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Inside the Artist’s Studio with Phyllis Bryce Ely: Not My Father’s Iceberg

Joseph Loder Bryce

Joseph Loder Bryce

I began painting this series after the loss of my father, Joseph Loder Bryce, in 2015.

Loder served in the US Navy as a photographer aboard the Icebreaker USS Edisto in the early 1950s during the cold war era. His ship supported the installation of the Distant Early Warning Line (DEW Line) in the Arctic region with a mission to dramatically reduce the warning time of possible Soviet attack. The DEW Line, along the 69th parallel, was the northernmost radar system, taking my father into the Arctic region with his camera to photograph sea and air missions, life aboard the ship, and the extreme beauty of the Arctic landscape and its inhabitants.

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, "Aerial view of the Edito, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54."

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, “Aerial view of the Edisto, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54.”

I grew up with boxes of these photographs in my life; they were a perennial choice for “show and tell” in grammar school and I loved to share the exotic icebergs, people, polar bears, and frozen ships with my friends.

The images, shapes, places and people I “knew” but never met became a visual foundation for me. I now know I was influenced by my father’s eye for composition, shapes, and light as well as his interest in telling stories that come from landscape. These attributes have become the very context of my nearly 40 years of art-making.

"On my easel: ice formation off Greenland with kayaker, working from my Dad's photos." July 26, 2017

“On my easel: ice formation off Greenland with kayaker, working from my Dad’s photos.” July 26, 2017

After Loder’s death, I found myself engaging with his photos yet again and was struck and inspired by the old familiar shapes and simple colorless format. No longer able to hear my father’s stories about the pictures, I started a new conversation with my paintbrush. I began with no plan in mind as I painted one iceberg, then some polar bears, and then a ship…one by one the photos found their way into my studio. Working on these paintings was a form of meditation for me.

Detail of painting "Exodus"

Detail of painting “Exodus”

My first paintings were in oil on a vivid red ground I typically use when painting en plein air. The vibration of the limited, cool palette against the red quickly appealed to me; I connected with the raw edges of color as I worked, excited by how the colors created an emotional response and competing feeling of calm and urgency. I also chose to work in encaustic wax because of the rich texture and intimate scale made possible in that medium.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting "Ice Journey" by Phyllis Bryce Ely.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting “Ice Journey” by Phyllis Bryce Ely.

As I finished each painting I tucked the work away with no particular plan for sharing them,  but knew I wanted them to be together. On New Year’s Eve, I set a goal of pulling the photographs and paintings together for a show, which ultimately led to this exhibit.

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

I am grateful to gallery director Brad Butler for his early interest in these paintings, which he first saw when my first iceberg painting was juried into the Utopia/Dystopia exhibit at Main Street Arts in 2017 and was awarded “Best in Show.”

Phyllis Bryce Ely with her painting from "Utopia/Dystopia" (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Phyllis Bryce Ely with her painting from “Utopia/Dystopia” (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Please enjoy my contemporary consideration of a decades-old Arctic landscape that once was my father’s place in the world. 


Not My Father’s Iceberg, a solo exhibition on the second floor at Main Street Arts, presents paintings by Phyllis Bryce Ely made in response to photographs taken by her father, Joseph Loder Bryce. The exhibition runs August 3 through September 15, 2018 and can be viewed on the gallery’s Artsy page.

 

Meet the Artist in Residence: Maliya Travers-Crumb

Maliya Travers-Crumb, artist in residence at Main Street Arts, during the month of August 2018, is working in one of our two studio spaces on our second floor. We asked Maliya some questions about her work and studio practice:

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Q: Tell us about your background. I grew up in Avon, NY outside of Rochester. My mother is a quilter so our house was full of fabric and craft supplies for me to experiment with.  I was always making something or other, attempting to make my own clothes or scribbling in my sketch book. I currently work as an administrator for the University of Rochester Urgent Care system. I spend most of my free time making pottery.

 Q: What was your experience like at art school? I’ve always been a big reader and literature is an integral aspect of my practice. I studied English and studio art at Oberlin College as an undergrad and did a lot of conceptual work. I went back to school and got a second bachelor’s degree in illustration from RIT where I specialized in digital techniques. It was at RIT that I rediscovered ceramics and it was sort of the missing piece in rounding out the way that I think about and approach my art.

