Children of Lir, by Lori Field    Photo courtesy of the artist and Claire Oliver Gallery

I was delighted to interview Lori Field for my latest West of Chelsea installment for the New York Times Local!

I talked with her about her new gallery in Chelsea (Claire Oliver), her background as a textile designer and illustrator, what inspires her creations, and her “Secret Drawer.”

Stop by and read for yourself how this New Jersey artist traversed the Hudson and wound up on the inside, looking out.

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Constructed Drwaing 00401 © Heidi Van Weiren

One of the great pleasures of my gig at the New York Times Local, is having a chance to meet all sorts of interesting artists and art professionals. Heidi Van Weiren is no exception.

Heidi’s work has been on my radar for a while; I’ve been drawn to her dreamy landscapes since first seeing them at Margaret Thatcher Projects in Chelsea a few years back. I imediately felt a kinship with her use of glue as a medium (the very first paintings in my Nowhere Here -2006 series were composed using glue as the layering medium).

Heidi — a native to western Michigan as well — will be joining me and over 1200 other artists in Grand Rapids, Mich. later this month, as we all take part in this very interesting experiment that is ArtPrize. I thought it would be interesting to look at what it takes to break into the New York art market as an outsider.

Read what she has to say…

Badlands 00701 © Heidi Van Weiren

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The man with the plan! Courtesy of Brian Kelly

I was delighted to interview Rick Devos this week, for my usual West of Chelsea feature on The New York Times Local. He’s the brainchild (and bucks) behind ArtPrize.

It’s not uncommon for big money to support art — but what he’s got going really does shake things up. You go Rick!

Check out the interview here!

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The first time I met Walter Zimmerman was years ago at “Essex Exposed” — a juried exhibition at The Pierro Gallery in South Orange, N.J. (We both had work in the show.) I knew he was a kindred spirit the minute I met him; he had introduced himself, and he said how much he like my work — but the thing I remember most was his description of my work as “beautiful and just a little bit creepy.”

That is me in a nutshell. Most people either don’t see it or don’t mention it. (I mean the “creepy” part.)

It made sense that Walter would see the dark side to my work: I have no doubt that to many, the powerful assemblages he creates around his meticulously crafted glass pieces may seem “a little bit creepy.”

Don’t be afraid to take a closer look. Peek inside these mysterious networks and see the tireless work involved in finding beauty — against all odds.

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Fresh out of the studio! Pink Isotopes © Nancy Tobin

It’s been a busy week.

Not a physical busy, more of a mental busy. There were several proposals for shows and grants due this week — of course, those things never seem to make it out the door until the last minute — along with juggling and planning for the three shows I have coming later this year. Mix in the fact that I want to keep up with my blog, the New York Times West of Chelsea interviews, my Etsy shop and painting (hello, that is what this is all about!), and I feel a little like my head is going to pop!

Just to prove (to myself, at least) that I am still a painter — I’m posting this brand new painting Pink Isotopes. Hope you enjoy the painting and the weekend!

xo

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Susan Napack's studio is a delight everywhere you look!

This week I visited with artist Susan Napack in my West of Chelsea feature for The New York Times Local.

The first time I ever saw Susan’s work was at an opening for a show she had at The Dancing Goat — local cafe and performance space. The “Goat” is now defunct, but Susan’s work left a lasting impression.

Susan describes her work as “an offbeat examination of found objects and nature culled from these collections — including hundreds of wishbones — which have supplied material for sculpture, digitally enhanced photographs, drawings and paintings.”

I would descibe them as pure magic!

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Looking at Thea Clark’s jewelry in a photo, you may think you’re enjoying a piece of sculpture . Her one-of-a-kind pieces stretch the boundaries of what we think of jewelry. Combining unusual materials such as felt, linen and PVC plastic, she addresses issues such as women’s identity in society.Read more about Thea’s fascinating work and life, in my third installment of The New York Times Local’s West of Chelsea.

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Touch by Jennifer Lewis Takahashi

In my second installment of West of Chelsea for the New York Times Local, I interviewed Jennifer Lewis Takahashi.

Jennifer spins a web with her fascinating still lifes. She talks with me about her work and life; reflecting on how one influences the other.

Still life was the best subject because I could arrange things exactly how I wanted them. That, along with my realistic style, felt like a dot of control in a blaze of chaos! These compositions were busy and crowded and echoed how I was feeling in many ways.

In my own struggles with realism, I admire her ability to express herself in this context, and do it in such an engaging way.

Read it here, then tell me what you think!

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Join me as I peek into the beehive of activity that is New Jersey’s art scene. In my new feature for the New York Times blog I’ll be exploring the vibrant visual art scene on this side of the Hudson- especially its relationship to the centers of gravity just across the river.

My first visit is with Sarah Petruziello and her haunting self portaits. Armed with only graphite and eraser, Sarah weaves a spell, making me wonder, what lies within those darkest blacks?

Nocturne by Sarah Petruziello

I Am the Consumer by Sarah Petruziello

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