Brenda Goodman

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Artist’s Statement

Most of my work comes from many marks I put on the surface. Then one shape pops out and starts to speak to another shape, and I just sort of put them in touch with each other until a feeling emerges and I develop it. When I worked earlier with symbols, I created the shapes. I would have something or someone in mind and draw those shapes until one appeared, and I would say, “That’s the one!” Later the marks were all from my unconscious. It becomes a very intuitive process. I am as surprised as the viewer very often because I don’t always know why or how I arrived at a certain painting, but what I do know for sure is it is from my gut and it’s honest and real and speaks its truth. Sometimes they reveal something to me; sometimes it’s not so clear. But either way something strong and emotional is being communicated.

In between my primary interest of abstract /figurative work I do series of self portraits which always satisfies a deep emotional need in me.

I would say endurance is just built into my constitution. I don’t do things halfway or give up easily. If I lose something I will spend hours, days, or weeks till I find it. I resolve every painting I do and won’t let it leave the studio until it feels absolutely right to me. At almost 74 now, my knees and back are giving me trouble (welcome to the club), but I won’t stop painting what is in my heart, and I will never retire! Anyway, have you ever heard a painter say they have retired? No….they just paint till they can’t anymore.

Brenda Goodman was born in Detroit, Michigan in 1943, studied at the College for Creative Studies, and moved to New York City in 1976. Since 1973 she has had 38 one-person shows and been included in over 200 group shows in galleries and museums throughout the United States, including the 1979 Whitney Biennial, Edward Thorp Gallery, Nielsen Gallery, David & Scweitzer Contemporary, and Jeff Bailey Gallery. Her work has been reviewed in Art in America, New Yorker, Brooklyn Rail, Hyperallergic, The Detroit Free Press, and Huffington Post and is included in a number of collections such as Agnes Gund, Santa Barbara Museum, and Detroit Institute of the Arts. She has received fellowships from the National Endowment for the Arts and the New York Foundation for the Arts. In 2015, she was included in the American Academy of Arts and Letters annual invitational and received an Award in Art. In May 2017 she received an honorary doctorate of fine arts from her alma mater. Since 2009, she has lived and worked in the Catskill Mountains.

Malala Andrialavidrazana

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Artist’s Statement

Cartography is both art and science as well as a powerful tool to control civilisations. Maps and atlases are fascinating because of significant information they can offer within a specific period of time. They are not faithful representations of reality, but they sometimes convey strong ideas which are the keys to understanding historical narratives — a determining element in my selections.

Influenced by my formal architectural training, I use the photographic medium to explore the crossing universes and boundaries of nature and culture. Social changes and spatial structures in a globalized world are at the heart of my artistic reflections; by examining in-between spaces, I propose an open frame where borders do not exist.

Malala Andrialavidrazana (b. 1971, Madagascar) lives and works in Paris, France. Her work has been shown world-wide, including at Fondation Donwahi, Ivory Coast (2016), Bamako Encounters, African Biennale of Photography, Mali (2005/2015), Théâtre National de Chaillot, France (2015), New Church Museum, South Africa (2014), La Maison Rouge, France (2014), SUD Triennial, Cameroon (2013), Gulbenkian Foundation, Portugal/France (2013), SAVVY, Germany (2013), Focus Mumbai, India (2013), Biennale Bénin, Benin (2012), KZNSA, South Africa (2012), Tiwani, UK (2012), DIPE, China (2011), Pan African Festival, Algiers (2009), UCCA, China (2008), Centrale Électrique, Belgium (2007), Rencontres d’Arles, France (2007), Herzliya Museum, Israel (2007), Force de l’art, France (2006) and more.

Jeanne Heifetz

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Artist’s Statement

[W]ayfarer, there is no road, the road is made by walking.
— Antonio Machado, Proverbs and Songs 29

Great Nature has another thing to do
To you and me; so take the lively air,
And, lovely, learn by going where to go.
—Theodore Roethke, The Waking

As a child, I was always afraid of making the wrong decision. Selecting from many possible options was torture unless I could find a convincing rationale for my choice, some external justification beyond my own desire. Fear made me superstitious. I enlisted numerology, mythology, arcane patterns of all sorts to confirm the “rightness” of my decisions.

