Decadence | Soft Pastels by Courtney Young

THIS ESSAY HAS BEEN PUBLISHED IN THE FEBRUARY 2017 ISSUE OF ACES MAGAZINE

Now on display at Roast Coffee and Tea Trading Co. is Decadence, a solo exhibition featuring a series of still life, pastel paintings by Courtney Young. In this body of work, Young focuses on the rich decadency of comfort food. For the artist, these photorealistic, larger-than-life depictions of her subject matter convey the emotional significance that we as a people place on food in our everyday lives.

Choosing subject matters that are rich in color and texture, Young takes her photographic references and brings them into the studio where she crafts inspiring compositions that serve as faithful representations of their real-world counterparts. Young strives to recreate the memories of her favorite childhood foods, while evoking hunger in others. Sections of her paintings are consciously blurred, which consequentially sharpens other aspects of her works. This conscious blurring, for the artist, creates a sense of emphasis while also conveying a loss of clarity that often occurs if one is an emotional eater and uses food to fill a void.

Her painting Breakfast for Dinner depicts two, larger-than-life, fluffy waffles that are overrun by butter, jam, and maple syrup. The painting is such a faithful depiction of its subject matter that it becomes challenging for the viewer to believe that the work is not a photograph. The accompanying plate and fork are rendered out of focus, allowing the viewer to tantalizingly study the hyper-realistic food that is presented. The composition is bathed in light, creating a stunning array of depth within the work. The viewer is instantly pulled into the painting, and becomes lost in the mesmerizing coffers of the waffles that ooze with melting butter, savory syrup, and succulent jam preserves. Young’s painting has a tranquil quality, inspiring notions of a simpler time such as Sunday brunch with one’s family or, as suggested by the title, the childhood treat of having breakfast for dinner.

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Courtney Young, Breakfast for Dinner, 2014

The viewer often craves the food depicted in Young’s paintings. Another work in the exhibition, Guilty Pleasure, portrays three powdered, jelly-filled doughnut holes stacked atop one another. In the blurred background, the viewer can observe several more jelly-filled pastries alongside a tall, thirst-quenching, glass of milk. The work is so detailed, with the artist going through the trouble of accurately rendering the flaky pockets of dough, the minute specks of powdered sugar, and the translucent, sticky texture of the jelly that oozes out of the fried dough. There is a notion of defined elegance within the painting as Young’s low-pointed perspective establishes a monumentality that is not typically accustomed to unhealthy, junk food. Still, by carefully arranging her constructed composition, coupled with the artist’s masterful lighting and attention to detail, Young emphasizes the dominant role food, especially comfort food, has in some people’s daily lives.

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Courtney Young, Guilty Pleasure, 2015

Courtney Young is a fine artist from Bay Shore, NY. She received her MA in Art Education from Adelphi University and is currently a MFA Candidate at the New Hampshire Institute of Art. Her artwork has been exhibited across Long Island with select exhibitions at the Heckscher Museum of Art, Islip Art Museum, and the Anthony Giordano Gallery. Young is an active member of the Pastel Society of America, the Art League of Long Island, and the Patchogue Arts Council.

The Patchogue Arts Council (PAC) is a 501(c)(3) non-profit corporation founded in 2008 to promote, encourage, and support the arts on the greater south shore of the Town of Brookhaven. The Patchogue Arts Council and Roast Coffee and Tea Trading Company created the PAC Members Gallery at Roast in the summer of 2013 as an alternative exhibition venue where PAC members can exhibit their artwork. In addition to exhibiting artwork and brewing award-winning coffee, Roast Coffee and Tea Trading Co. hosts a monthly poetry night on the first Saturday of every month.

Decadence: Soft Pastels by Courtney Young is on display at Roast Coffee & Tea Trading Co. now through March 5, 2017. An opening reception for the exhibition is scheduled for Sunday, February 5, from 2 – 4 P.M. The reception is free and open to the public. For more information on Courtney Young, visit http://www.courtneyyoungart.com.

