Tag Archives: Abstract Painting

Inside the Artist’s Studio with Belinda Bryce

Belinda Bryce

Belinda Bryce

Although Rochester has been my home for the majority of my life, I wasn’t born here. My family moved a lot when I was very young, and as a young adult I lived in various places before returning to Rochester. These experiences may have led to my interest in navigation of place and time as it relates to an inner journey. This theme also influences how I work with layers to create a history of the art-making process.

I started painting watercolor landscapes inspired by the Finger Lakes while in college. After college I worked for a typography and print production company that supported the major advertising agencies in Atlanta. Graphic design holds a special place in my heart but I was drawn to fine art.

Belinda's Studio

Belinda’s Studio

My interest in non-objective art began while living in Atlanta where expansive contemporary commercial space invited large abstract work. When I returned to Rochester, I spent the first 10 years working with monotype, which allowed me to layer images and combine elements of printmaking and painting. More recently, I have focused primarily on painting.

My work combines expressive drawing and painting. The compositions suggest an inner landscape that is inspired by nature, its patterns, shapes, color, light and textures.

Nighttime photo reference

Nighttime photo reference

NightSketch

Nighttime painting sketch

NightPainting

Finished painting inspired by nighttime photo

In the last five years, I have focused on the fundamentals of line, gesture, form and texture, nestled within layers of staining, glazing, mark-making, and drawing. The dialogue among these formal qualities informs my process. I am interested in creating balance with a visual language that conveys simplicity, complexity, and mystery.

Rock inspiration (left) and a detail from a painting inspired by the same rocks (right)

Rock inspiration (left) and a detail from a painting inspired by the same rocks (right)

A “celebrant of the indeterminate,” I need room to roam in my work and often get lost in the unconfined freedom I so value. The resulting images are related but often visually different, maybe two or three suggest a brief series, but the work as a whole is more a traveler’s diary of exploration, digression, and the indirect process of becoming then going beyond—a map of getting lost.

A rock-inspired sketch

A rock-inspired sketch

Painting inspired by rocks

Painting inspired by rocks

Untitled painting

Untitled painting

You can see more of my work on my website, belindabryce.com, on Instagram and on Facebook.


Stop by Main Street Arts to see three of Belinda’s paintings included in the Upstate New York Painting Invitational. The exhibition runs through October 7, 2017. Belinda’s work from the show is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

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Meet the Artist in Residence: Chas Davis

Chas Davis is one of our current artists in residence at Main Street Arts. He is working on prints and paintings during the month of July, 2017. We asked him a few questions about his artwork and studio practice.

 

Portrait of the artist

Portrait of the artist

Q: Tell us a bit about your background.
I grew up in Indiana, and like most kids, started drawing at an early age. I just never stopped, and have been a painter and a printmaker for most of my life. I guess that’s it in a nutshell. I have been in Rochester since 1996, and my studio is in the old Valley Cadillac building at 339 East Ave. I have taught here and there and now and then, at RIT, the Creative Workshop at MAG, and Roberts Wesleyan, for example, and currently teach a monoprint series of classes at the Flower City Arts Center, formerly Genesee Center of the Arts. You can see some of the more fun things I’ve done in Chas Davis’ Rambling Bio.

 

Artworks Gallery, 2015

Artworks Gallery, 2015

Q: How about some of your influences?
I was blessed growing up with many generous teachers, and while I was never too influenced by any one style of imagery, I was more impressed and influenced by hard work and the different ways to arrive at a solutions to visual problems.

 

Here I am doing some detail work.

Here I am doing some detail work.

Q:Where do you find inspiration?
I am very inspired by the landscape. I have travelled a lot around the country and the more time you spend in nature, the more you realize that everything is interconnected, and alive. I am inspired by simplicity, and by literature. Stories—especially the evolution and dynamics between events and characters—feed the imagination and create an alternate universe. These are some of the important elements that feed into my work. This is why I was attracted to Clifton Springs, because it is central to the Finger Lakes landscape, and it is in an area with a rich history.

My studio at Main Street Arts

My studio at Main Street Arts

Q: What do you hope to accomplish in your residency at Main Street Arts?
I have always wanted to work specifically with the Finger Lakes landscape, so I will focus on that. Since there is an etching press outside the studio I will fool around with that and see what happens. Then I have a few surprise projects that I have no idea what will happen, so we will see. I would also like to get familiar with the area and meet new people as well.

Q: Where else can we find you?
I have a web site, www.Chasworld.com and a studio page on Facebook, www.facebook.com/ChasDavisStudio.

 

Interview From The Studio with Karen Sardisco

Karen Sardisco

Tell us a little bit about yourself. You are a professor at MCC, an exhibiting artist, guest curator of various exhibitions, how do all of these things relate?

