Tag Archives: Main Street Arts

Inside the Artist’s Studio with Nick Marshall: Living with Photographs

Photo studio

Photo studio

Hi, my name is Nick Marshall. My work is currently on view in the exhibition Perception of Time at Main Street Arts. Here is a glimpse into my practice as an artist.

I grew up in Canton, Ohio. I received my B.F.A. from Columbus College of Art and Design and my M.F.A. from Rochester Institute of Technology. I have taught photography related courses at Alfred University, RIT, and Visual Studies Workshop. Since 2013, I have been the Manager of Exhibitions and Programs at George Eastman Museum.

There were three important experiences I had with art in my formative years that shaped my practice as an artist.

1) In high school I was introduced to Robert Rauschenberg’s work and it changed my understanding of what materials could be used. (Anything)

2) In grad school I unknowingly walked into a James Turrell installation at the Albright Knox Art Gallery and it altered my understanding of how art can be experienced. (Physical)

3) In 2009 I saw an exhibition of Paul Graham’s A Shimmer of Possibility and it changed my understanding of how photograph’s can shift perspective. (Time)

 

From Then Until Now (I), 2009, chromogenic development print, 24x18"

From Then Until Now (I), 2009, chromogenic development print, 24×18″

My first love was painting but in undergrad I gravitated toward photography. The process of being in the darkroom and the chance for the unknown was appealing to me. In grad school I became interested in the chemical and cultural histories of photography which lead to my work with vernacular imagery. My series From Then Until Now examined the snapshot as an object that “lives” with us. It’s bends, folds, and tears tell of a tactile history while it’s chemical properties are altered due to the conditions it’s exposed to.

I have continued these investigations into the amateur and consumer aspects of photography for the past 10 years.  I’m interested in the way we live with photographs — from shoeboxes and mass-produced picture frames to touch screens and Instagram. How does the way we interact with photographs affect our memory?

Future Nostalgia, 2018-2019, gelatin silver print, 14x11" (installation view)

Future Nostalgia, 2018-2019, gelatin silver print, 14×11″ (installation view)

Collecting is an important part of my practice. I have boxes full of thrift store picture frames, lottery tickets that have already been scratched off, dead pens, and hand-written driving directions. I’m perpetually drawn to discarded or obsolete objects that carry very little monetary value but have the potential to tell stories.

Found picture frame

Found picture frame

Insert Photo Here (I), 2014-ongoing, chromogenic development print, 24x18"

Insert Photo Here (I), 2014-ongoing, chromogenic development print, 24×18″

Insert Photo Here (II), 2014-ongoing, chromogenic development print, 24x18"

Insert Photo Here (IV), 2014-ongoing, chromogenic development print, 24×18″

My work has always heavily focused on material and the physicality of objects so once I am in my studio, it’s important to touch the things around me — to become familiar with them, put them next to other things, see how they interact, break them down or destroy them. What’s inside? What’s underneath? How is this used? How isn’t it used?

In the studio with Dale

In the studio with Dale (cat on chair)

Photoshop Tools (Eraser), 2018, inkjet print, 24x18"

Photoshop Tools (Eraser), 2018, inkjet print, 24×18″

Every day I am essentially surrounded by the history of photography while at work. I see this time as a part of my practice that informs and influences the projects I take on. For instance, after exhibiting Anna Atkins’s 19th century botanical studies, I started to think about what a contemporary study would look like.

Botanical Study (I), 2016, chromogenic development print with LED panel, 12x7"

Botanical Study (I), 2016, chromogenic development print with LED panel, 12×7″

Unintentionally, the flatbed scanner has become one of my favorite tools in the studio. I was drawn to it’s relationship to photograms and to its ability to alter perception through depth of field and surface.

Touching Photographs (III), 2018, acrylic face mounted chromogenic development print, 13x9"

Touching Photographs (III), 2018, acrylic face mounted chromogenic development print, 13×9″

I hope you have a chance to stop by the exhibition before it closes. My work from Touching Photographs and Future Nostalgia will be on view until February 15.