Jay Schuck


Image Credits
All images are courtesy of the artist
© Courtney Young

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3rd International Artist Residency Comes to Long Island

THIS ESSAY HAS BEEN PUBLISHED IN THE NOVEMBER 2016 ISSUE OF ACES MAGAZINE

For the third time in five years, the Islip Art Museum brought a group of international artists to Long Island for it’s two-week long New York Contemporary Art Symposium (NYCAS). Unlike previous residencies, which included artists from around the world, NYCAS 2016 focused on a specific country, bringing five Chilean artists to New York from September 19 to October 3. For this year’s residency, the Islip Art Museum collaborated with International Meeting of Art, a global non-profit organization dedicated to the arts and cultural exchange while encouraging, supporting, and facilitating the possibility for artists of all mediums and different cultures to work together. The 2016 NYCAS artists included Andrés Achavar, Ignacio Castillo, Paloma Gómez, Marcela Zamorano González, and Nico Huidobro. Like previous residencies, the participants were invited to exhibit their artwork across Long Island and experience all that New York culturally has to offer.

The residency featured a group of artists working in a variety of mediums. Andrés Achavar is a fine watercolorist whose work focuses on the beauty of the everyday. His paintings capture the essence of his subject matters that occupy a brief moment of time, as each work is bathed in a rich atmospheric light that encapsulates its setting. His figures are expressionless, devoid of individualistic features, as they go about their everyday-activities in urban and sub-urban street scenes or interior settings that project a moment plucked from time, forever frozen in watercolor.

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Andrés Achavar, West 20th Street, 2016

Ignacio Castillo’s work is a reaction to the increasing industrialization of his hometown of Santiago City. His small-scale ceramic sculptures rise from the grounds in which they are fired. Some figures tower over the smaller ones, casting them in shadows. These figures, like Achavar’s, are featureless, standing representative of the everyman. His subject matter is not the figures themselves, but the expressions and emotions they project through their poses, gestures, and colors.

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Ignacio Castillo, Art Energetic Gnapo, 2016

Working in oil paint, Paloma Gómez’s subject matter alternates between the abstract and the representational. She is inspired by the relationships between man and their environments as well as their interpersonal interactions. For the basis of each painting, she uses her own sketches, photographs and imagination as references. She builds up the layers of her compositions with vibrant colors until she feels each canvas is complete. Her Headphones and Nocturno series captures sub-urban street scenes at night with her figures and landscapes saturated in the afterglow of street laps that dance across the night sky. Although painted on a squared piece of canvas, her compositions are circular as if the scene is viewed through a hole in a screen.

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Paloma Gómez, Headphones XIV, 2016

In her photography, Marcela Zamorano González turns her camera lens towards what is often overlooked. Broken bottles, graffiti riddled buildings, and the average passerby are all subjects utilized by the artist as she structures her compositions with strong vertical and horizontal lines that zigzag across the picture plane. By turning her attention to the mundane, the artist draws attention to the hidden beauty of the world around her, highlighting it for all to see while urging the viewers to be observant of their surroundings as well.

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Marcela Zamorano González, Untitled, 2015

In his artwork, Nico Huidobro utilizes expression as an interpretive medium with which he attempts to concentrate on the present moment and current happenings of his surroundings. His paintings are visual expressions of his reactions towards music, the people around him, and the conditions of his environment. His works are impulsive and whimsical, created on the fly or at a moment’s notice.

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Nico Huidobro, Untitled, 2016

NYCAS 2016, an Islip Art Museum and International Meeting of Art Collaboration, is a two-week long, international artist residency program based in East Islip, NY. The bi-annual residency seeks to encourage and improve the cultural exchange between participating artists and collaborating communities. In 2016, the Islip Art Museum hosted five Chilean artists working in a variety of mediums from September 19 to October 3. These artists exhibited their paintings, photographs, and sculpture at the Islip Art Museum, Second Avenue Firehouse Gallery in Bay Shore, and the Patchogue Arts Gallery throughout September and October. Additionally, their work is currently on display in the exhibition Made in Chile at Toast Coffeehouse in Patchogue until December 28.