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Q: How would you describe your work?
I mostly make pottery, but my work is very informed by my background in illustration. I like to think of clay as a different kind of canvas, and I really enjoy pairing flat  drawings with more dimensional forms. I work primarily with graphic black and white painting which helps to create a sense of continuity between my work. My illustrative style gives me the freedom to go in a lot of different directions with the pottery I create. I gravitate toward simpler forms which I paint in a whimsical style with a lot of cats and other creatures.

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Q: What is your process for creating art? I had hand surgery about 6 months ago, which has significantly impacted my process and how I make art. I had a repetitive strain injury to the sagittal band on my dominant hand, which was very painful and made it almost impossible to hold a pen. I couldn’t make art for a year and a half and I refer to it as my personal dark ages. Making art is very tied into my sense of self.  When I wasn’t able to throw or draw, I thought about art constantly. What I would make, what I would change when I was able to get back into the studio. I thought more intellectually about form, about making intentional art rather than just working intuitively. Although the process was inarguably terrible, the shift in my art since being able to make again has definitely been a positive one. In a time where throwing on the wheel is something that has come more into vogue, it’s interesting for me to focus on something different and how I can approach a fresh type of making. How does creating multiples affect the preciousness of an object? How does this change if you add in more of the decorative arts? What does a piece from a mold need in order to be its own unique work of art? 

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Q: Do you collect anything?
 I’m really into strange natural bits of detritus and decay. I have a collection of pinned beetles, shells, little animal bones, pressed flowers, and rocks. There is something very satisfying about tiny things.
Q: Who is your favorite artist and why?
I have always loved fairy tales, and am particularly drawn to the work of Arthur Rackham and Edmund Dulac. I also love the graphic style of Aubrey Beardsley, his drawings for Le Morte d’Arthur are strongly influential to my own work.
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Q: Who inspires you and why?
 
Reading has always been something that I go to when I need inspiration or comfort. Audiobooks have been the perfect tie in to how I create art. I love fantasy and storytelling, and something about listening to stories when I work helps me to create narratives within my own pieces. Anything by Neil Gaiman is on the list, but particularly Neverwhere which he narrates himself. I also love the Series of Unfortunate Events, which I didn’t originally like as much until I started listening to them narrated by Tim Curry who is over the top hilarious and amazing. My all time favorite will always be the Harry Potter audiobooks, which were an enormous part of my childhood and my development as a person.
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Q: What are your goals for this residency? My goal for this residency is to create a new practice of mold making with a focus on form and function. I’m looking forward to having the chance to spread out a little in this space and maybe create some larger pieces. I didn’t study ceramics in school, so I’m excited to learn more of the technical aspects of the process. I will be firing a kiln for the first time during my residency!  (With a little help from previous artist in  residence  Zoey Murphy Houser so I don’t melt anything J).
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Q: Where else can we find you?
Instragram: @mtcpottery

Inside the Artist’s Studio with Adam LaPorta

In 2001 I was given a Pentax k1000 camera as a gift from my parents. It was a send off gift as I was headed to art school that year.

Little did I know that I would always be drawn to the lens.

Over the past eight months I have realized the gift I was given was too far removed from my life, and in January 2018 I stepped back into my role as an artist.

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Artist Adam LaPorta

I wanted to reignite an idea I had from 2006. The idea related to my earlier macro works, which I always wanted to take it to an elevated level.

Capturing patterns and shape at macro and microscopic magnifications distorted the placement or recognition of something someone so commonly understood, to becoming unfamiliar with it.

Below are images shot from my years at the Cleveland Institute of Art, 2004 – 2006.

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

I have always been intrigued by the repetitious and structured patterns life so beautifully creates. We pass by so many places/items daily and never think to give something a different look…a new perspective.

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Earlier work by Adam LaPorta

In taking my process to an elevated level I began to explore life from new heights. Turning a path someone so commonly walks on, into something graphic and different, giving them a new perspective.

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The artist getting a new perspective

What makes this process so exciting to me is the ability to remove our awareness of place, taking a viewer’s eye into patterns and shapes by abstracting space.

The surroundings of color, objects, weather, and seasons all play an important role influencing my canvas.