My new website will be published soon but until then you can find me at marshallnick on Instagram.


Nick Marshall is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.

Inside the Artist’s Studio with Carol Acquilano

Carol Acquilano painting on-site at Linwood Gardens in Pavillion, NY

Painting on-site at Linwood Gardens in Pavillion, NY

In this place I am witness to a succession of blossoming things, an orchestra that performs to the sun and the moon, to the wind and the bees. Rushing towards a full flowering or the stout skeletal remains, this is how painting days are at Linwood Gardens. Lee Gratwick is the master conductor and seemingly has arranged her plantings for artists to take in.

The gardens and grounds were first arranged over one hundred years ago and have been carefully tended. Their original structured design has relaxed into a casual and enchanting sequence of outdoor rooms. Every season brings about changes, pruning out and planting new. This evolution reveals the ephemeral nature of time and transformation.

"Summer Growth" watercolor on paper

“Summer Growth” watercolor on paper

The bounty of the garden offers endless subject matter. Plants offer such interesting compositions, and the peacefulness is just right for getting in the groove. Looks comfortable, but don’t be fooled. It’s typically extremely hot, and the bugs are everywhere.

My portable watercolor "studio" at Linwood

My portable watercolor “studio” at Linwood

I found an old golf cart and re-designed it for carting my materials around. The large wheels work great over uneven fields, brick and stone. I can roll my materials anywhere. Working on full sheets is liberating but the paper dries fast so my decisions are made quickly. I mix paint in large batches, using brushes and also pouring techniques.

IMG_2549

Smaller works are completed indoors where I can relax, without the busy bees buzzing, and hot sun glaring.


Carol Acquilano is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.

From The Director: Heightened Awareness

roberto bertoia, gregory page, main street arts

Heightened Awareness (Installation shot)

The themes that are explored in this exhibition are a nod to the fact that we (human beings) don’t fully experience life. Seldom do we allow ourselves to fully experience all of the subtle nuances that exist in our world. Many of us are glued to glowing screens, experiencing things removed from real time and processed through a social media feed. This mediated existence leaves us missing out on things in the moment and maybe some of us don’t care about that. Perhaps we relish in the fact that technology and human life are becoming one and the very idea of “being in the moment” is changing, however, it is a certainty that there are other things happening that are worthy of our attention.

Left: LPV No. 3 (Detail) by Roberto Bertoia; Right: Motifs From ISU Greenhouse (Detail) by Gregory Page

Left: LPV No. 3 (Detail) by Roberto Bertoia; Right: Motifs From ISU Greenhouse (Detail) by Gregory Page

Heightened Awareness presents the work of Roberto Bertoia and Gregory Page, two artists who are interested in these ideas and their work comes from a place of slowing down and noticing the quiet moments in life. Both artists have a desire to be aware of the minute details of their surroundings. This exhibition is a contemplation on being present in the moment and truly experiencing things.

Gregory Page, Lithography

The translucent film for the print “Euonymus Alatus Burning Bush , State 1″ by Gregory Page

Gregory Page has 11 large-scale lithographs featured in the exhibition and each of them utilize his own unique process of drying plants, rehydrating them in a lithographic drawing solution, and arranging them on a translucent film which is then used to make the final printing plate. The plants he uses in his work come from as close as his own backyard and as far away as Edinburgh, Scotland. For Greg, it is about experiencing nature and plant life first-hand.

“I love getting up in the morning, getting in the garden and getting my hands in the dirt. Moving some compost around, planting something and watching it grow. The garden has been a real inspiration for me for a long time.” —Gregory Page

Gregory page, Lithograph, Main Street Arts

“Motifs from ISU Greenhouse, Selection II” (detail) by Gregory Page

It is also about cataloging and making a record of things that exist in our world. With nature in a state of flux, it becomes important to create a record of things as they existed in a certain moment in time.