Jay Schuck


Photo Credits
Images of Paloma Gómez and Marcela Zamorano González artwork courtesy of Patchogue Arts Council

Images of Andrés Achavar, Ignacio Castillo, and Nico Huidobro artwork courtesy of Islip Art Museum

Bryan Gutman | Mindscapes

THIS ESSAY HAS BEEN PUBLISHED IN THE AUGUST 2016 ISSUE OF ACES MAGAZINE

Bryan Gutman is a fine artist from Patchogue, NY. In this series of work, reviewed here, Gutman creates immersive, multi-planed paintings that seamlessly integrate diverse visual images that are overlapped on top of one another and rendered in highly glossed enamels in conjunction with traditional oil paints. Since the early 1990s, Gutman has developed a personal iconography; incorporating images grounded in reality and imagined imagery stemming from the subconscious mind. Inspired by newspaper photographs, neon signage, and elements of the urban landscape, the artist layers his imagery into a singular mindscape that blurs reality with the fictive, through imposing lines that travel throughout multiple layers of vibrant colors.

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Bryan Gutman, Chris’s Dream, 2008

Exemplary of Gutman’s style is Chris’s Dream, which blends together several different visual motifs into one composite scene. Encased in a border of repeating bands of blue, orange, and beige rectangles, the visual representation in the center of the composition appears to be that of a couple in the act of love making. The pair appears not grounded in reality, but is rather surrounded by a sea of green and pink polka dots and a multitude of pink-hued bands of white, arranged in a variety of forms that is resemble of neon signage. Within the yellow-orange silhouette of the female figure, one finds the contours of a seated man sitting amongst a rocky landscape with a shovel resting on his shoulder. This overlapping of the rural man within the silhouettes of the sensual couple offers a stunning juxtaposition between the communal and the intimate, the public and the private, of virtue and vice; the didactics of man. What is revealed upon close observation is often lost in the initial glimpse. Gutman’s mastery in fusing together his diverse subject matters through form and color allows him to hide details within his paintings, which are only revealed when one carefully digests each piece.

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Bryan Gutman, Highway Dreaming, 2014

Likewise, the painting Highway Dreaming utilizes imagery that, on first observation, may be lost on the viewer. What is immediately recognizable, however, is the nude female figure that is situated just above the center of the composition. The figure is rendered in a deep dark blue with her contours marked in neon-purple sign-like delineations. She inhabits a shape reminiscent of a rearview mirror and, paired with the title of the painting and its relatively bare surrounds, which consists of a gradual transition of yellow-green to red-orange, one can adopt the perspective of a man that is lost in thought while travelling down a barren desert highway. Gutman’s paintings transport the viewer to another world, to one that flawlessly fuses fantasy with reality.

Bryan Gutman, Olympia, 2015

Bryan Gutman, Olympia, 2015

If one is well versed in art history, the subject matter of Gutman’s Olympia is easier to identify. The center of the composition features the reclining nude of Édouard Manet’s Olympia, reduced here to a series of black contour lines that outline the figure and the setting in which she is situated. The outer boundary of the painting, consisting of ambiguous abstracted forms rendered in varying degrees of cool blues and purples with hints of red and yellow, is inspired by the work of Parisian avant-garde artist, Jean DuBuffet. What may be overlooked on first observation is the silhouette of Vincent van Gogh as seen in his painting Self Portrait in a Straw Hat. The silhouette of van Gogh, which contains Manet’s Olympia, is only noticeable when the viewer disregards its nude inhabitant and the painting’s elaborate peripheries, opting instead to focus on the yellow coloring that fills the area of van Gogh’s portrait. Layering these works together, Gutman offers the viewer a timeline of artistic achievement spanning roughly 150 years, which highlights three pivotal art movements and three innovative artists.