My teaching and my work as a practicing artist have always been intertwined. I am a full time faculty at Monroe Community College in the Visual and Performing Arts Department. I teach Painting, Drawing and Design. The work that I do in the studio/classroom is an extension of the explorations in my own studio. It is a symbiotic relationship… I pass on what I have learned as an artist to my students and my students inspire me with their interest and enthusiasm. Being in the studio/classroom everyday feels like home… the ongoing desire to communicate and create is infectious, and it is wonderful to see it in the students. As a teaching artist I get to be involved with art at all levels and my work as a curator feeds into that. Conceptualizing and organizing exhibitions is a way to continue the dialog as an artist. I am able to see other artist’s work and have the opportunity to put artists together in a way that allows for interesting interactions between the works. It is a different kind of creative effort that is equally as satisfying. The exhibitions that are a result shed new light on artist’s work, and I am able to be a part of that artistic process.

Karen Sardisco's paintings on paper

Karen Sardisco’s paintings on paper

Give us a little formal information on your paintings. What media do you use? Why have you preferred paper over canvas?

I began working on paper when finding time to work became a challenge. I was teaching, had a small child and was working very consistently in the studio. I began using acrylic paint when I was pregnant with my son because I didn’t want to deal with some of the toxic materials that were part of the oil painting process. I discovered then that my natural approach to technique was very spontaneous and the fast drying time of acrylics just seemed to work for me. The more rigid surface of the paper that was tacked up to a board had just the right give for me. I could develop layers and work very quickly. I began to manage the transparency of the paint and also worked with an interaction of forms within the layers that created the spatial effect that is typical in my work.

Karen Sardisco's studio

Karen Sardisco’s studio

You mentioned before that you were thinking of making a move back to working on canvas, what prompted that?

Well, I do miss the character of oil paint… the surfaces that have a more tactile quality. The feel of the paint on the brush and the way the paint engages with the canvas is an aspect of the process that is very seductive. It takes much more time, but it may be workable again. I am also finding that the scale and the difficulty of moving my works on paper around is getting to be an issue… not to mention the cost of framing such large-scale work.

One of Karen Sardisco's framed paintings

One of Karen Sardisco’s framed paintings

Tell me about the prints you have been making. How do you see them in regards to your paintings?

When my husband passed away suddenly, I stopped making work for a while. I knew that I needed to try to find a way to get back into the studio and had been thinking about the monoprinting process. I found a technique that was very direct using water-based inks, and that was that. I spent a whole winter making prints without the thought of showing them… I really just wanted to explore and work through some of the emotions that I was experiencing without thinking about how what I was doing related to my other work. I realize now that they had a very direct relationship, and the paintings that I am doing now come partly from the place that I got to making those prints. I can see myself devoting more time to that process, but when I began painting again the decision always is…what do I do first, and it comes back down to getting the paints out and jumping in.

Karen Sardisco, "Shadow", detail

Karen Sardisco, “Shadow”, detail

Can you talk a bit about the symbolism in your work? What themes seem to materialize? Do you notice a trend in your work over the years?

For me, the ambiguous space of the imagery eliminates a specific place or time. Forms like knots and branches, or anatomical references for example, are pulled from a visual lexicon of forms that speak to me. They suggest something… they allude to aspects of my experience and become a shorthand that encapsulates thoughts and feelings, and arranges them together in ways that I may not have envisioned. I feel as if I am tapping into a collective database that, when shaken up a bit, sheds new light on my personal experiences. It may also relate to the experiences of others, and I rely on that connection to draw viewers into my work.

Karen's reference materials. Many aspects of her paintings and prints are drawn from natural elements.

Karen’s reference materials. Many aspects of her paintings and prints are drawn from natural elements.

Nature is typically a source for me because I can use forms that seem familiar, something that one might see in the natural world. When those forms are paired with invented forms, or maybe more man-made forms, the relationships are questioned, and, as I mention in my artist statement, those new configurations challenge preconceived notions of function and meaning.

Karen Sardisco's reference materials

Karen Sardisco’s reference materials

If there is a thread that works its way through my work I would have to say that I do rely on forced relationships between forms, and tend to create an ambiguous spatial field for them to exist in. It is not a representational environment in any sense, because I feel that moving out of a comfort zone allows one to experience the way being open and aware can lead to new realizations about themselves, the world… the human potential for discovery. Since I never have a plan for what will happen when I approach a new work I have to trust my instincts and accept what comes. When I am totally immersed in my work, and, on a good day, I can experience a connection to the world that is totally satisfying. I hope that happens for my viewers.

Karen's reference materials

Karen’s reference materials

What will you be working on next?

That is a good question. I never make plans in regard to my work, at least not specifically. I may work on canvas again. I will probably make more monoprints. I will continue my process until I discover that there may be another approach that serves me just as well.

Karen Sardisco, "Game", detail

Karen Sardisco, “Game”, detail

You can see more of Karen’s work on her website: www.karensardisco.com

Four of Karen’s paintings are on display in Main Street Arts’ current group show, The Opposite of Concrete: An Exhibition of Abstract Painting and Photography. Stop by this Saturday (September 6th) from 4-7pm for the opening reception!

Check out our previous Inside the Artist’s Studio post, by painter Sarah Sutton.