The sculpture of Roberto Bertoia is made with second-hand, salvaged pieces of wood. He turns them into something new, something other than what was originally intended. He uses his material in an intuitive way, building without a solidified plan, similar to a painter responding to each brushstroke. Through this organic and fluid process his finished pieces are an homage to architecture and design and create interesting relationships between the interior and exterior.

Roberto Bertoia, Sculpture

“Untitled 1″ (detail) by Roberto Bertoia

He enjoys the paradox of seeing and not seeing and contemplating what is hidden and what is revealed. Roberto’s sculpture can be a metaphor for the ways we hide and reveal specific things about ourselves. The subtle moments that slowly shape our perspective on how we interact with people and the world we create for ourselves is something that he finds inspiring.

Roberto Bertoia, Sculpture

“Where Am I To Live” by Roberto Bertoia

“I try to be open and receptive to what’s going on around me. What may seem everyday or mundane may seem more important when I end up in the studio.” —Roberto Bertoia

The notion of slowing down and paying attention is not a new idea but it is one that we are constantly reminded of. Specifically, I think this is the way that we should experience art. Instead of breezing through an exhibition or merely scrolling through an artist’s Instagram feed, let’s spend some time thinking in front of the actual artwork. We may be surprised by where this small, yet meaningful  experience will take us.


The exhibition Heightened Awareness will run through Friday,  August 17, 2018 and you can view available work on the gallery’s Artsy page.

SelinJody_studio2

Inside the Artist’s Studio with Jody Selin

Until about the age of 6, I grew up in fairly rural area of Greensboro, North Carolina. My parents were avid gardeners and some of my fondest memories where of snapping green beans, skinned knees and following my parents around the yard, as they pruned and planted throughout the growing season.

Jody Selin working in her studio

Jody Selin working in her studio

There was plenty of land to roam as unsupervised kids and we took full advantage of it. If asked, we could recite the trees in our yard; cherry, pear, oak, dogwood and magnolias. It was here that I naturally developed a love of being outdoors, gardening and a fascination with plant and earth sciences. These earliest childhood impressions, along with a mother who encouraged creativity, are what I carry into my work today. 

Various pieces in progress

Various pieces in progress

So, for the better part of 20 plus years, I’ve been making art and choosing to live creatively. Originally, I came to Western New York to pursue my MFA in Ceramics at RIT’s School for American Craft, eventually settling in Buffalo, NY. Before this, I had traveled around the US and Caribbean for several years, where my natural inclination for plant biology overlapped with a love for the enormous plant growth and lush, saturation of the sub-tropics. The ecology of western NY has been just as inspiring, with the diverse hiking trails, rivers and Great Lakes. 

IMG_8459

Detail of “Entangled Growth” from CULTIVATE exhibition

"Medium Pollinator Cluster" from the CULTIVATE exhibition

“Medium Pollinator Cluster” from the CULTIVATE exhibition

Working with my hands, traveling, hiking and experiencing people and places outside of my direct understanding have always been an interest for me. At my best, I am curious. 

These recent works, featured in the CULTIVATE exhibition, are a reflection of this continued curiosity. Threads of previous works in content and style are always present although, I intentionally choose to pursue work that is continually explorative and in response to my direct natural environment. 


Jody Selin is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Jody and her work can be found on our website. View more pieces byJody Selin on the gallery’s Artsy page.

"Bad Seed" by Chad Grohman

Inside the Artist’s Studio with Chad Grohman

Landscape by Chad Grohman

Landscape painting by Chad Grohman

I am from Buffalo, NY and have spent all but one year of my life there, minus the four years of undergrad at Rochester Institute of Technology. I didn’t really live in Rochester so much as the college itself, so I don’t really count that. My MFA was in a distance program so I stayed in Buffalo.

That being said, I have shown mostly in Rochester and other other cities besides Buffalo. As a commercial illustrator, I draw or paint many subjects in many media. When my personal artwork is shown in galleries, I tend to mostly paint landscapes. I paint landscapes because the landscape is where I prefer to be; outside. That’s the great thing about being an illustrator —as a freelancer, I can use what ever minutes I choose to be outside. While there walking or sitting, I began to draw and paint from life, as well as in the studio from photos. It was not until about 2010 that I really began painting landscapes.