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Photo of the artist (c) Miranda Gatgewood Photography

Bryan Gutman is a fine artist who lives and works in Patchogue, NY. He received a BFA from the University of New Mexico in Albuquerque and a MFA from Brooklyn College in New York. He is the Owner and Co-Founder of Fee-Fi-Faux, Inc., a decorative painting, handmade tile and wallpaper business, alongside his wife Tina Folks. His artwork has been exhibited across Long Island at the Patchogue Arts Gallery, Heckscher Museum, East Ends Arts Council, and Guild Hall. Gutman is an active member of East Ends Arts and Patchogue Arts Council.

Jay Schuck


Photo of Bryan Gutman © Miranda Gatewood Photography

All images courtesy of the artist

Remembering Richard Smith

In April, British artist Richard Smith passed away. Richard had a long, prosperous career with solo exhibitions at the Tate Gallery (1975), the Jewish Museum (1968), and the Whitechapel Gallery (1966), among others. He represented Great Britain in the Venice Biennale (1966, 1970), as well as the Sao Paulo Biennale (1968). His artwork is in the public collection of many renowned fine art institutions including the British Museum, the Museum of Modern Art, and the Metropolitan Museum of Art.

I first met Richard in 2012 at his Patchogue studio. The Patchogue Arts Gallery had just opened with an exhibition featuring a selection of Richard’s recent paintings and works on paper. I was tasked with helping the artist compile images of his artwork from over the years for a slideshow presentation he would use for an artist talk scheduled at the end of the exhibition. I met Richard in his studio where he had a few sketches and smaller works out on the table with volumes of works wrapped and tucked away in storage.

Richard was personable and friendly as he took the time to discuss with me the details of his life, career, artistic interests and influences. We spent the afternoon huddled around my laptop as he reflected on his career and body of work. The longer we spoke, the more I came to admire him and appreciate his artwork as he would recall the details of his oeuvre, some of which he remembered better than others. We often got sidetracked as a particular painting would remind him of a story involving a close friend, studio visit, or of his inspiration for the piece.

I was fortunate to work with Richard several more times over the years. One such time was in late 2014-early 2015 when John Cino and I were curating the Remembering Things Past exhibition at the Islip Art Museum. Richard happily agreed to be a part of the exhibition and we all met at his studio to review possible works to include. Upon arriving, John and I were greeted by a large, three-piece kite painting that Richard created in the late 1970s. It was my first time seeing one of his kite paintings in person and I was in immediate awe of delicate yet imposing presence and wonderful ascetics. Needless to say we included the work along with a smaller four-piece kite painting and a painting produced in the late 1990s that depicts a silhouette of the artist.

The last time I spoke to Richard was in early March. We discussed the possibility of a retrospective exhibition that would coincide with his 85th birthday and commemorate his life and body of work. Despite being ill, Richard happily agreed to the idea and we scheduled another studio visit. Although he passed before we could work on the project, I am flattered that Richard was interested in working with me one more time. As far as I am considered, when it comes to Richard Smith, the only thing more admirable than his artwork is his character.

Thank you for everything, Richard. Working with you will always be a highlight of my career.

Jay Schuck

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With Richard Smith’s Portrait (1997) at the Islip Art Museum

Poison Play

THIS ESSAY HAS BEEN PUBLISHED IN THE MAY 2016 ISSUE OF ACES MAGAZINE

On view in the Islip Art Museum is a selection of artwork that examines the toxic relationship between industrial innovations and the environment. The exhibition, Poison Play, was curated by Museum Exhibitions & Curatorial Director/Curator Beth Giacummo and features the artwork of Margaret DeLima, Scott McIntire, John Sabraw, and Anne Seelbach. Through their artwork, each artist explores the detrimental effects of mankind’s carbon footprint on the world as natural resources are exploited for technological advancement and the dumping of bio-hazardous materials forever changes ecosystems.