This body of work confronts decision-making head on. Still craving a system, I borrow one from nature: Plateau’s laws, which govern the branching and growth of many natural forms. Within that system, I improvise, lighting out for the territory without a map. Each drawing grows by slow accretion as I allow myself (or force myself) to make hundreds of tiny sequential decisions.

Working at the micro level, I have no idea of the macro consequences until I step back from the piece. Even then, because I work in ink, I can only move forward, building on what I have already laid down. There’s no turning back. The tiny decisions are irreversible, like scars and other indices of the unidirectionality of our lives. In this way, making the work is like life: a series of incremental choices whose full import we may not know for years.

There is no road: we make the road by walking, and learn by going where to go.

Jeanne Heifetz is an artist and independent curator based in Brooklyn. She has had solo and two-person shows at galleries, nonprofit art centers, and universities in California, Connecticut, Idaho, New Hampshire, New York, North Carolina, and Oregon. Her work has also been included in group shows at galleries, universities, and museums across the United States as well as in Italy, Germany, England, France, and Israel. Her drawings have been included in Manifest’s International Drawing Annual and in the curated registry of The Drawing Center. Heifetz holds an A.B. from Harvard and an M.A. from NYU, neither of them in art.

Nathan Brujis

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Nathan Brujis was born in 1971 in Lima, Peru. He studied art and philosophy at Brandeis University and graduated from the American University of Washington with a master’s degree. He has been awarded the Deborah Josepha Cohen Memorial Award for Excellence in Painting in 1992, the New York Studio School Faculty Award in 1994, and il Premio per la Pittura Lorenzo il Magnifico at the Florence Biennale d’Arte Contemporanea in 2001 and 2003. He has exhibited extensively in New York, Lima, Peru, and Italy. He lives and works in New York.
Artist’s Statement

My paintings and drawings have evolved over time and continue to do so. They have undergone several shifts, like the one in 1996 when my work became completely non- objective. At that time I abandoned any direct representation of recognizable objects in favor of the abstract forces of two-dimensional images to convey the meaning in the works. Nevertheless, the works continued to carry the feeling of nature. I allowed them to remain on the side of the expressive and lyrical through a painting process of instant reaction and subconscious image searching. I never know what a work is going to be when I begin. Each piece is its own search, related to other works of the same period via form and content. Some works find themselves quickly while others take years to make. Some are like a song or a short story while others are more like a complex symphony or novel.

All the paintings and drawings arrive at their own image. To achieve this image, I allow personal experiences, events and ideas of the times, nature, mood, my environment, the art of the past, and most importantly the visual language I have developed over the past 14 years, to come together and create a sense of place. This place, a window or mirror into a landscape, still life, or por­trait, made up of simple geometric forms arranged in layers and organized in groups, solidifies into a multidimensional experience of color, space, meaning, and light.

Sandy Litchfield

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Artist’s Statement

My recent work explores evolutionary cycles of cities. My paintings are informed by a diverse collection of imagery including old distorted maps, pictures of ancient and mythic cities, utopian blueprints and early renaissance landscapes. These are typically combined with my own photographs in studies using collage and paint. I look for compositions that emphasize our positional relationships to place- like being over, under, around, or inside. I also pay attention to the flows of traffic and the ways that transportation and infrastructure are formed over and around the existing environment. As living systems, cities share an uncanny resemblance to forests– both grow upwards and outwards on vertical and lateral frameworks; both can appear as glittering spectacles of light with variable contrast; and both harbor diversity and sustenance. The – the ways that urban infrastructure grows over (and out of) an old collapsed edifice- is also comparable to forests. Just as a dead tree provides nourishment for new under-growth, so do the old structures of a city enrich the cultural heritage of the metropolis. My approach to making art is initially research driven. Once an artwork has begun to take form, my process shifts away from the research towards a more intuitive approach, responding to formal elements, materials and surface. I use a range of painterly mediums along with collage and digital media. This method- of layering, cutting, drawing, tearing, painting, scanning, printing and gluing- obscures the distinctions between the mechanical image and the handmade.