Landscape by Chad Grohman

Landscape by Chad Grohman

Many years ago I began practicing and studying Buddhism. Outdoors is a wonderful place to practice. The school I belong to has a beautiful liturgy that is well suited for outdoors. Holding an outdoor service for the land and painting the land is an amazing combination.

School Days by Chad Grohman

“School Days” featured in the CULTIVATE exhibition at Main Street Arts

I am a Nichiren Shu novice Buddhist priest. In the CULTIVATE exhibition, I am showing artwork inspired by recent training trips to Japan — both rural and urban. The cats included in many of the pieces represent all realms of existence, primarily the bodhisattva (concern for others), human, animal, hell realms. The cats are spiritual — they suffer, they are beneficial, and are often confused.

"Original Disciples" by Chad Grohman

“Original Disciples” by Chad Grohman, included in the CULTIVATE exhibition

The artwork is mounted on cardboard. I prefer the basic nature of using cardboard and watercolor paper. I have long been attracted to and inspired by hobo art and the limited materials they use.

"Bad Seed" by Chad Grohman

“Bad Seed” by Chad Grohman, included in the CULTIVATE exhibtion


Chad Grohman is one of eight gallery artists represented by Main Street Arts. He is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Chad and his work can be found on our website. View more pieces by Chad Grohman on the gallery’s Artsy page.

 

The finished print with blue, red and grey added by hand.

Inside The Artist’s Studio with Sylvia Taylor

Every spring the spotted salamanders migrate from the woods behind my home in Ithaca, New York.  We watch for them on rainy nights. With a flashlight you can see their little dinosaur bodies moving forward into the night.  My print called The Quickening,  was inspired by the salamander migration.

salamander night

A Little Dinosaur in the Garden

Most of my work is created by a process called relief printmaking. It involves carving a piece of wood or linoleum, rolling ink onto the surface, and then transferring the ink/image onto paper. The final print will be the mirror image of the carved plate.   My favorite part of the process is carving the plate.

But first, I must get the drawing onto the plate.

I often draw directly onto the linoleum plate.

I often draw directly onto the linoleum plate.

Now for the fun part!

Cutting the Lino

Cutting the Lino

More Cutting...

More Cutting…

When you first roll ink onto the plate, it seems to spring to life before your eyes.  I love this part.

The image comes to life and any areas that need to be tweaked show up clearly.

The image comes to life

The plate is inked up and ready to proof

The plate is inked up and ready to proof

Next step is printing. Here’s my press:

My Printing Press

My Printing Press

The Ink from the Lino Plate is Transferred to the Paper...

The Ink from the Lino Plate is Transferred to the Paper…

It typically takes a few days for the ink to dry, depending on the weather

It typically takes a few days for the ink to dry, depending on the weather.

Once they are dry, I can add color and experiment.

Painting spots...

Painting spots…

The final print:

The finished print with blue, red and grey added by hand.

The finished print, “The Quickening”,  with blue, red and grey added by hand.

The word quickening references the idea of something speeding up but it is also a word used in pregnancy for the first moment that a woman feels the baby move in utero. Because I was a midwife for many years, I especially love that double entendre. I frequently see the process of making art with midwife eyes. Birth metaphors always come to mind.

In this print I was interested in exploring a certain kind of psychological undercurrent. Sometimes we experience the kind of change or upheaval that is marked by a departure from life as it has been. There is no going back and no discernible path forward. It’s like the proverbial night sea journey. Carl Jung talks about it as kind of a descent into Hades — to the land of ghosts somewhere beyond this world and beyond consciousness. Whenever I have a character in my art holding a salamander, it’s there to help find the way forward.

We were lost.

We Were Lost


Sylvia Taylor is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Sylvia and her work can be found on our website. View more pieces by Sylvia Taylor on the gallery’s Artsy page.