Margaret DeLima alters the environment of the museum’s smallest gallery with her site-specific installation The Imprinted, which features 500 papier-mâché ducks that are group together in the center of the exhibition space. Each sculpted figure cranes its neck upward as a gesture of imprinting on the viewer, similar to how newborn wildlife impresses on their caregivers as a sign of love and trust. No matter where the viewer stands in the space to observe the installation, he or she will find several hundred ducks that extends its neck towards him or her. Upon viewing the work, one cannot help but feel responsible for the creatures’ wellbeing as their innocently helpless gestures imply connotations of trust. Hanging along the walls, below eye-level, are several pinned photographs that capture the process of how these sculptures are crafted. These pictures of the papier-mâché ducks, some yet to be colored, appear lifeless and stiff as they rest on their sides. These pictures are in stark contrast with the figures in the exhibition space that seem to inspire a sense of life within each figure.

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Margaret DeLima, The Imprinted (2016), Courtesy of the Islip Art Museum

Hanging in the hallways of the Islip Art Museum is a collection of paintings taken from Scott McIntire’s BioArt, Dark Energy and Energy series. Through these works, the artist addresses environmental concerns that often go unseen, rendering energy signatures generated from radio waves, cell phone transmissions, fracking, and global warming. The artist pairs these vibrant fields of energy with vivid depictions of vegetation, wildlife, and industrial power lines, in an effort to bring a sense of familiarity to the viewer as he or she contemplates the negative energy around his or herself.

Scott McIntire, Roadt Trip #3 (2011), Courtesy of the Islip Art Museum

Scott McIntire, Road Trip #1 (2011), Courtesy of the Islip Art Museum

The largest gallery of the museum plays host to an arrangement of John Sabraw’s Chroma paintings. Here, the artist finds a productive alternative to contaminated materials by using them to create pulsating, large-scale works of art. In this series of work, Sabraw’s utilizes powdered iron oxide pigments, and other toxic materials that he has found in abandoned coalmines deserted caves and polluted streams. His abstracted circular paintings resemble blown up microcosms of toxic environments as if they are been observed from underneath a microscope lens. The paintings’ size and illuminating palettes, along with a poster explaining Sabraw’s artistic process and sealed jars of contaminated water and grounded pigments, warrants the viewer to contemplate the ramifications these poisonous materials have on the earth.

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John Sabraw, Chroma S4 Tribute (2016), Courtesy of the Islip Art Museum

The final exhibition space features mixed media works of art taken from Anne Seelbach’s Troubled Waters Series along with the site-specific installation piece Marine World Maze. In this series of work, inspired by a mutated fish discovered by the artist along the shores of Sag Harbor, the artist draws the viewer’s attention to aquatic life and how manmade toxins such as pesticides, herbicide, and sewage runoff, influences natural environments and maritime development. The works exhibited here engage in a dialogue with the viewer, as they address the concerns of Long Island’s polluted water systems, the disposal of chemical and industrial waste, and how it influences the development and wellbeing of innocent oceanic life.

Anne Seelbach Courtesy of Gary Mamay

Anne Seelbach, Sunken Structure (2016), Courtesy of Gary Mamay

Poison Play features artists whose work explores the toxic ramifications technology has on the environment. The exhibition runs in conjunction with the Museum Shop exhibition Lazara, which features artwork by Caitlyn Shea. Both exhibitions were curated by Museum Exhibitions & Curatorial Director/Curator Beth Giacummo and are on view at the Islip Art Museum until June 5, 2016.

Jay Schuck


Image of Anne Seelbach’s work is courtesy of Gary Mamay

All other images courtesy of the Islip Art Museum

Rediscovering Paul Mommer

THIS ESSAY HAS BEEN PUBLISHED IN THE MARCH 2016 ISSUE OF ACES MAGAZINE

On view at the Islip Art Museum is a retrospective exhibition highlighting the many artistic styles of the Paul Mommer (b. Luxembourg, 1899 – 1963), a premier artist of the early to mid twentieth century. Despite a pedigree résumé, boasting exhibitions at the Whitney Museum, Museum of Modern Art, and the Metropolitan, the artist fell into obscurity after his death only to re-emerge 51 years later. The exhibition offers a re-examination of the artist’s artwork and life, exhibiting works of art that have not been on public display for half a century alongside historical documents that pertain to the artist’s life and his placement in the art world.

