jen stark

piece of an infinite whole (detail), depth: 4 ft, diameter: 2 ft, hand cut colored paper, 2007, microscopic tangle, 22" x 30", felt-tip pen on paper, 2007, microcosmic entrance (detail), 27" x 30", colored paper, 2007, intricacy, 19" x 24", felt-tip pen on paper, 2007, in between space (detail), 19" x 21" x 5", colored paper, uv varnish, wood, 2008, empyrean interlude, 40" x 90", archival marker on paper, 2008, a swift gaining, 19"x24", felt-tip pen and graphite on paper, 2007

usually, i only post about what i feel is an artist's strongest work, but i'm blown away by everything jen stark does-both drawing and paper sculpture, so here's a sampling of both bodies of work. visit her site to see an interview with her as well as animations and a t-shirt she designed...

madeline adams

Untitled (sandwich), 2009, Oil on canvas, 36 x 48, Everyone deals with rejection differently, 2007, Oil on canvas, 36 x 40, Untitled (Stripes), 2007, Oil on canvas, 36 x 46, i used to play the french horn, 2007, Oil on canvas, 34 x 40, 2D Blubture 1, 2007, Oil on canvas, 22 x 26

madeline adams...

In the natural world, I am drawn to moments of repetition: a grid of windows on a building or the shadows made from leaves on a tree, the line made by traffic lights down a dark road, the groupings of pastries in a bakery window, the whispers of conversations in a crowded room, or the bass drum in a symphony. The objects being observed become the focal point of the frenetic world surrounding it. My work attempts to address these dialogues and spaces between the relationships and the idiosyncrasies of individual details.

franklin evans

fforiginsoflove, watercolor and ink on paper, 30x22, ffreframe, watercolor and ink on paper, 17x12, ff nuttynutt, mixed media on paper, 20x26, ff inversiondisruption, mixed media on paper, 30x22, ff foreplayed, mixed media on paper, 30x22

the work of franklin evans...

My work is located in unlocatable places, between near and far, painting and drawing, narrative and non-narrative representation.Shifts in space are both lyrical and abrupt, the results of my search for the unexpected across the intersections of incongruous worlds which overlap, extend, invert and encompass one another.Convex spaces offer concavities of opportunity for sub-systems of other-worlds to exist.The work emerges like a dream whereby the dreamer discovers a world in which he unconsciously travels through spaces that cannot be reconciled.I allow the flow of watercolor and ink to suggest paths for the mind and the eye.Worlds bloom and grow, turning away from the root yet eventually cycling back to the point of origin, rediscovering facsimiles of the past.Dreamlandscape grounds the work in a familiarity that feels unfamiliar.Formal dynamics are analytically leveraged, dismissing pure critical distance and accepting the intuitive.I allow the brush and paint to lead me to places of wonder.Senses are jolted and each fresh drawing hopes to arrive at the newness of looking for the first time, again and again.

color....

on my drive to work...

david t kessler

Giverny Shimmer I, 48 x 72, acrylic on aluminum, Creekside Patterns (3-piece), 78 x 120, acrylic on aluminum, Half Ring Shimmer, 72 x 48, acrylic on aluminum, Giverny Shimmer I, 48 x 72, acrylic on aluminum

the depth of color and movement of david t kessler's paintings on aluminum is just amazing...

The dual concerns of working with simulation: refracted light simulating paint, and hybridization: the use of aluminum, wire brushes and paint; are an attempt to create an image working within some kind of context that is post-modern - and I use that term simply to mean after modern rather than against modern.

monday studio tip of the week

photograph, the selby

this week's tip again comes from twyla tharp's book the creative habit and will exercise your brain as well as your creative thinking. choose any one object in the room and make a list of 60 things you could do with that object. this is an exercise she does when she lectures at colleges (she uses a stool as an example in the book) and finds that the first half of the ideas are the most obvious and as the list approaches 60 and people begin to stretch their minds, the answers are more imaginative. my suggestion is to time yourself to five minutes to come up with a complete list-this will make you less likely to think too hard about your answers. have fun!

happy easter!

photographs, debi treloar

a pretty dress, flowers and bright sunshine...happy easter!

parlor gallery show

please save the date and come to the opening of this awesome show i'm in! my work is on the postcard-see a preview of the other artist's work here.

Rare Pleasures Group Exhibition
April 18-May 15
Reception: April 18, 7-11 pm
Parlor Gallery
717 Cookman Avenue
Asbury Park, NJ 07712
http://www.parlor-gallery.com

raw art: jj cromer

The Secret Between Them, 18 x 24, mixed media on paper, Topo 24 (1 of 4 orientations), 14.75 x 15, mixed media on paper, Earth Quaked a Picture, 22 x 30, mixed media on paper, Topo 22 (1 of 4 orientations), 28.75 x 22.75, mixed media on paper, Tats and Asterisk, 17 x 28, mixed media on two sheets of paper, All the Proof We Need, 14 x 22, mixed media on two sheets of paper, Neither of Them Got the Knot, 19.5 x 25.5, mixed media on paper,

i get lost in the endless, strange, psychedelic pattern on pattern in the work of jj cromer...work from 2008, topo, 2007 and elephant mountain are my faves, although all of the galleries are amazing...

read this post and this one for more about raw art.

carol gove

Risen, mixed media collage on wood, 37" x 37", 2007, Portrait 7, mixed media collage on wood, 18.5" x 13", 2007, Foundation, mixed media collage on wood, 18" x 13", 2008, Transform, mixed media collage on wood, 40" x 60", 2008, Reflect, mixed media collage on wood, 36" x 48", 2007

carol gove's collaged paintings and works on paper are smart, compositionally stunning and captivating in their depth and masterful use of color.

All painting contains its own history on the surface of the work. The colors, symbols and assembled materials included in my work compose a story not only about what is seen but also about the history of the process of the painting itself.
My work looks at the past and reflects on it. It explores the assumed simplicity of the past with the complexity of the present. The materials I use—old sheet music, sewing patterns, materials from my hometown of Temple, NH, and random Americana—are combined with paint to create a rich history on the surface of the work itself. During the painting process I break apart what I have created and rework it multiple times. This reminds me of our own histories and how our journeys can be very removed from their original roots.