From The Director: Into the Unknown, Overlooked, and Unfamiliar

The three bodies of work presented in this exhibition are entirely different. Jasna Bogdanovska, Harry Littell, and Nigel Maister have each explored specific concepts through their imagery. Some are abstracted views of reality while others are a document of a specific time and place.

During the installation process of Unknown, Overlooked, and Unfamiliar

During the installation process of Unknown, Overlooked, and Unfamiliar

Although each body of work is different, there is an overlap between them and a connection from one idea to the next. The name of the show Unknown, Overlooked, and Unfamiliar comes from my thinking about each of the artists and distilling their ideas surrounding the work into one word.

The Liminal #31 and #32 by Nigel Maister

The Liminal #31 and #32 by Nigel Maister

Unknown pertains to Nigel’s work and the way that he is investigating the relationship between the real and the imagined. He is using abstracted views of branches, leaves, and other flora as a way to depict the unseen. By pushing the values and colors of his images taken in the dark of night, he creates new worlds that are neither completely real nor entirely a figment of his imagination. The Liminal #31 and #32, part of a larger series (The Liminal) show two sides of his intentions. Both of these images may exist in a dream but one is more like an overload of saturation and visual stimulation, while the other could be a foreboding scene from a nightmare. The push and pull between being overstated and understated is one of the interesting things about the series as a whole and it makes for a varied experience when taking in the exhibition.

Farm drainage tile, Romulus by Harry Littell

Farm drainage tile, Romulus by Harry Littell

Overlooked came to mind when thinking about Harry’s project. He is investigating the upstate NY landscape and the small towns that we live in, drive through, or remember from years past. His photographs sometimes document a rather lifeless subject in a way that brings a depth of possible meaning or emotion. In Farm drainage tile (Romulus), a simple bundle of drainage tile sitting in a field becomes many things all at once. It is a monolithic structure, it is a stand-in for a large bale of hay typically seen in a field, and it is also waiting to go in the ground for its intended purpose. Without Harry finding beauty or an interest in this image, we may have just driven by and not paid any attention.

"Palimpsest" by Jasna Bogdanovska

“Palimpsest” by Jasna Bogdanovska

Unfamiliar connects to something in Jasna’s images. She is investigating her own identity, a dual identity. Born in Macedonia but living in the United States, she found the exact geographic midpoint between her two homes in the town of Grindavík, Iceland. This place that was once unfamiliar to her now became the symbol of her dual identity and the springboard for a series of photographs. Through a layered symbolism, she explores personal stories and ideas that relate back to this. The image pictured above, Palimpsest consists of a book resting on a rock in a shallow body of water. The meaning of the title has to do with a change occurring to something (i.e. a piece of writing or a place, perhaps even a person) with the original still showing through after the revision. In a way, this could be a self portrait. The book may have originally been written to describe a person who was born and lived in Macedonia. Pages inside have then been erased and rewritten, describing someone who now lives in America. The book is resting on a rock, which may represent Iceland, the place that is in between.

Installation shot: Unknown, Overlooked, and Unfamiliar

Installation shot: Unknown, Overlooked, and Unfamiliar

So, even though Jasna, Harry, and Nigel make completely different work, the overlap between them is present in this exhibition. I would suggest seeing it in person to find your own parallels and connections. Stop in before the show closes at the end of the month!

Installation shot: Unknown, Overlooked, and Unfamiliar

Installation shot: Unknown, Overlooked, and Unfamiliar


See Unknown, Overlooked, and Unfamiliar at Main Street Arts through Friday, March 30, 2018. You can also preview the exhibition on Artsy: Artsy.net/mainstreetarts.

Inside the artist’s studio with Harry Littell

Exploring near Horseheads. Photo by Roger Freeman

Exploring near Horseheads. Photo by Roger Freeman

I live in Ithaca, NY, where I’m a teacher (Tompkins Cortland Community College) and fine art photographer. I think of my studio broadly as the upstate New York region. A sense of place is important in my work.

