Elisabeth Kley makes ceramic sculpture that often takes on the form of a vessel, ornate peacocks or elaborate birdcages. Elisabeth talks about using historical decorative art as a model for her own work, color palette as a subversive tool, drag performance, exhibiting her work at Canada Gallery (NYC) and Pierre Marie Giraud (Brussels), and making art as a way to process emotion and experience.
Alex Dodge makes vibrant oil paintings that rely on technology and printmaking techniques. Alex talks about his multi-layered process, building his own tools, virtual and physical spaces, patterns, balancing control and chance, and a desire to make physical objects that endure.
Emily Mae Smith makes representational paintings that weave in and out of illusionistic rendering and graphic flatness. Emily talks about the process of making a painting as similar to building a strange machine, color gradients as concepts, symbolism and surrealism, incorporating art history into her work and making paintings that are self-aware.
Glen Baldridge is an inter-disciplinary artist that shifts in and out of printmaking, sculpture and painting. Glen talks about the thru-lines in his various ways of working, looking for tension in the legibility of a painting, co-founding Forth Estate, noticing the beautifully abject, the studio as refuge and finding joy through making.
Yevgeniya Baras makes abstract paintings on burlap that feature colorful geometric forms and serpentine lines painted over and around found objects that have been collaged onto the picture plane. Yevgeniya talks about challenging her own understanding of her work, being a founding member of Regina Rex Gallery, transforming objects into gestures, maintaining mystery in her work and paintings as issues that she solves over time.
Ethan Greenbaum makes sculptural photographs that often feature carefully cropped images of sidewalk and street markings, construction sites and window reflections. Ethan talks about his technical process, constantly revising what’s possible, the economics of an MFA, primal fears, and his work and practice in a feedback loop with the world.
Lauren Luloff makes dynamic paintings that incorporate collaged layers of dyed and cut fabric, and skillful bleach drawings of decorative patterns, flowers, trees and plants. Lauren talks about the physicality and emotion in her work, working outdoors in cemeteries, motherhood, managing expectations before and after an exhibition and the redemptive relief of making art.
Andrew Kuo makes colorful geometric paintings that visually quantify personal experiences, philosophies and emotions. Andrew talks about the development of his work from early zines to his current painting practice, clarity through data and analytics, color as a class signifier, abstraction and hotdogs, professional sports and his studio as a private and strict work space.
Rachel Eulena Williams makes abstract paintings that feature painted cut canvas shapes and lengths of clothesline rope. Rachel talks about finding confidence in the physicality and magic of working in studio, ritual and devotional objects, growing up in Miami, giving her paintings a “haircut” and making artwork that evokes a sense of optimism.
Dave Hardy makes three-dimensional works that often incorporate cement infused cushion foam, panels of tempered glass, found materials and food items. Dave talks about the engineering and consideration that goes into his work, how becoming a parent improved his studio practice, the push and pull of doubt, and the relationships between derelict objects.
Pali Kashi makes representational and abstract paintings, and is the founder and director of Safe Gallery which is located in Brooklyn, New York. Pali talks about an interest in how art can intersect with life, the spirituality of place, accidentally starting an art gallery, her curatorial projects, admiring artists that challenge themselves and looking for the magic in art.
Sam Moyer makes sculptural work that often incorporates readymade slabs of marble, fabric covered MDF, glass, cast bronze and wielded metal armatures. Sam talks about how surfaces and materials communicate with each other, making sculptures that function like paintings, the importance of sincerity, baby rattlesnakes and the studio as a place to be your most authentic self.
David Kennedy Cutler makes sculptural works that often feature scanned images of clothing, body parts, tools and food, printed onto aluminum sheet metal that is then hammered and twisted into three dimensional forms. Dave talks about the labor and ecosystem of his studio practice, incorporating performance into his work, setting up obstacles only to destroy them, an imagined road trip with Caravaggio, and finding strange comfort within the artistic struggle.
Sara Greenberger Rafferty makes multi-media based works that incorporate painting, photography, sculpture, installation and performance. Sara talks about an interest in how images travel through culture, teaching as part of her artistic identity, using sports metaphors, being productively non-productive, comedy and making art for the right reasons.
Ernesto Burgos makes sculptural works that utilize cardboard, fiberglass, resin and paint among other materials. Ernesto discusses his responsive and reflexive process for realizing a completed form, intentionally interrupting daily routines and cycles, ambitious solutions for expensive studio spaces, and how new ideas are born out of the act of working and making.
Elias Hansen makes sculpture and installation-based works that incorporate hand blown glass, wood and metal support structures, tinted light bulbs and electrical components among other objects. Eli talks about how subterranean chemistry labs and distilleries have informed his work, working collaboratively with other artists, failure and error, straddling the craft and contemporary art worlds, the importance of apprenticeships, and championing curiosity in his life and studio practice.
Patrick Brennan makes abstract, mixed media paintings that are full of compositional vibration, technical and formal curiosity, and painterly truthfulness. Patrick discusses how he cedes control to his paintings, being a founding member of the artist run gallery space Essex Flowers, whether or not we should separate the artist as a person from the artwork itself, and feeling purposeful and at his best while working in studio.
Matt Kenny makes paintings that are influenced by thoughtful observation, surveillance, his research into domestic and foreign conflicts, and a reverence for traditional oil painting. Matt talks about a range of topics including Batman’s utility belt, the dilemmas of making content-driven artwork, the conceptual thru-lines in his work, the assassination of JFK, and a forthcoming poetry project.
Katherine Bradford makes paintings that often feature groups of people congregating around an impressive element, such as a massive bonfire, or scenes of swimmers floating and wading in water. Katherine talks about entering the atmosphere of her work, an urge to distance herself from old master oil painters, making epic versus intimate statements, and loving the overall intensity of being an artist.
Matt Leines makes precision detailed drawings and paintings that burst with allegorical narratives and technical control. Matt discusses the labor-intensive process behind his work, the constant struggle of getting images out of his mind and into his drawings, the oddness of finding success early in his career, his personal rules for making a drawing and how he is excited to break them.