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Paul Mommer, Studio Interior, 1950, Courtesy of Islip Art Museum

Over the course of his thirty-two year career as an exhibiting artist (1931 – 1963), Mommer’s technical style varied from Romanticism to Abstract Expressionism. Despite this, his paintings are usually noted for their moody, earth-tone color palettes. One such example is Studio Interior, which depicts the artist busy at work in his studio. Browns and reds dominate the palette as Mommer opens the composition with hazy whites and hints of blue. The painting holds no uniform perspective, allowing the artist to deconstruct his painting, which warrants closer observation from the viewer. The lack of depth is further enhanced, as objects are broken down to their basic geometric forms and colors, as only the artist himself appears slightly modeled on the extreme right of the composition. These abstract qualities make it unclear whether the cityscape in the background is being depicted from through a window or hanging on the studio wall as another work of art.

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Paul Mommer, Sewing Machine, 1946, Courtesy of Islip Art Museum

Taking inspiration from analytical cubism, Mommer’s Sewing Machine abstracts the subject matter to the point of un-recognition. The artist utilizes shape and form, in varying degrees of ovals, rectangles, and triangles, to represent his monochromatic subject matter. Mommer contains his abstracted subject matter by filling the boundaries of the canvas with a cool grey-white border. It is apparent that Mommer strives to make the representational un-representational through abstracted forms and perspectives.

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Paul Mommer, Stone Quarry 1, 1950s, Courtesy of Islip Art Museum

Several paintings dating to the 1950s finds Mommer pushing the boundaries of representational art. Entitled Stone Quarry 1 and Stone Quarry 2, this pair of paintings finds the artist juxtaposing black against white. Despite the representational titles, the paintings are purely abstract in execution and presentation. Strong vertical and horizontal lines converge and diverge across the entirely of the compositions as areas of dark oil paint pool in complimentary balancing sections of each composition. The cool color palettes of the paintings compliment the stony aesthetics each title implies. Upon closer observation, the viewer will be please to find hints of blues, reds, and browns that Mommer skillfully lays underneath the final layer of paint.

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Paul Mommer, Stone Quarry 2, 1950s, Courtesy of Islip Art Museum

The abstracted natures of these works are manifested in Black and White Abstraction taken from the same period. As in the Stone Quarry paintings, Mommer contrasts the dark against the light. The cool tonal variations of white, with hints of yellow and blue, compliment the heavily applied sections of black paint which appear almost like shadows that are casted upon the surface of the canvas. Where there was a general sense of flow and airiness among the Stone Quarry paintings, Black and White Abstraction feels condensed, solidified by the strong vertical forms and gestures created by the artist.

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Paul Mommer, Black and White Abstraction, 1950s, Courtesy of Islip Art Museum

The exhibition Transformations of a Visionary: Paul Mommer came into fruition at the inquisition of Jessica Ruppel who had an interest in acquiring more information on the life and artwork of her great-grandfather. A student of the exhibition curator Loretta Corbisiero, Ruppel presented her mentor images of Mommer’s artwork, along with important historical documents pertaining to his life that led the pair to his rediscovery.

Transformations of a Visionary: Paul Mommer was curated by Loretta Corbisiero and features an in-depth analysis of the artistic career of one of the early 20th century’s forgotten artists. The exhibition runs in conjunction with the Museum Shop exhibition Caché: New Works by Debra Rodman-Peck, curated by Beth Giacummo. Both exhibitions are now on view at the Islip Art Museum until March 13, 2016.

Jay Schuck


Further Readings
Corbisiero, Loretta, Transformations of a Visionary: Paul Mommer, East Islip, NY: Islip Art Museum, 2016, Print.

Images Courtesy of Islip Art Museum

 

New Voices

THIS ESSAY WAS PUBLISHED IN THE FEBRUARY 2016 ISSUE OF ACES MAGAZINE

Now on view at the Patchogue Arts Gallery is New Voices, an exhibition featuring the artwork of a diverse group of young artists that have had limited exposure in the Long Island art scene. The artists, Carrie-Anne Gonzalez, Kristin Macukas, Logan Marks, Caitlyn Shea, and Lauren Skelly, work in a variety of mediums ranging from painting and photography, to mixed media collages and more. Each artist has a unique voice that is expressed in his or her chosen media and works with subjects that have a profound impact on their individuality.