Born in New York City, Sandy Litchfield lives in Amherst, Massachusetts where she is an Assistant Professor at the University of Massachusetts. She received her BFA from the University of Colorado and her MFA from UMass Amherst. In 2007 Litchfield attended the Skowhegan School of Painting and Sculpture. Her work has been recognized with grants from the New Britain Museum, Massachusetts Cultural Council, and Puffin Foundation. Litchfield has exhibited in museums including the DeCordova Museum and Sculpture Park, Nicolaysen Art Museum, Portland Art Museum, and Hunterdon Museum. Her work has been selected for review by the Brooklyn Rail, New American Paintings and the Boston Globe.

Yura Adams

Artist’s Statement

I am a painter working within a contemporary practice; using color and energy to conduct the voices of poetry and science in my work. My studio is in an industrial building located in the middle of fields that have mostly gone back to nature and my paintings are a visual response to rhythmic forms I observe in the environment.

My most recent body of work is titled Nature Dress and is based on diversity of pattern and fluid motion in nature. Walking the farm road is an influential activity. I look at the flow of the adjacent Williams River, the visuals of the storms I have to beat to get back to my car, bird and plant patterning, and especially, color temperature shifts driven by changing light. When painting, I like to improvise with hand-cut stencils, sprayed and poured paint, and loose drawing. I jumble my painting supplies; quotidian and refined materials side by side. It is important to me to instigate chance encounters with materials. Taking as many risks as I can, I like to hook my intuition to my painting practice as I search for an idiosyncratic version of beauty.

Yura Adams is a painter with an interdisciplinary career based in the San Francisco Bay area, Lower East Side of NYC, the Hudson Valley and currently Western Massachusetts. Adams received her BFA and MFA from the San Francisco Art Institute and is currently represented by the John Davis Gallery in Hudson, New York. Her work has been exhibited extensively on both coasts of the U.S. and she has been the recipient of two NEA grants, three DEC grants and was selected for the New York Foundation of the Arts Mark program.

Mark Perlman

Artist’s Statement

Although there is seldom a preconceived image that I start with, there is a clear determination of where I want to travel with each painting. It is rather like being blindfolded and asked to walk around the land you have lived on most of your life. Also, imagine cliffs surrounding all the exterior edges. Although there is a familiarity of the space you have walked many times, there is the danger of going too far in any one direction. Over the years I have been continually fascinated and in search of combining luminosity with the layered surface of buried or forgotten images. In an attempt to record my present and past thoughts and memories, I place as many images, markings and words as possible into the process of each painting. I am continually editing myself in hopes of reaching a balance of noise and solitude. The images and textured surfaces represent the energy and activity level I experience throughout the day, while the light and open space of the paintings signifies the more reflective moments.

Mark Perlman was born in a small steel mill town outside Pittsbugh in 1950 and moved several times before settling in Sebastopol, Ca. in 1988. After teaching at several universities over a 35 year period he settled in 1988 at Sonoma State University, where he is currently still teaching. His paintings have been exhibited throughout the United States as well as in museums in Russia, Japan, and China. In addition, his work is included in hundreds of private collections as well as several public institutions. He has been the recipient of two National Endowment grants.

Chris Motley

Artist’s Statement

My art is an exploration of color, form and three-dimension with fiber, using as my medium the techniques of knitting, a life-long avocation, with fulling. The process of knitting itself can be a driving force in my art, since it is a meditative process for me, and a design can emerge as I am knitting. Alternatively, I develop an idea from something I see or feel in the real world or in my head, unrelated to yarn at all, that triggers a curiosity to translate the image or emotion to fiber. This is the case with the sculptural projects I am currently pursuing which involve developing final pieces from smaller knit and fulled units. As life itself develops from segments and phases of time, the final form of the units together emerges as I knit and explore.

Having learned to knit from her mother as a child, Chris Motley is using a lifetime of technique to develop knitting, with fulling, into her medium for art. She is loving her second life as an artist, begun after 30 years in a left brain career. Chris’s work has been shown throughout the US and in Canada. She lives and works in San Francisco.

