvas around the age of fourteen. I work as a freelance writer and public relations/ marketing consultant. I’m also the editor-at-large at (585) magazine. The flexibility allows me to do a residency like this.

Q: How would you describe your work?

A: I paint in acrylic and I’d describe my work as colorful, humorous, and often layered with symbolism.

Q: What is your process for creating a work of art? 

A: I’m very cerebral about it. Meaning: I tend to think more than sketch when I’m planning a piece. I’ll jot down lists of ideas and go about researching. Then, I’ll sketch right on the canvas and start painting. There are usually one or two improvisational items that happen once I get into it, so it’s good that paint is such a forgiving medium!

Some of the Pantone People Series

Some of the Pantone People Series

Q: What are your goals for this residency?  

A: I currently have three pages of ideas for the Pantone People series. These are smaller square works (6” x 6”) typically featuring a celebrity with some sort of creative play on the Pantone color swatch name. I’d like to put a dent in that list and also work on some larger pieces that will feature some of the funny animal characters I have created. I’m also going to teach a workshop on April 15. We’re going to have fun!

Q: What is the most useful tool in your studio? 

A: I’ve been using “The Masters Brush Cleaner and Preserver” for years and it really is the best. I once left paint on a relatively new brush overnight and this totally saved it. It’s also great for reshaping and conditioning brushes.

Q: Do you collect anything? 

A: Now that I’m older, I’m reducing my “Hoarders-Lite” tendencies. It’s tough because as an artsy person, it’s very easy to accumulate a lot of useless stuff! When I was a kid, I collected anything and everything – rocks, coins, different kinds of toys, and stuffed animals. I had a run on snowglobes for a bit. They’ve been in a few of my paintings. Since my father relocated, I only have one left and it’s kind of a relief. I still grab shells on beach trips and display them in a nice jar upon my return. I do have a few coins I’ve saved from my travels. I’d eventually like to see those in some form of jewelry. French Polynesian currency is particularly eye-catching.

"Goodbye Special Friend" is a painting I did for my graduate thesis in 2000. It features the only snowglobe I have left from the collection.

“Goodbye Special Friend” is a painting I did for my graduate thesis in 2000. It features the only snowglobe I have left from the collection.

Q: Who is your favorite artist and why? 

A: It’s so hard to pick just one here. I love Gustav Klimt for his gorgeous pattern work and all of that gold leaf. I love Andy Warhol for his pop sensibility. I love Frida Kahlo for her ability to tell a story through imagery. And, of course, there’s the king of color – Henri Matisse.

Q: Who are your favorite local artists? 

A: I was incredibly happy that my college painting and illustration professor, Kathy Calderwood, had a show at RoCo last spring. It was great to see so many of her new paintings in a show. Lately, I’ve been interested in the work of Edie Small (Edith Lunt Small). She had a very intriguing piece in the RoCo member show in December. I’m always interested in what Sarah Rutherford and Andrea Durfee are doing because they are such incredibly skilled and powerful artists. I like what Shawn Dunwoody has done with street art and neighborhood beautification the past several years. He has fantastic energy and an ability to engage young artists and the general public. I’m also drawn to some abstract artists because their work is so different from my own – Brian O’Neill (who also does hyper-realistic work), Nate Hodge, and Bill Judkins – to name a few.

Nena Sanchez Gallery in Curaçao

Nena Sanchez Gallery in Curaçao

Q: Where are your favorite places to see artwork? 

A: Anytime I travel, I seem to wind up in a museum. I also love seeing the street art in other countries. Aside from the obvious choice (France), one of my favorite art destinations was Curaçao. In addition to the Kura Hulanda Slave Museum, I visited the Nena Sanchez and Serena Janet Israel galleries. The art community is very strong there. The architecture, floating market, and beach drinks aren’t too shabby, either!

Inside my studio at Main Street Arts

Inside my studio at Main Street Arts

Q: What advice would you give to other artists? 

A: There are going to be people who tell you to grow up and get a real job. Don’t listen to that noise. Yes, find something to pay your bills, but don’t give up on your passion.

Q: Who inspires you and why? 

A: I consider myself to be pretty fortunate that a very strong, intelligent, creative, and independent mother raised me. Naturally, I’m drawn to likeminded individuals. Many people inspire me and I’m very lucky to know such a diverse group of creatives in both my personal and professional life.

Q: How do you promote your artwork? 