House with asphalt shingles and vinyl siding, Union Springs, 2016

House with asphalt shingles and vinyl siding, Union Springs, 2016

In 2016 I began a collaborative project with friend and writer Ron Ostman to explore the upstate cultural landscape including houses, schools, businesses, industries, theaters, signs, thrift stores, and places of worship.  The unadorned vernacular architecture of the old farm house above attracted me with the mundane beauty of its simple lines and patterns.

Rhinehart Sand and Gravel, Corning,2017

Rhinehart Sand and Gravel, Corning, 2017

We strove for a  focused aimlessness in our weekly treks. We had no fixed destination. The key was to stop. Often. A main interest became sites that reflect the flux of the built environment. We saw evidence of industries in decline or completely gone. The hulking rusted machinery at a gravel mining operation near Corning is a reminder of a different era.

Cayuga Milk Ingredients plant, Aurora, 2017

Cayuga Milk Ingredients plant, Auburn, 2017

We also saw new industry. The  Cayuga Milk Ingredients plant near Auburn is a high tech milk processing plant serving a collective of dairy farmers, its pristine facade rising above the surrounding agricultural land.

Petrified Creatures Museum, Richfield Springs

Petrified Creatures Museum, Richfield Springs, 2017

I keep my photo technique simple. For this project I used a full frame mirrorless digital camera and two manual focus prime lenses, a 35mm and a 50mm. Some of the artists I look to for inspiration include Walker Evans, Edward Hopper, Bernd and Hilla Becher, Stephen Shore, Alec Soth, Lee Friedlander, and Thomas Struth.

Elmira/Horseheads contact sheet

Elmira/Horseheads contact sheet

Double page spread

Double page spread

Towards the end of 2017 I began to put the project into book form.

InDesign layout in progress

InDesign layout in progress

I use InDesign to combine photographs and text. It’s challenging and fun to find visual and thematic connections between images. The screen grab above shows a glimpse of the process involved in finding a pair of images for a double-page spread. Images that don’t make the cut live in the limbo of the pasteboard outside the page layout. Ron wrote an introduction about our process and an afterward with thoughts on the state of upstate.

Storefronts

Storefronts

The shop signs in the photos above provided an idea for the title of the book, as seen in the cover image below.

Cover, UNROOM: New 2 U

Cover, UNROOM: New 2 U

I used MagCloud, a print on demand publisher, to print UNROOM: New 2 U.  Signed copies are available at Main Street Arts. The book can also be purchased directly from MagCloud.

Printing and framing

Printing and framing

I print and frame exhibition prints in my office at home. Here are two images being prepared for the exhibit at Main Street Arts. A big thanks to Brad for his interest in this project!

Dundee storefront

Dundee storefront, 2017

Ron and I are continuing to work on two offshoots from this project. One is a series of photographs of storefronts,  such as the above second-hand store in Dundee.

Robinson's Wood Shop, Cortland

Robinson’s Wood Shop, Cortland, 2017

Another is a series about upstate New York people and their stories, such as this environmental portrait of Steve Robinson at his wood mill in Cortland.

Wood Hicks and Bark Peelers

Wood Hicks and Bark Peelers

Ron and I have collaborated on a number of books about historical photographers, the most recent of which is Wood Hicks and Bark Peelers: The Photographic Legacy of William T. Clarke, published by Penn State University Press in fall 2016. For more about this project see the New York Times Lens Blog.


See 12 of Harry Littell’s photographs in Unknown, Overlooked, and Unfamiliar at Main Street Arts on display through Friday, March 30, 2018. The exhibition can also be viewed on the gallery’s Artsy page: Artsy.net/mainstreetarts.

From The Director: Art From a Dream State

Similar to the four artists included in this exhibition, I also make artwork that floats in the realm of dreams and a questioning of reality. Many of the exhibitions that we have here (selfishly) relate to my own studio practice or ideas that I am personally interested in and it is because I find these things so interesting that I choose to share them with you through our exhibition programming.

