Tag Archives: sculpture

Beth Dary

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Artist’s Statement

Bubbles of ancient CO2 captured in Arctic ice; mottled landscapes of mold that grew inside houses in the wake of Hurricanes Katrina and Sandy; trails of fluid formed by the liquid contaminants in urban runoff – these phenomena represent nature in transition due to our culture’s impact on the environment.

The formations that manifest at such sites inspire me, in part because I have always lived at the water’s edge, from my childhood on Cape Cod to adult life in New Orleans and New York City. Hand blown glass sculptures evoke both bubbles in ice, and the fragility of the environment. A series of kinetic sculptures and wall drawings made of tiny black and white-headed pins borrow the patterns of mold in New Orleans after the floodwaters receded; a multi-channel video projected on to glass windows of a service station captures the chemical turbulence on the surface of puddles on the streets of New York, and an installation of over a thousand hand-built porcelain sculptures represents marine barnacles that will increasingly occupy coastal areas as our actions warm the globe and waters begin to rise.

Environments under stress are more than a thematic aspect of the work as the materials themselves have transitional qualities and are subject to interactive and evolutionary change. Ceramic sculptures are bisque-fired, without the final firing that would render them impermeable, leaving them porous and vulnerable. A series of blown glass “bubbles” installed in an outdoor urban lily pond take on water and algae as they become a part of the landscape, and reflect the world around them.

I explore the liminal space between nature untouched by human intervention and the “new nature” we create every day.

Beth Dary is originally from Cape Cod, Massachusetts, and currently lives and works in New York City. Dary holds a Bachelor of Fine Arts from Syracuse University and a Masters of Fine Arts from Memphis College of Art. She has participated in several artist residency programs including Yaddo, Virginia Center for the Creative Arts and the Lower Manhattan Cultural Council. Her work has been curated into exhibits at the Ural Industrial Biennial of Contemporary Art in Russia, Satellite and Miami Project Art Fairs in Miami and Prospect 1.5 in New Orleans. Dary’s work has been commissioned by Battery Park City in Manhattan and she has received grants from the Rockefeller Brothers Fund and The Manhattan Community Arts Fund. Her work is in several private and corporate collections, including the Edelman Corporation and the New Orleans Museum of Art.

Christopher Adams

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Artist’s Statement

I utilize biological concepts including speciation, convergence and mimicry to create sculptural works of organic abstraction. The sculptures suggest a variety of creatures, but not a specific organism. In the concept that drives my art making, a pioneering organism has entered an untapped environment, where it differentiates rapidly without departing too dramatically from its original form. The sculptures of porcelain, terra cotta, and stoneware are fired over a wide range of temperatures with a variety of glazes. In addition to making art, I work as a dermatologist. I pay attention therefore to skin surface in my art; and I utilize shiny, gnarly, and matte metallic finishes to evolve the skin surfaces.

Christopher Adams was born in Medford, MA in 1972. A ceramist most of his life, he also pursued his passion for science in college, graduating magna cum laude from Harvard University with a B.A. in organismic and evolutionary biology. During his time at Harvard, he was also artist-in-residence at their Ceramics Program. In 2004 he graduated from Columbia University of Physicians & Surgeons. He is a practicing dermatologist as well as an artist. His medical practice strongly influences his work. His solo exhibitions include: Garvey|Simon Art Access, Hosfelt Gallery, Ricco Maresca, Greenwich House (all New York), and Harvard University. He is represented in New York by Garvey|Simon Art Access.

Editors’ Notes (Posit 11)

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Welcome to September, and to Posit 11!

It is a special thrill to introduce the masterful poetry and prose Bernd and I have gathered for this issue. Not only has another summer come and gone, but we are in the last stages (if not throes) of an American election cycle in which the complacency of most notions of “normalcy” have been shattered, giving rise to an appropriately pervasive anxiety about the depth and scope of the humanly possible. In its own provocative and evocative ways, the work in this issue addresses that anxiety, and even musters some degree of optimism. For tragedy rendered inseparable from the beauty of its vehicle, consider the stark profundity of new work by Michael Palmer and Fady Joudah; the disturbing resonance of two parables by Marvin Shackelford and Eric Wilson; or the tender melancholy of verse by Jeffrey Jullich, Stephen Massimilla, and Simon Perchik. For an inspiring balance of critique and optimism, take a look at Sharon Mesmer’s tragic yet emancipatory tributes to undervalued women poets, Sheila Murphy’s inimitable and ineffable pull-no-punches constructs, Sharon Dolin’s disciplined frolics, ambitiously braiding tribute and lampoon, or Anne Gorrick’s high-octane mash-ups of web-commerce parlance examined and re-examined to reveal rich veins of resonance. And on the brighter side, bask in Felino Soriano’s linguistically untethered odes to transformation.