A: I look for show opportunities and I use social media (primarily Instagram and my personal Facebook account) to get the word out. I’m often following up with people (a.k.a. nagging them) who express interest in a piece after a show comes down. I’m also planning on getting an Etsy or some kind of online shop going soon. I set an account up years ago but never had the time to figure it all out.

Stacey Rowe working in her studio at Main Street Arts as Snappy the turtle supervises.

Stacey Rowe working in her studio at Main Street Arts as Snappy the turtle supervises.

Q: What type of music do you listen to? How does music affect your artwork? 

A: I will listen to pretty much anything except country, but I have to be careful that it’s not too funky – I’ll get distracted and won’t get anything done!

Q: What’s next for you? 

I’m working on getting some work in a few galleries outside of New York because I have family in Florida and several friends who have moved out of state. I figure it might make for a good excuse to visit!

Q: Where else can we find you?

A: My websiteTwitter & Instagram


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: May 31, 2017 for a residency in July, August, September 2017.

 

Inside the Artist’s Studio with Rick Monikowski

My work is inspired by the sky and the mountains, the traditional pottery makers of the American Southwest, and the basket makers of my own Mi’kmaq people of New Brunswick Canada. My heritage is mixed – half Polish and half Mi’kmaq (Micmac) Indian of the Eel Ground First Nation of New Brunswick, Canada. I am originally from Hartford, Connecticut and now live in Rochester, NY.

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My trivets and baskets, for example, incorporate both the traditional and contemporary because the Mi’kmaq were traditionally basket makers. Weaving each piece of clay is time-consuming but these are some of my favorite pieces to create.

basketTHREE

Prior to moving to the Rochester area, I attended the University of New Mexico in Albuquerque. While pursuing my JD and PhD, I had the opportunity to study and admire Pueblo pottery. In much of my pottery, my designs combine traditional shapes and forms with contemporary methods (wheel throwing and hand building).

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I began making pottery in 2001 at the Flower City Arts Center (formerly Genesee Center for the Arts and Education). I’ve also taken classes at Rochester Institute of Technology’s School of American Crafts. In the summer of 2007 I took a month-long course at the NY State School of Ceramics at Alfred University. My primary focus was studying glaze calculations while interacting with over 40 artists from across the country and a number of internationally recognized faculty. My work continues to evolve and expand as I experiment with different types of clays, glazes, and glaze applications. I create many of my own glazes. I work out of “Art Hill” near Honeoye Falls, NY (just south of Rochester).

I produce two different kinds of pottery – functional ware and art pieces. All my functional pieces are handmade and unique and are food-safe as well as microwavable and oven-safe.  I make a variety of smaller pieces such as mugs, bud vases, pie plates – again with glazes I developed myself.  And as I prepare for the show season, I spend a lot of time re-stocking my inventory shelves because once the nice weather comes, there’s less time for the studio!

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pieplates in progress

 I have also started producing dinnerware sets. This is my own green glaze on brown speckled clay – brand new!

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My art pieces, as I said, are inspired by the traditions of the American Southwest. In this plate, for example, I take an ancient design and put a contemporary spin on it. First I apply layers of colored slip, then using a sgraffito technique I scratch away the slip to reveal the Native design. In order to made it more contemporary, I often use a ruler, compass, and/or a protractor to sharpen the edges of the design.  After the piece dries, I finish it by applying a clear glaze and then I fire it .

indianplate 12in dkblue

One last thing…It is very important to me – as an artist, an attorney, and a Native American – that the general public understands the Indian Arts and Crafts Act of 1990 (P.L. 101-644). It is a truth-in-advertising law that prohibits misrepresentations in marketing of Indian arts and crafts products within the United States. It is illegal to offer or display for sale, or sell any art or craft product in a manner that falsely suggests it is Indian produced, an Indian product, or the product of a particular Indian,  Indian Tribe, or Indian arts and crafts organization. This covers all Indian and Indian-style traditional and contemporary arts and crafts produced after 1935. Every piece I make carries my RAM mark (my initials) and those pieces that reflect my Native American heritage come with a Certificate of Authenticity with my signature.

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Stop by Main Street Arts to see RAM Stoneware in our gallery shop! Visit Rick’s website at http://ramstoneware.com (new website in progress) and email him at rick@ramstoneware.com.

Take a look at our previous Inside the Artist’s Studio blog post by jewelry artist Brittany Rea.