A fortunate person indeed is one who has the chance to visit Tom Butter’s magnificent Bushwick studio—in which ‘magnificent’ pertains to size, constituent objects and resident artist alike. Tom’s brilliant kinetic sculptures and zestfully gestural paintings got us talking quite a lot about turbine motion, formal unquestionabilities, centripetal and centrifugal forces, compositional foci and simplicities, [READ ►]
Thanks to an extensively meandering conversation with Larry Greenberg at Studio 10, I wound up paying a most unexpected yet nonetheless extremely pleasant visit to Charles Yuen’s studio, located in the general environs of Carroll Gardens. Conversation there continued to meander in splendid ways once Yuen was in the mix, and it pertained now [READ ►]
There’s not a Borges story in which an artist who uses various forms of variably manipulable packing materials to create his works begins, over time, to amass enough works and works-in-progress in his studio that he finds himself veritably packed into their midst, as if he were a sort of fragile product whose safe [READ ►]
I got plenty of time and space to look good and hard at a fine selection of paintings when I visited Lizbeth Mitty in her Red Hook studio. Her current fluctuations in subject matter and surface treatments led us to talk about structures as nature abstracted; urban tumult as abstraction in action; and city life [READ ►]
Within only a matter of hours after Bushwick Open Studios 2015 came to its official close, I paid a completely crowdless visit to Suzanne Kelser’s Bushwick studio in the 56 Bogart building (which still seems structurally sound, somehow, by the way). Her rather inter-dimensional, mixed-media drawings on mylar and paper elicited quite a nice conversation [READ ►]
Aqueous contours, controlled pervasions, pigmented peripheries and debatable orientations were among the topics of discussion when I visited Dana James in her studio at the border of Bushwick and Ridgewood. We also talked about markings in caves. And the curiously trenchant memorabilities of water. Diving boards came up as well. As did scrimshaw. We [READ ►]
I visited Catalin Moldoveanu’s Bushwick studio to look at some recent paintings, and to pick out one or two for a forthcoming Centotto exhibition. Aside from chatting about the works, we talked about uniform treatments of surfaces, the seduction of preferred colors, and the balancing of horizontals. We also talked about the variable necessities of [READ ►]
When I visited David Henderson in his Williamsburg studio, our topics of conversation drifted and rippled, quite fittingly, from disturbances within interference patterns to patterns both established and disturbed by differential amplitudes, and from marginally sealed fragmentations to the potential for topographical prints. We also chatted about motorcycle pistons vanishing, inexplicably, into oblivion, and about [READ ►]