Whether you are absorbed by the anxiety of our historical moment or weary of its seep, I hope you’ll take some moments to explore:

the tightly packed wit and wisdom of Sharon Dolin’s allusive riffs on Conceptismo, W. C. Williams’ So Much Depends, Niedecker’s ‘condensery,’ and the fraudulence of linguistic obscurantism;

the looping logic of Anne Gorrick’s expansive assemblages, artistic antidotes to our day-to-day “doses of forgetting” the “fine tunings built into” these rocking, rollicking litanies in which “invisible empires of products, fireflies and songs add to the beauty;”

Fady Joudah’s profound and miraculous condensations, with their masterfully chiseled, spare, and haunting visions of oppression and its internalization (“Election Year Dream”) sanctuary in the face of damage (“Monastery”) and the devastation of love (“Coda: A Fragment”);

Jeffrey Jullich’s grimly beautiful constructs, evoking the hazard, sorrow, and insignificance of existence as revealed by the “metamorphosis of seraphim,” “Nostradamus contradictions,” and “a cloud/hung between my life—and life itself” in which “intelligence is only – a fraction – a niche for omniscience;”

the mystery and beauty of Stephen Massimilla’s chiseled lyrics, gesturing towards the elusive and tragic lightness of love, loss, and existence itself, in which “so many little masks (marks, tasks) / make a life” until one is reluctant “to come down from the lightfastness / of this insomnia high;”

Sharon Mesmer’s lyrical tributes to women poets of the Americas which, by “beating all sorrows/into beauty” themselves fulfill the determination to be “no mere witness/to inertia” by evoking, among other notions of liberation, the freedom of radical departure — in what her fans will recognize as a masterful departure from the pyrotechnical virtuosity of her signature Flarfian poetics;

Sheila E. Murphy’s confidently quiet, powerfully enigmatic new works evoking the intimacies of existence anchored by “the palpable act of witness, witnessing” in which “pounce marks levitate a posse / of connect points” in our appreciation of her bracing linguistic montage;

the incomparable music of Michael Palmer’s austere and profound masterpieces of compression, sternly confronting us with the tragedy and horror of a world — our world — in which a child is “set afire / before blindered eyes / a world’s eyes” and authors “lost at sea / in a storm of words” stand idly by as their “books consume . . . the fire”;

Simon Perchik’s moving lyrics of love, loss, and memory, gently guiding us to “listen / the way all marble is crushed” and witness how “inside each embrace // the first thunderclap and shrug / no longer dries”;

Marvin Shackelford’s haunting parable of shipwreck, survival, and friendship, with its “reversed exploration” of the great parable, Before the Law, replacing Kafka’s eternally-withheld judgment with rescue, but, gratifyingly, perhaps not redemption;

Felino Soriano’s “relocated” lyrics, as musical as they are disjunctive, enacting the generative power of the transformations of which they sing; “alters” “of improvised becoming” in which the day is “a dangle of marbled light, an / algebra of sun” for the reader to gratefully absorb;

and the disturbingly resonant infinite regress powering Eric G. Wilson’s “Bowl,” ruled by the labyrinthine, archetypal, Escher-esque logic of nightmares.

Thank you, as always, for reading!

Susan Lewis

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Welcome to the visual art of Posit 11!

Christopher Adams’ background in biology and science informs these environmental installations of ceramic sculpture. He creates small universes of hundreds of individual elements reminiscent of creatures from the biological world, as filtered through Adams’ imagination. Installed on walls painted in brilliant, deeply saturated colors, they seem to vibrate with energy, transporting us into another dimension.

Yura Adams works in a diverse vocabulary of forms united by her nuanced and thoughtful vision of the world. Based on both scientific and intuitive observation of the natural world, this work encompasses a lovely tension between loose drawing and complex patterning. Her use of rich and beautiful color reinforces this dynamic.