Matt Mitros

Artist’s Statement

My work focuses on the creation of illusory acts of tension within a forced fusion between what is seemingly organic in form/behavior and what is clearly machined. The Organic, epitomized by my use of rough surfaces and plant-like shapes, is determined by Nature –in various states of decay. The Machined, as suggested by the clean lines of the slip-cast objects and the architectural resin panels, is fabricated by the rules of Man -products of our intent. Both, however, can be equally represented as natural. The machined object is the result of our ability to operate within the parameters of natural systems. The organic object is an agent that symbolizes a moment within these cyclical systems. The difference between these two lies within their inherent goals: the organic is predicated by a struggle for survival, whereas the machined is predicated for efficiency.

Matt Mitros was born in Philadelphia, PA. Upon completing his BFA in Ceramics at Penn State University, he was an Artist-In-Residence at Arrowmont School of Arts & Crafts as well as the Archie Bray Foundation. Mitros completed a post-baccalaureate from the University of Illinois and holds an MFA from the University of Washington. He has taught ceramics and sculpture at the University of Washington, South Seattle Community College, Lakeside Upper School, Kennesaw State University, and is currently a tenure-track Assistant Professor of Art at the University of Alabama. In 2008, Mitros was an Artist Trust GAP (Grant for Artist Projects) recipient funded by the City of Seattle. His work has been featured in Art in America, Art LTD, Clay Times, Ceramics Monthly, and City Arts Magazine, as well as the book 500 Figures in. Mitros has exhibited work throughout North America and Europe, and recently finished a residency position at Red Lodge Clay Center. Mitros currently lives in Tuscaloosa, Alabama.

Curtis LeMieux

Artist’s Statement

Originally printed in 1961, The Golden Home and High School Encyclopedia was designed for frequent use. The paper is thick and durable and the volumes are rich with illustrations on a variety of subjects. Beginning with George Washington and ending with John Fitzgerald Kennedy, throughout the set there are entries on each former U.S. President. The entries include a shoddy reproduction of an official presidential portrait originally rendered in oil paint for each individual president. Richard Nixon also appears, via a black and white photograph, as a young politician who had served as a senator and vice-president at the time of publication. The works in the Presidential Portraits series were created upon the actual encyclopedia pages with the portraits serving as primary imagery. Enamel paint was applied directly to the page and built up in layers. The face of each individual remains untreated and isolated amidst a field of color and graphic details.

As an artist executing the series, the guiding principle behind my process was the idea that I embody the mindset of a high school student. My goal was to become like a half-awake adolescent who sits at his desk doodling while his history teacher delivers a lesson on a given president. The kid hears only a small portion of content with random thoughts and facts ending up on paper as stylized text and drawings. Chester A. Arthur is depicted as a mermaid. A distorted Richard Nixon displays his signature double-handed peace sign and James Monroe is shown with two women crudely drawn. The likeness of Grover Cleveland appears sunken by candy red enamel and a giant blue ball hovers over his head. Many of the presidents wear wigs. Andrew Johnson shares a composition with Lyndon B. Johnson. The former wears a bright yellow wig and LBJ wears a giant blue wig shaped like a papal hat.

Lets face it, political discourse is often degraded and conflict is commonplace. The Presidential Portraits series can be seen as an atypical demonstration of this fact.

Curt LeMieux’s artwork has been shown nationally and internationally and appears in several private collections. Exhibition venues and events include: The Berkeley Video and Film Festival, Berkeley, CA.; The Santa Monica Museum of Art, Santa Monica, CA.; Track 16 Gallery, Santa Monica, CA.; Machine Projects at The Hammer Museum, Los Angeles, CA.; Los Angeles Contemporary Exhibitions, Los Angeles, CA.; The Museum of Contemporary art in Minsk, Belarus; The Sixth Festival of International Images in Manizales, Colombia; and Luna International, Berlin, Germany. LeMieux received an M.F.A. in 2001 from Claremont Graduate University, Claremont, CA. He also holds an M.A. in studio art from the University of Wisconsin – Superior. LeMieux currently lives and works in Los Angeles.