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“Unknown #3″ by Adam LaPorta, included in the Land & Sea exhibition

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There is still so much to learn about my process, especially finding out how different seasons will influence what I capture and why I want to capture an area.

Right now I am just grateful to be creating once again. I have many ideas I would like to bring to fruition. If I continue to be consistent with my work then my ideas will continue to consistently grow into stronger creations!


Adam LaPorta is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. His photographs “Unknown #1–3″ won a juror’s choice award. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with Jim DeLucia

I have always been creative as far back as I can remember. It wasn’t until I went to college that I began to paint. I mean really paint. I earned my BFA in 2002 and didn’t officially become a full-time artist until 2013.  Soon after, I shifted into the role of stay-at-home dad and nighttime painter. And here we are.

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My current studio set up, my basement.

These are my favorite brush sizes and palette knife shape.

These are my favorite brush sizes and palette knife shape.

My painting Salt Life is a loose representation based off a photo from a mini vacation to Florida. I was visiting a friend who moved there from Rochester. He would always say “It’s the salt life, Jim.” I don’t really venture out into water, but there is something about the ocean that just gets me. Always changing. That’s attractive to me.

Salt Life, Oil on paper.

Salt Life, Oil on paper.

All my work is oil paint and graphite on canvas or paper. My style and subject matter has seemed to change over the years but the materials have remained. Landscapes , dogs, patterns and pink are the usual suspects in my work. I’m kind of all over the place.

Stella, Oil and colored pencil on canvas. Current pet portrait work in progress.

Stella, Oil and colored pencil on canvas. Current pet portrait work in progress.

I am currently painting pet portraits, figuring out Adobe Illustrator, and trying to finish a children’s book influenced by my daughter’s pink boots.

Pink Boots #14, graphite and colored pencil on paper. A page from children's book project.

Pink Boots #14, graphite and colored pencil on paper. A page from children’s book project.

You can see more of my work at  www.jimdelucia.com or @jimdelucia on Instagram.


Jim DeLucia is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. The exhibition runs through June 29, 2018.

Inside The Artist Studio with Christina Brinkman

Christina Brinkman

Christina Brinkman

I have worked as an artist is some form or another all my life.  I received my degree from Rochester Institute of Technology.  I began as a painter and printmaker, specializing in etchings and mixed media prints.  I also published a series of die-cut cards which rapidly expanded and were published under the name of Parrett Paper.  These cards were sold and distributed throughout the world in galleries, museums and high end stationery stores.  Some of these cards were chosen and published by the Museum of Modern Art.  MOMA also commissioned the design of an Umbrella and a Mobile.  Upon the sale of my company, I turned my sights back to the fine arts area and am now concentrating on porcelain vessels and sculpture.

'Among the Meadows', Handbuilt Porcelain, Glazed

‘Among the Meadows’, Handbuilt Porcelain, Glazed

Handbuilt Porcelain Vessel

Handbuilt Porcelain Vessel

'Fraternal Twins', Handbuilt Porcelain, Glazed, Gold Leaf

‘Fraternal Twins’, Handbuilt Porcelain, Glazed, Gold Leaf

Handbuilt Porcelain Vessel, Glazed

Handbuilt Porcelain Vessel, Glazed

Artist Satement I am guided by touch, engagement with the material.

Nature, memory and organic form bring direction and orientation.

It tries to be sympathetic with the natural world.

It is usually white, the absence of color, the sum of all colors.

White reflects simplicity, purity, nakedness, lightness, death, calm or stillness.

Without the distraction of color, one considers the outline, the interior and exterior space, the proportions and relationships of the form.

The shadows and the space around become an integral part of the work, the light reflecting surfaces and edges, the energy of what is and isn’t there.

I am never certain of its destination but it is often within the boundaries of the vessel form.

Sculpture tries to sneak in. And it wants to take over.

Handbuilt Porcelain, Blackened Steel, Unglazed

Handbuilt Porcelain, Blackened Steel, Unglazed

Handbuilt Porcelain Vessel, detail, Glazed

Handbuilt Porcelain Vessel, detail, Glazed

Seaform Series, Handbuilt Porcelain, Unglazed

Seaform Series, Handbuilt Porcelain, Unglazed

I have studios located in Rochester, NY and in Fort Lauderdale, FL and divide my time between the two.  My work is included in museum, public, private, and corporate collections, and am currently represented by Blue Spiral 1 Gallery in Asheville, NC.