Kate Brown’s solidly painted compositions address one of the basic constructs of painting – the push and pull between positive and negative space. Using a carefully controlled palette of color, she has created an exploration of figure and ground that transcends the academic idea and emerges as glorious paintings. Big gestures are offset by architectural spaces. These works are luscious and bursting with energy.

In John Hundt’s hilarious and odd collage pieces, we see a world of biology and evolution gone strangely awry. Unlikely combinations of creatures are meticulously constructed from Hundt’s trove of imagery. Building upon the grand tradition of Surrealist collage, he has created a world of creatures found (hopefully) only in dreams.

With intricate and delicate etched lines, Renee Robbins explores the biology of the ocean. Her etchings, all based on actual creatures, evoke the undersea world caught in mid-motion. Her images are simultaneously scientific and dreamily ethereal. Rendered in softly psychedelic tones, they are like specimens on view through Robbins’ artistic microscope.

I hope you enjoy!

Melissa Stern

Matt Nolen

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Artist’s Statement

As a painter, architect and storyteller, clay provides the means by which I can marry my loves: the painted surface, three dimensional form and narrative content. Ceramics gives me the language to communicate my stories to a world audience. The themes of my early work have included a broad range of social, political and psychological subjects.

Most recently I have turned to the figure as form departing from the lavishly painted vessels and tiled environments of previous works. In doing so the stories I am telling have become more personal and often are informed by the inner landscape of self: notions of shelter that explore what we protect and keep private vs. that which we choose to reveal, escape through dreams, and contemporary takes on ancient Greek and Roman portrait busts and the load bearing caryatid and atlas. I have also expanded my use of sculptural materials to include found objects, metal, wood and stone.

My figures tell the stories of those who are challenged by conflicts and are in the midst of emotional or psychological transitions. It is life lived within the complexity of these “margins” that interests me the most.

Matt Nolen is a studio artist living and working in New York City. Trained as a painter and architect, Nolen’s work includes sculptural objects and architectural installations using clay and mixed media. His work has been exhibited internationally and is in numerous private and public collections including the Cooper-Hewitt Museum, NYC, The Museum of Arts and Design, NYC, The Newark Museum, NJ, The Houston Museum of Fine Art, TX, The de Young Museum, San Francisco, CA, and The Everson Museum of Art, Syracuse, NY.

Nolen’s work has been written about and reviewed in many periodicals and books including The New York Times, American Ceramics, Ceramics Art and Perception, Masters of Craft, Confrontational Clay, Postmodern Ceramics and Painted Clay. He has been awarded a New York Foundation for the Arts Fellowship, Mid Atlantic Foundation (regional NEA) Fellowship and international residencies in Israel and China. His residency at the Kohler Co.’s Art/Industry Program resulted in a handmade public washroom that has been named “Best Restroom in America” by the Cintas Corp. and among “The 10 Best Bathrooms in the World” by the Travel Channel. He has recently served as President of the Board of Trustees for Watershed Center for the Ceramic Arts in Newcastle Maine and is Adjunct Professor of Art at New York University and Ceramics Area Coordinator at Pratt Institute. His work is represented by Stephen Romano Gallery, NY. http://www.nolenstudios.com

Alex Bunn

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Artist’s Statement

I create large-scale macro-photographs of purpose-built assemblages, sculptures and tableaux. The objects depicted—though arduously crafted—do not persist after being photographed. Instead, I deploy a unique, specially-designed rig to capture the subject at infinite depth of field and microscopic detail.

“Art seeks universals through detailed examination of particulars.” —Prof. Lee Smolin.

I am broadly fascinated with the disparate—and often irreconcilable—systems employed in thought, learning and communication. This fascination branches into formal systems such as taxonomy, scientific method and language, but also into more arcane systems such as personal interpretation or instinct.

My work reconfigures essentials of sculpture, photography and cognitive mapping to deliver superstates, where matter can appear simultaneously inert yet reactive, or continual yet granular in structure. The experience subverts presupposed relationships between material and object, singularity and plurality, dissonance and harmony, or even cause and effect.

“A system is simply the subordination of an aspect of the universe to that aspect of the universe.” —Jorge Luis Borges.

The work asks the viewer to cogitate: what is the nature of the objects captured? Yet simple definitions are elusive. We see that the artworks harbour ostensibly singular objects, but they appear to embody multiple histories or generations that undermine a linear description. I guide events to generate vestiges of change that—though they are static as photographs—flux richly with history, potential, properties and a dissonant multitude of identities.

