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.

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.

Mie Yim

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Artist’s Statement

As a Korean-born artist, I am interested in the intersection of Asian pop visual culture and American post-war painting. My oil paintings are portraits of animal-human hybrids. They are beings that have gone through some kind of transformative journey, through the process of built up of form and figure and paint and surface. Erasing, rendering, smearing, modeling. I like the tension of having the range of illustrative figures, then loose, floppy paint obliterating the figure, letting abstraction come through, finding the balance. In my paintings, I foster multiple positions in the cultural, anthropomorphic and art historical identities.

As a child, I was weaned on Hello Kitty and various other hopelessly cute dolls and fluffy animals. Later, as an art student in United States, I felt nourished by Phillip Guston, Willem DeKooning, and also Italian painters like Caravaggio. I think of my characters as distant cousins of imagined creatures, avatars of anxiety, lust and longing. They iterate playfulness with dark underpinnings. Maybe underneath the sugary puff balls and banal gaze, it’s all guts and turmoil and existential crisis. I hope the viewer can sense the edge of East/West, Abstract/Figurative.

The fragmental element in my life becomes whole in my art.

Mie Yim was born in South Korea in 1963. She grew up in Hawaii, earned a B.F.A. from the Philadelphia College of Art, and spent a year at the Tyler School of Art’s program in Rome. Her work has been displayed in numerous international exhibitions, including solo shows at Lehmann Maupin Gallery and Michael Steinberg Fine Arts in New York as well as the Galleria in Arco in Turin, Italy. She was included in “Selections” at the Drawing Center, and her work has been shown in group exhibitions at the ATM Gallery, Feature, Inc. and the Ise Cultural Foundation in New York, as well as Johnson County Community College in Overland Park, Kansas and The Weatherspoon Art Museum in Greensboro, North Carolina. She has been selected for the AIM program at The Bronx Museum of the Arts and the Jurors Award at N.Y.U. Gallery. Her work has been collected at such places as the Nerman Museum of Contemporary Art in Kansas City and the Chambers Hotel in New York City and published on the back cover of a textbook called “Social Text” by Duke University. Her writing has been included in “THIS,” a Collection of artists’ writings edited by Susan Jennings. She is the author of a book called “A.B.C. of S.E.X.” and a recipient of a New York Foundation for the Arts Painting Fellowship. She lives and works in New York City.

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.

Steve DeFrank

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Artist’s Statement

I unapologetically embrace all the formal skills of object making that engage old-fashioned, soul-baring individuality with absurdity, acknowledging the pleasure, pain, and awkwardness of being human. These works never take themselves, or the fabricated insights they open onto, too seriously. I see them as alive, as walking away from the wall. It’s a feeling that the works are energetic, active in our world, not separate —they have a sort of aliveness all their own. I feel as if they have a human scale, a figurative property; in some instances more obviously and in others, less so.

Steve DeFrank (, fine artist, lover of salsa but has no rhythm, a Lucha libre (Mexican Wrestling) fanatic, BFA, Maryland Art Institute College of Art; MFA, School of Visual Arts. Awards and honors include Fulbright Scholar Mexico, Lillian Orlowsky and William Freed Foundation Grant, American Academy of Arts and Letters Award to an outstanding painter. Five solo shows in New York, two-person show Provincetown Museum of Art. Way too many group shows to mention. In collections of the New Museum, SEI/West Family Collection, and the Eli and Edyth Broad Art Museum. Cover Art for the New York Times Magazine. Publications include: New York Times, Art in America, New Yorker Talk of the Town, Village Voice and Vice Magazine.

Kate Brown

Artist’s Statement

What I like to do most of all is wonder. This Is what sets my work in motion. When I wondered what ‘negative space’ could possibly be or if it existed all, I began an investigation in my work that would span two decades. Questioning that one standard, but obsolete, phrase from the language of painting, propelled me through numerous media like blow torch paintings on wood, burlap bag installations and a substantial body of work on black velvet tarpaulins with extracted markings, text, images and at times, projections. It was also the basis for my thesis.

In 2010, I felt that my investigation had led me right back to painting itself. After two decades I began to paint on canvas once again. I felt that what I had studied, learned and experienced about space must now be synthesized. I had to trust that my findings would present themselves on canvas. I began to wonder about gravity and drops and how many drops did a space need to comprise a form. How many intersections would cause a direction change in the line and on and on, on and on, I wonder.