Inside the Artist’s Studio with Sarah Sutton

Interstice Series on the way to Main Street Arts to be installed!

Interstice Series on the way to Main Street Arts to be installed!

I am originally from the central Appalachian mountain region in northeastern Pennsylvania. My ancestors on both sides were immigrant coal miners from Eastern Europe. The area I grew up in now rests over flooded and burning mines and is surrounded by abandoned coal breakers and shake piles. This industrial world that had once meant so much for so many people was, to me, a dead metaphorall around and underneath memeanwhile life went on.

fire-in-a-coal-mine-under-centralia-pa-irish-640x480

This intermeshing of worlds and realities continues to inspire me. I am specifically interested in how people internalize and pass on socio-historical traumas through generations, such as the Knox coalmine disaster in 1959. In a single day, illegal mining broke through the riverbed, wiping out the local anthracite coal mining industry. Decades later the consequences of that single day are still palpable- in the landscape as well as in the people who once inhabited it. Through the paintings in this body of work, I create a visual language that depicts the complexity of perceptionhow historical and internal experiences interweave and intertwine.

In this blog entry I am going to explore three thoughts on representation and abstraction and address how I see these categories as changing in the digital age; a conversation that greatly affects my work.

1. Excess and Overload as Abstraction

Typically, abstraction has been associated with reduction or abbreviationreducing something to its “essence”. However, I am interested in a different kind of abstraction. When there is an overload of information as with media saturation we do not process a “whole” or “essence” at all. The sheer quantity of images and objects creates a type of pattern-based processing, making it more difficult to focus on individual components and promoting more of a time-based processing. This is explained by Jeffrey Rian in the article, The Generation Game:

 A child born into the electronic age learns his or her way into the world under the influence of disembodied voices and images, piecing together a world in collage pattern that absorbs ‘everywheres’ and everywhens’ into a cacophonous present. With electronics, sensory life is made more complicated because of the abundance of unrelated sounds and images… Experiencing free floating and unanalyzed images, which are integrated as tactile experiences, may offer a level of familiarity, or low level stimulus that engenders a variety of memories…

-Jeffrey Rian (The Generation Game)

Wall of thoughts and inspiration

Wall of thoughts and inspiration

2. The Visibility of the Invisible

Spaces that once only existed as imaginary are all over the Internetfrom hidden corners of the Amazon, live broadcasts of acts of terrorism, webcams of outer space, to videos of surgeries showing the intricacies of the internal body.

After the advent of photography, painting began to explore the notion of the “unknown”internal worlds, complex and amoebic states, and images of the “otherworldly and surreal”. Since almost everything can be “seen” online, it has become more and more difficult to imagine the “unknown” as a singular image.

In my work, painting becomes a way to envision relationships that are seemingly impossible to imagine (even and especially on the internet), because they involve time, different perceptual and sensory information, and the subjective. Ultimately, I am interested in making an image that captures how internal experience and memories are projected onto the external worldwhich becomes personal and involves both recognizable and non-recognizable imagery.

Supplies in the studio

Supplies in the studio

3. Legibility of Illegible

In his book, Six Stories from the End of Representation, James Elkins contrasts the use of the blur in art to what it means in astronomy. Where artists often intentionally blur to obscure an image, astronomers look at skies full of blurs that have never been seen “in focus”. In fact, the paradigm of being “in focus” or legible vs. “out of focus” or illegible does not apply when looking at the sky, as sharpening can cause a loss of information. By moving pixels closer together or turning the lens to focus on one area, contours and shapes that exist in the spaces in between are lost. In this case, the quality of being out of focus leaves the register of human perception all together, and clarity does not necessarily mean seeing something better. I am interested in the paradox of making information less legible, less recognizable, and less reliant on gestalt principles in order to expand on ways of seeing.

 

See our previous post: A Studio Visit with Sarah Sutton

Upcoming Exhibition: The Opposite of Concrete

Main Street Arts is preparing for our next show in the main gallery space, The Opposite of Concrete: An Exhibition of Abstract Painting and Photography.

Main Street Arts, The Opposite of Concrete, 2014

Main Street Arts, The Opposite of Concrete, 2014. Left to right: Carl Chiarenza, Bradley Butler, Karen Sardisco, Sarah Sutton, and Patricia Wilder

This exhibition features five different approaches to making abstract imagery through painting and photography by Carl Chiarenza, Karen Sardisco, Sarah Sutton, Patricia Wilder, and Bradley Butler (gallery director at Main Street Arts).

The opening reception for The Opposite of Concrete is Saturday, September 6, 2014 from 4 to 7 pm. For reception updates make sure to rsvp to our Facebook event. We hope to see you there!

Exhibition Dates: September 6–November 1, 2014

Opening Reception: Saturday, September 6, 2014 from 4 to 7 pm

 

For now, check out our blog posts on a few of our exhibiting artists:

A Studio Visit with Painter Sarah Sutton

An interview with Carl Chiarenza