Installation shot from Dream State (pictured: "Isle of Wight" by Lin Price and "The Dream" by Carrianne Hendrickson)

Installation shot from the exhibition (pictured: “Isle of Wight” by Lin Price and “The Dream” by Carrianne Hendrickson)

The notion of the dream state is a never ending source of inspiration and it can be both the object and the subject of an artwork. We rarely give ourselves the opportunity to let our dreams inform our waking life but much can be gained by doing so. Our subconscious mind is often holding the answers to questions that we have been asking ourselves. It is able to offer a glimpse into a personal truth or a hint at finding some kind of greater understanding. The goal in engaging with your dreams, at least for me, is to build a stronger connection between the conscious mind and the subconscious mind. The closer in proximity these two can be, the closer we are to realizing the benefits of dreaming.

Dream State, installation shot

“Dream State”, installation shot

The idea for this exhibition came after a studio visit with Lin Price in Ithaca. I was drawn in to her work when I first saw it in a solo exhibition at Axom Gallery two years ago. When I was talking to her about the prospect of being in an exhibition, I began to think about the sculptures of Carrianne Hendrickson—we had recently begun showing several of Carrianne’s figurative pieces in our gallery shop. Lin had one painting in particular that reminded me of a specific piece I had seen by Carrianne. It was one of the paintings shown in the exhibition at Axom Gallery.

These two pieces in particular (one of Lin’s and one of Carrianne’s) are the reason this show came together. Left: She Only Flies at Nite by Lin Price / Right: Sculptural teapot by Carrianne Hendrickson

While they are not included in the exhibition, these two pieces in particular are the reason this show came together. Left: She Only Flies at Nite by Lin Price / Right: Sculptural teapot by Carrianne Hendrickson

The moment I realized that these two artists in particular belonged in a show together was like a revelation. Two people who probably wouldn’t be in an exhibition together but desperately needed to be! One working in oil paint the other in clay, yet both traveling along the same cerebral path.

From my studio visit with Lin Price in Ithaca, NY

From my studio visit with Lin Price in Ithaca, NY

Lin’s work was a perfect fit for an exhibition called “Dream State”. Her paintings often feature a human figure engaging in some sort of mysterious activity in a nondescript environment. The colorful fields and atmospheres lend themselves to the notion of a dream or at least to a time and place that may not actually exist. Other of her paintings that do not include a figure still somehow evoke that same feeling. A feeling that something might happen or is happening just around the corner, out of frame and out of sight.

Sculptural vessels by Carrianne Hendrickson in the Dream State exhibition

Sculptural vessels by Carrianne Hendrickson in the Dream State exhibition

Carrianne’s sculptures are often layered in symbolism. Sometimes referencing known stories, other times referencing the inner world of the artist herself. To me, they often seem to suggest the moment of realization that things are not quite right. The idea that perhaps, I am sleeping and the world I am currently experiencing is in fact a dream. Examples from pieces in the exhibition include: blank stares from eyes whose head is balancing a bird’s nest, the closed eyes of a dreamer covered in snakes on a yellow striped couch, and the existence of goblins or human/animal hybrids.

Once Lin and Carrianne were secured for inclusion, I then set my sights on finding other artists to bring in to the exhibition and make it more comprehensive.

Left: From my studio visit with Matt Duquette in Buffalo, NY; Right: "The Space In Between" by Matt Duquette

Left: From my studio visit with Matt Duquette in Buffalo, NY; Right: “The Space In Between” by Matt Duquette

I was drawn in by his paintings of chickens. They have an otherworldly feeling to them but are still so relatable because of their subject matter. The paintings of Matt Duquette are often based on dreams and at least one painting in this exhibition was based on a guided meditation session.  Each of the paintings in the exhibition have the same cool, dark color palette. The atmospheric quality of these paintings presents us with situations and we have no idea how we got there. For the most part, there is no other point of reference, just a blue/black void and a light source to accompany the owls and human figures. I get the feeling that these scenes or visions are plucked right from a dream. They tell us something but that “something” is veiled and different for each of us.