Photography is the media of choice for Carrie-Anne Gonzalez. Originally trained as a military photographer, Gonzalez went on to study at Nassau Community College and is currently pursuing an MFA degree at Long Island University. In her current body of work, Gonzalez captures the struggles of battered women. The subjects in her photographs avoid the camera’s lens, as they sit in contrast against a dark background. In one picture, the woman sits defeated with one hand supporting her head, a gesture of inner turmoil and reflection, which casts her face in shadows. Upon viewing, one can’t help but sympathize with the sitter, hoping that she may soon find herself through this time of physical and mental abuse.

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Carrie-Anne Gonzalez, The Sob II (After Sisquerios), 2015

In her collages, Kristin Macukas utilizes a wide variety of found objects, ranging from costume jewelry, reclaimed paper, and industrial-style metals. Adhered to wooden boards, Macukas arranges her compositions by overlapping magazine clippings and newspaper articles, sometimes hidden under a coat of paint, around discard computer hardware and other electronic devices. Her mixed media works beckon the viewer to closer observation as he or she finds recognizable imagery or material that, at a passing glace, would appear insignificant.

Kristin Macukas

Kristin Macukas, Cellular Dysplasia (detail), 2012

Working with found objects, Logan Marks, a MFA candidate at Stony Brook University, creates unique site-specific installations, sculptures, and assemblages that form a semiotic relationship with the exhibition space and the viewer. Discarded as junk, Marks acquires scraps of rusted metal, out of date electronics, and other industrial material, and incorporates it all with organic materials that form an immersive dioramic environment within the space it occupies. Due to the nature of site-specific artwork, the installation takes on a new identity as it is refitted to meet the specific needs of each new space, offering a uniquely different experience every time it is assembled and displayed.

Logan Marks

Logan Marks, Disconnected Vision (detail), 2016

Caitlyn Shea studied painting at the Pratt Institute and Skidmore College before graduating with a BFA in Painting from Adelphi University. Her paintings explore the tactile relationship between acrylic paint, spray paint, and charcoal, while her subject matter can be defined as abstracted figuration. One of her paintings depicts what appears to be a spotted leopard caught in a moment of animation. Its twisted body, galloping legs, and opened mouth, create a sense of drama and movement that is further expressed in the gestural background of reds, blues, yellows, and hints of green. The artist creates an illusion that something just off the left of the painting has provoked this violent response from the subject.

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Caitlyn Shea, The Joker, 2015

Lauren Skelly’s pre-occupation with the materiality of clay and ceramics have pushed the boundaries of what the artist can accomplish with this media. By experimenting with different glazes, slips, and clay applications, she creates intricate textural surfaces that captivate the viewer. Drawing inspiration from the world around her, Skelly emulates natural elements that provide the viewer with a variety of textured surfaces, often juxtaposing the finely finished against the coarsely granular. Her ceramic works fascinate the viewer as he or she follows the delicate woven twists and turns of each piece.

Lauren Skelly

Lauren Skelly, Constructing Awkward Beauty (detail), 2015

New Voices was curated by John Cino and features emerging artists that have previously had limited exposure in the Long Island art scene. The exhibition offers a wide range of artwork in form, medium, and subject matter as each artist experiments with the ranges of his or her medium of choice. The exhibition is on exhibit at the Patchogue Arts Gallery until February 27, 2016.

The Patchogue Arts Gallery is a professional art gallery operated by the Patchogue Arts Council, Inc., a 501(c)(3) non-profit corporation founded in 2008 to promote, encourage, and support the arts on the greater south shore of the Town of Brookhaven. The gallery features five curated exhibitions per year, which reflect current issues and concerns in the contemporary art world, in addition to an annual juried members exhibition.

Jay Schuck

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