My website is christinabrinkman.com


Stop by Main Street Arts to see Christina’s work in our fourth annual “Small Works” exhibition (juried by Cory E. Card, former curator at View Arts Center in Old Forge, NY). The exhibition runs through January 4, 2018 and can be previewed onlinestore.mainstreetartsgallery.com

Inside the Artist’s Studio with Jacquie Germanow

 

Me in my studio with chisel and wood form

Me in my studio with chisel and wood form

My work process is highly intuitive and relies on an interactive dialogue with the materials at my hand and the possibilities in my head.  I use the energetic/magnetic variety of materials—sometimes, at the edge of existence—to resurrect a visual metaphor in sculpture. The work often progresses through many iterations before being realized for exhibit.

When I was finding my path to becoming an artist, I read a book by Carl Jung that resonated within me:

The artist has at all times been the instrument and spokesman of the spirit of her age. Their work can only be partly understood in terms of personal psychology. Consciously or unconsciously, artists give form to the nature and values of their time, which in turn form them.

I knew it was my path, and because of that I have always seen my role as a conduit for translating universal energy into material conversations.

Positive clay forms waiting to be cast into plaster/silica molds

Positive clay forms waiting to be cast into plaster/silica molds

I love the connecting conversation that my work provokes and enjoy the feedback. Yet, getting ready to show work is always stressful for me. The dialogue shifts from a uniquely personal and nourishing one to a very public and hence “judgey”arena that I know is important as a vital gift to humanity. Visual art is quiet for the artist, for the viewer and patron.  If we are receptive, it makes a connecting vibration in our hearts.

I was born in Buenos Aires, Argentina, to English parents who escaped from China just before the Japanese invaded. I became a US citizen when I was 14 very aware of the toll WWII had on my family and my parents homeland. Encouraged by my mother’s artist soul, I have been making art ever since I can remember, and I am particularly struck by memories of sculpting sand on the beaches of the Jersey shore.

The artist at work

Ready to work

My fascination with how things work and the seductive forms and
colors of nature led me into science culminating in a pre med BS. Physics, philosophy, and religion were part of this liberal arts study and they turned my mind from scientific deduction to an inductive formulating mind set that artists use to build work. The excitement of making art was like receiving a lightning strike. Could I dare to do this for my life’s work? I went west to study art in Utah never realizing how the geology would impact my visual acuity. I received an MFA in Sculpture there.

If I have a style, it is by default. I am told my work is recognizable, but I do not aspire to a style. I do trust my dreams, revelations, visions, my capacity to synthesize, and find meaning in the ordinary. Each work bubbles up and percolates. Execution is usually much more arduous than I tend to anticipate because I am magnetized by a large palette of materials. Alas, Inspiration is a command. (Agnes Martin) I take the afore seriously and gratefully.  

Mold loaded with glass and ready for kiln

Mold loaded with glass and ready for kiln

Perhaps by pulling together such disparate forms and  textures into unity, I give credence to connection, heart and memory in a world caught by divisiveness and discord. The space between forms has always spoken to me as a synapse  of forces.  The spiral, a symbol of change,  seems to keep surfacing in my sculpture and painting.  

The most challenging aspect of making my work is how to attach one material to another so that it reads as a whole, seamless impulse.

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The inclusion of glass and showing my paintings has been the biggest change in the last 20 years.  They all address timeless themes, but in very different ways.  I really enjoy how they inform each other and me.

My sculptures are beautiful maquettes for public spaces.  Wouldn’t it be great to see that happen! “My work is a tether that loops around  the invisible, the chaos, the quiet; always seeking the structure of the sublime.  Without it I am adrift in the in between.”

Visit my website to see more of my work: www.jagvisualart.com.  You can also find me on Facebook, Twitter and Instagram.  

www.jagvisualart.com


Stop by Main Street Arts to see four of Jacquie’s sculptures included in “Sacred Curiosities”. The exhibition runs through November 17, 2017. 

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, artist in residence at Main Street Arts during July 2017, is working on prints and paintings. 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.

 

Meet the Artist in Residence: Nick LaTona

Nick LaTona artist in residence at Main Street Arts during the months of May and June, 2017,  is working on sculptures and artist books  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.

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.