Bill Finger's work from the alumni exhibition at RIT

Bill Finger’s work from the alumni exhibition at Rochester Institute of Technology

I saw some of Bill Finger’s photographic triptychs in circular mats at RIT in October of 2016 and was an instant fan. His photographs are a constructed reality running in tandem with the one we live. Whether based on actual places or totally made up, these images have a feeling like trying to recall a dream. You can remember the place and where things were but something seems off. Each of his photographs chosen for this exhibition keep us in an augmented reality where we are unsure what is possible or impossible.

Desert House (Night), a photograph by Bill Finger

Desert House (Night), a photograph by Bill Finger

Imagery that relates to a house or home comes into play throughout this exhibition. Houses, room interiors, nests, these are all familiar images and are all references to places of comfort which are needed to be engaged in sleep. These places become a jumping off point to engage in something that might be unfamiliar or at times, disconcerting. While we have no say in the matter of sleeping, some of us have the ability to recall and consider our dreams. Perhaps not in the way of figuring out the meaning of the dream itself, but to see how the dream may relate to things transpiring in our everyday lives. My hope is that this exhibition can serve as a reminder of how important it is to dream and that we all might begin to look inward in an effort to gain a greater understanding of who we are and how we relate to the world. I know it has for me.


See Dream State at Main Street Arts through this Friday, February 16, 2018. You can also preview some of the work on Artsy: Artsy.net/mainstreetarts.

Inside the Artist’s Studio with Lin Price

In Lin's studio with her dog, Cherry

In Lin’s studio with her dog, Cherry

Originally I am from Ann Arbor Michigan, but have spent most of my adult life in New York State, near Ithaca. I had an unconventional and circuitous path toward the arts. After the birth of my second child I decided to return to college and became completely smitten with painting, earning a BFA from Ithaca College and an MFA in painting from Bard College/Milton Avery Graduate School for the Arts. I am drawn to painting because it is a non-verbal language with limitless expressive possibilities.

Isle of Wight, oil on cradled panel, 24" x 18", 2017

Isle of Wight, oil on cradled panel, 24″ x 18″, 2017

Looking at art, especially painting, from all historical eras and styles, gives me new insights and pleasure. Over time, this ‘looking’ is condensing into my own specific vocabulary. My paintings are dream-like and non-linear and explore themes and symbols I believe are universal to most humans; desire, regret, isolation, and joy. Water often plays an important role.

Lover's Knot, oil on cradled panel, 48" x 40", 2017

Lover’s Knot, oil on cradled panel, 48″ x 40″, 2017

The Jetty, oil on cradled panel, 28" x 34", 2017

The Jetty, oil on cradled panel, 28″ x 34″, 2017

I use all kinds of painting media, although lately, oil paint is the medium of choice, which I find challenging and forgiving.

Paint box

Paint box

Lin Price's studio in Danby, NY

Lin Price’s studio in Danby, NY

The landscapes in my work are invented and abstracted, sometimes inhabited by single miniature figures, completely self-contained, creating a sense of aloneness and quiet as they focus on the task at hand. I enjoy surrounding the figures with unusual, unexpected, and mysterious events. The perspective is voyeuristic, one has the sense of peering in at someone’s private obsessions.

Sunrise, oil on canvas, 48" x 60", 2016

Sunrise, oil on canvas, 48″ x 60″, 2016

Fountain Maker, oil on canvas, 44" x 54", 2017

Fountain Maker, oil on canvas, 44″ x 54″, 2017

Margaret, oil on cradled panel, , 21" x 28 1/2", 2017

Margaret, oil on cradled panel, , 21″ x 28 1/2″, 2017

Corona, oil on canvas, 42" x 50", 2017

Corona, oil on canvas, 42″ x 50″, 2017

The paintings evolve with experience and accident, creating areas of texture and intimacy of touch, building a psychology into each environment. This is a challenging and fluid experience. One has to pay close attention when a painting starts to speak.

More of my work can be found at linprice.com


Six of Lin Price’s paintings can be seen in Dream State, on display through February 16, 2018. The exhibition also features photographs by Bill Finger (Seattle, WA), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Matt Duquette (Buffalo, NY). Work from the exhibition can be previewed and purchased online.