Alex Bunn lives and works in London and Oslo. His work has been exhibited at the Frieze Art Fair, The Royal Institution, the Victoria and Albert Museum, the National Gallery, Scotland as well as in solo and group shows internationally. He will stage his first institutional solo show at Trafo Kunsthall, Oslo in 2016.

Don Porcaro

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Artist’s Statement

My work over time has consistently explored the nature of human interaction with the physical world through architecture and man-made objects. Tools, utensils, buildings and machines eventually become artifacts, archaeological sites and cultural signifiers. I have also been inspired by the whimsical possibilities inherent in animation and contemporary culture, from Japanese anime to the satirical figures of late Guston, which stand at the cusp of what I refer to as “the monster and the child,” something purely fictional and innocent that informs our youthful imagination.

My most current series entitled Talismans brings together many of these interests, with a focus on totemic iconography and the human form through stacked layers of limestone and marble. This layering alludes to the passing of geological time as well as cultural history, while the feet firmly place the sculptural form in the realm of abstracted figuration. Finally, the ornamental brass elements adorn the “heads,” making up a complex array of visual associations that bring to mind everything from Middle Eastern hookahs to Venetian perfume atomizers, Buddhist stupas and African jewelry.

Don Porcaro is a New York based artist and Professor of Fine Arts at Parsons School of Design. His work has been exhibited widely throughout the United States and abroad including solo shows in New York, Los Angeles, Kansas City, Atlanta, and Nashville. A 10-year survey of his work has traveled from the University of Florida, Gainesville to the Ringling School of Art in Sarasota. He has also had museum shows at the Dorsky Museum of Art in New Paltz, NY, the D’Amour Museum of Fine Arts, Springfield, MA, and The Visual Arts Center of New Jersey in Summit, NJ.

Sydney Ewerth

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Artist’s Statement

Focusing on my own oscillating sense of identity and daily insecurities, my practice consists of authenticating the narrative of animated and playfully inefficient objects. The radical presence of line, tactile surface, and color in these sculptures are all a means to attempt communication through the senses. The work reflects a longing to connect and create a physical dialogue between lived and imagined space. This imagined space is where memory and its potential to become distorted over time exist. Our mind can edit or exaggerate what actually occurred in a moment in our histories. I am interested in how these potentially false recollections make up our very real identities. The notion of trying to record presence in everything seems to hold an absurd truth. Physical mapping of line and shadow reflect dissonant repetition and my interpretation of true and secret self. Bright colors and a crude touch present a humorous front that mask coy, obsessive behaviors. Through line and shadow, I hope to define what inhabits the distance imposed between two points and provide a proof of presence in the physical manifestations of growth and time.

Atlanta native Sydney Ewerth received her BFA with a concentration in sculpture and ceramics from Augusta University (formerly Georgia Regents University) in Augusta, Georgia. During her candidacy for the MFA at the University of Alabama, she has taught and assisted classes in various topics of ceramics and drawing. Ewerth has been juried into several exhibitions across the United States and is coming off the tail end of her MA solo exhibition, “It’s There, I Swear.”

Editors’ Notes (Posit 9)

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Welcome to Posit 9!

We love this first issue of 2016, which makes us think, in a number of different ways, about the expansive potential of artistic innovation. First, there is the incorporation and re-appropriation managed by the procedural poetry of Carlo Matos and Travis Macdonald, offering glimpses of the erased and remixed words of writers like Simone Muench, Mark Lamoureux, and Paul Killibrew. In addition, there is the implicit dialogue between new and previous work by returning contributors — in this issue: Darren C. Demaree, Howie Good, and Travis Macdonald. All of which reminds us of the extent to which art is, by definition, about incorporation and re-imagination, whether it is Anis Shivani’s Great Wall, Howie Good’s tornado, Robert McBrearty life story, Eileen Tabios’s litany of wonders and horrors, or the alchemical transformation of source material aced by every artist (visual as well as literary) featured in this exciting issue. So, it is with great pleasure that we invite you to peruse:

Darren C. Demaree’s spare, suggestive, “quiet, lowered /. . . roaring/ . . .& ecstatic” probings of identity, intimacy, and the quest for grace;

Samantha Duncan’s smart, tightly-wound, vivid constructions tracking a paradoxical “graduation from the gradient” via “veins that listen” to her extremely telling “curl/ of words;”