Kate Brown has exhibited her work nationally and internationally. After earning her MFA at the School of Visual Arts in New York, Brown developed her own visual language using extract on black velvet tarpaulins. Although these large scale singular works garnered critical attention, Brown persisted with her investigation into the language and perception of space, which has now led her back to painting on canvas. Kate Brown continues her focused exploration in the solitude of her forest studio, the Lilac Hill Creative Reserve, three hours north of Toronto, and visits New York frequently.

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.

Mary DeVincentis

Artist’s Statement

Very early on, I got interested in the meta-themes of life. Why are we here? How do we create meaning and purpose? I grew up in the suburbs of a typical American town. All manner of trauma happened in my home and in neighbors’ homes, beneath the prettified veneer of suburban life. So you see that contradiction reflected in a lot of my work. Society now moves at such a fast pace and demands that our attention be outward in focus. Time without external stimulation starts to feel threatening, as we attend less and less to our internal well being. Unclaimed, our shadowy aspects get projected outward onto the “other.” This is the theme of my series of paintings, Sin Eaters, which explores who or what volunteers or is volunteered to absorb or reflect these disowned aspects. This shadowy side is also addressed in this series, Dark Matters. I strive for a dynamic tension between form and content in my work. I appreciate seeing evidence of the artist’s physicality, their unique fingerprint, as evidenced in brush-stroke and mark making. Paint is kin to skin, viscera, blood, mineral, plant and stardust.

Mary DeVincentis is currently working on Dark Matters, a series of paintings which explores the shadow side of human experience, and Sin Eaters, a series which depicts society’s saints, martyrs, scapegoats and outcasts. Her work has been exhibited at Life on Mars Gallery, the International Print Center, the New York Public Library, White Columns, and the Brooklyn Museum. It is represented in numerous private and public collections. She received her BFA from Maryland Institute College of Art and a Postgraduate Diploma in Advanced Printmaking from St. Martins College of Art in London, UK. She lives and works in Brooklyn, New York.

Cynthia Carlson

Artist’s Statement

I began this group of paintings by connecting several different sized canvases together, making a shaped surface of complex edges as a starting point. The painted surfaces evolved running the gamut of possibility from geometric abstraction to modulated fields, and includes eccentric shapes invented purely for themselves. Sometimes they conform to, sometimes openly defy, the physical boundaries of individual canvases. The process includes a great deal of serendipity, and the results reflect a playfulness in the use of shape, color and contradictory spaces. Artist friends have likened them to puzzles or games, which I find appealing.

Born in Chicago, Cynthia Carlson ( moved to NYC in 1965 for graduate studies in art. Her 50 year career includes over 45 one person exhibits in galleries and museums in the USA. Awards include a Rockerfeller Foundation Award, NY Foundation for the Arts Grant, 3 National Endowment for the Arts Grants and others. She is represented in numerous museum collections, including the Metropolitan Museum of Art, Brooklyn Museum of Art, Guggenheim Museum,and the Museum of Contemporary Art in Chicago. She has also traveled extensively in the USA and Europe, living in Italy for several years.

Keren Kroul

Artist Statement

I mine memories for fragments of belonging and desire, moments of personal identity waiting at the edges of things: patches of summer sunlight on my grandmother’s bedroom floor, streaks of deep indigo in the sea at dusk, the rough texture of an old carpet under my feet. These ephemera are repeated and layered, twisted and tangled, becoming dense formations, map-like places of memory and identity.

Drawing is at the heart of my work. With watercolor on paper, I use tiny brushes to mark the passage of time in a meticulous, repetitive, and meditative process. Lines become shapes, then patterns, and then structures, hovering over the silence of the paper. I am drawn to the immediacy of watercolor, and to the reflection of the hand in the work: irregular and imperfect and of the moment. The play between micro and macro, the fragility of the single line against the physicality of the overall piece, and the fluid interconnectedness of memory, time, and place, drives the work.

Keren Kroul was born in Haifa, Israel, to an Argentinean father and Israeli mother, and grew up in Mexico City and Costa Rica. She currently resides in Minnesota. She holds an MFA in painting from Parsons School of Design (NY) and a BA in fine arts from Brandeis University (MA). Her work was featured in the 2014 Minnesota Biennial at the Minnesota Museum of American Art (MN), and has been exhibited regionally and nationally. Kroul is a recipient of a 2015 Artist Initiative Grant from the Minnesota State Arts Board.