Raymond Farr’s wistful prosody, revealing “the sublime the ironic like a 5 o’clock shadow” where “love is a man ruled by the sun & not the itch in his bones” and “even this sad yellow paint has seven shades of itself;”

Howie Good’s somber prose poems populated by “a new god seated on a throne of razor wire,” “gray gulls, their shrieks like symptoms of dementia,” and “words, some bandaged, others still bleeding” mercifully leavened by irony, imagination, and even love;

Maja Lukic’s quietly intense evocations of cityscapes furnished with “gutted wind” and a sky which “promises to rain / money bags and emoji,” or offers snow like “cracked glitter, paw imprints in new dustings, / effigies of our old breath, frozen in the air;”

Travis Macdonald’s compelling remixes of poems by Killibrew and Lamoureux, demonstrating “how all true/going is taking” and raising intriguing questions about the relationship between vocabulary and voice;

Carlo Matos’ haunting erasures of Simone Muench’s Wolf Centos (themselves reconfigurations of other poetic texts), troubling our assumptions about center vs periphery, absence vs presence, and the loud voice of the unsaid, “when tenderness/nestles down/with her she-mask” — “sans teeth, sans/you;”

Robert Garner McBrearty’s impossibly compressed microfiction, in which the task of writing his companion’s life story deteriorates to stunning effect;

Cindy Savett’s intriguing invitation to follow her on “a trip where the babies lie flat/ tracing resistance with their fingertips” leading us careening “down the middle in an instant of delight,” only to stand speechless wondering “how do I sing of white lilacs and pine?”

Anis Shivani’s virtuosic bricolage of allusive musicality and aphoristic insights nailing “art, the fleabite to time,” transforming “partial manuscripts signed/ by the angels of detritus” into “experimental gardens . . . [imbued with] the nuance of musicality;”

Eileen R. Tabios’ masterful litany of all that could never again be forgotten, once she “composed this song that would turn you into ice, so that you will know with my next note what it means to shatter into tiny pieces the universe will ignore;”

and Leah Umansky’s inspired revelations of the “satisfaction in seeing the day as something clear for landing or for sending off” where “once, there was the falling of night and I was alone with its steepness, and . . . felt I was a pooling of light; a door-sliver and golden beam.”

Thank you, as ever, for reading.

Susan Lewis and Bernd Sauermann

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And welcome to the visual art of Posit 9!

Keren Kroul’s complex and beautiful paintings evoke maps of imaginary countries or the pathways of the brain. The individual sections stand strongly on their own, but conjoined in the large grids presented here, they make a statement that is simultaneously bold and intimate. The sum is as beautiful as the parts.

The mixed media sculptures of Sydney Ewerth turn our expectations about space and materials topsy-turvy. Her play with the object and its painted shadows confounds our expectations even while her materials and colors delight the eye. Her aesthetic is clear and the work masterful.

Don Porcaro choreographs an elegant dance between the two- and three-dimensional pieces presented here. It is evident how his work in one medium reverberates into another. His colorful and almost playful forms belie the serious artistic concerns that underlie this evocative body of work.

The lyrical paintings of Sarah Slavick are reminiscent of the movement of water, wind and sand. The rhythm and dynamism of her patterns are mesmerizing, with light and color moving through and around them, underscoring their complexity.

Mariah Karson presents a fascinating vision of landscape, whether it be the interior landscapes of abandoned school buildings or the poetics of isolated buildings in desolate settings. The solitude in her photographs is profound, and perhaps a little lonely. However, she frames this vision with a clarity that is elegant and precise.

Cheers!
Melissa Stern

Helena Starcevic

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Artist’s Statement

My natural state of observation and inquiry informs both my perspective and my process. Beginning with the construction of multiple smaller forms, the elements are then assembled into larger compositions or installations. This repetitive study becomes a meditative exploration of each as an individual or idea. The surfaces are unadorned, monochromatic. Each component is imbued with a symbolic, ritualistic aspect that gives it its own identity, strength and purpose. Combined, a new meaning and purpose occurs. They reference the spine, the air we breathe or a cellular structure. Some hang in space; but they are all communities.

It was camping expeditions in the California desert which formed my appreciation for the stark beauty of nature’s deceptively barren landscapes. My ultimate goal is to bring this deference to my work.

Originally from Southern California, Helena Starcevic moved to New York City in the eighties, working as an RN. She has lived in Paris, traveled extensively in Europe and Latin America, and calls Mexico her soul’s home. She just had her first major solo show at Five Points Gallery in Connecticut, and is currently included in the Northeast Ceramic Sculpture Exhibition. Her studio is in the South Bronx.

Editors’ Notes (Posit 8)

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Welcome, readers and viewers! We’re delighted to ring out the end of 2015 with the extraordinary poetry and prose we’ve gathered for this issue of Posit. It’s an honor to publish such a rich mixture of innovative verse, short fiction, and poetic prose by literary masters at all stages of their careers, to wit:

Doug Bolling’s Scalapino-esque “…words carried from a valley a stream a mountain / just to be there cherished, fondled” by gorgeous metaphors creating “a poem of unknowns / a Magritte refusing all margins;”

Susan Charkes’ wry compendia on Practicing Panic (“adopt aroma of freshly cut cucumber” and “elude infinity”) and Unreachable Planets such as the PLANET OF CONSTANT DOWNDRAFTS (“Gravity: not an issue”);

Norma Cole’s ferociously beautiful narrative fragments of a fraught nation kept together and apart by the ‘Surface Tension’ of an iconography of sentiment and violence, in which golden angels and grandchildren eating butterscotch sundaes give way to women sleeping on sidewalks, Halloween “or some / other masks beheading,” and “the mortars again;”

Christine Hamm’s magnetically surreal texts, in which “You said the antlers in the bucket were part of you, asked me if you should burn your necklace, the one with someone else’s name;”

Zeke Jarvis’s masterful short story about art, artifice, and free enterprise, Las Vegas style;

Halvard Johnson’s disturbing ode to The Art of Deference with its haunting last line, complemented by the resonant compression of 14 Interventions, in which “poem grenades,” like “old leaves,” “turn to / reservoirs of life;”

Carlos Lara’s virtuosic excerpt from Several Night, a “monologue of another destroyer” “ready for whatever’s next play” and populated by “numinous projectile clouds” as well as “music looping the dream archer of dreams;”

Anna Leahy’s “exacting forms” “pregnant / with possibility of motion” mirroring the beauty and menace of nature as well as “the spark of brazen imagination;”

Christina Mengert’s mind-meld with Spinoza, yielding remarkable hybrid philosophical/poetic ‘Definitions’ “by virtue of mental trampoline, / bouncing into idea as a consequence / of grace” via a collaborative “intelligence / conceived through something / more itself / than itself;”

Carol Shillibeer’s magnificent “loyalties to worlds, words and their pleasures…” posing the question, “What work has there ever been but perception?”

Danielle Susi’s brilliant juxtapositions, in which “Volume sleeps on my tongue today / because teeth can sometimes look / like pillows,” provoking us to wonder “When two sides of an abrasion stitch / back together, what do they say?”

and Derek Updegraff’s haunting and suggestive story Café, “about him and her. That’s all” although it somehow manages, in 350 words, to open itself to the far reaches of the universe.

As always, thank you for reading.

—Susan Lewis and Bernd Sauermann

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It is my pleasure to introduce another wonderful selection of painting, photography, sculpture, and video in this issue of Posit.

Meryl Meisler has been taking photos since she was a teenager, chronicling her youth in Long Island and young adulthood in NYC in the 70’s and 80’s. Her keen eye has captured moments that are funny, moving, and offer wonderful portraits of an era.

Helena Starcevic’s carved and fabricated sculptures reflect a distinctly modernist sensibility. Cool and stripped down to their essence, these are elegant objects. Working with a restrained palette, she conveys the beauty of the form, using the contrast between matte and shiny surfaces to allow light to caress the contours of her sculptures.

The haunting videos of Pierre St. Jacques delve deep into the psychological realm of human relationships. The Exploration of Dead Ends, from which we present an excerpt, as well as still photographs and video installations, is a beautiful portrait of a man caught in the endless cycles of his life. The result is visually stunning and deeply moving.

The sweeping gesture of Heather Wilcoxon’s hand can be seen in all of her energetic and evocative paintings. Strong and committed markings typify these works. Human and animal forms live harmoniously amidst swirls of color and form in compositions dreamily reminiscent of a life lived near the sea.

The sumi ink drawings of Katarina Wong are bold, thrilling and often a bit frightening. She brings us face to face with an Inferno of emotions that swirl and whirl across the page. Recognizable human and animal features emerge and then sink into the energetic darkness.

I hope you enjoy!

—Melissa Stern