Articles

A View from the Easel

by Philip A Hartigan on July 25, 2013

CHICAGO — The 43rd installment of a series in which artists send in a photo and a description of their workspace.

Want to take part? Submit your studio — just check out the submission guidelines.

Dale Enochs, Bloomington, Indiana (site)

Dale Enochs

My easel tends to be under the hook of a crane. Most of the materials that I use, stone, steel, and bronze are heavy and must be moved with either a forklift or a crane.

The studio is a 19th century three-story gambrel roof barn. On the lower level, the 16-foot-high doors open onto the main bridge crane where most of the heavy work is performed. There is a second bridge crane on the east side of the building. Due to the nature of my work, everything is muted and layered in a coating of dust.

The studio/barn is set on a hillside in a rural landscape. A creek runs year round at the base of the hill. During winter months I can roll large pieces from under the crane into the barn with a cart on rails. I then close the large doors, fire up a large gas heater and work in heavy overalls. Alternately I often focus on drawings and smaller pieces that are made on the heated second floor. Now, spring is here, the doors are open and the trees will soon be green. It’s a great time to be working outside

Mark Dutcher, Los Angeles, California (site)

Mark-Dutcher-640My studio changes radically depending on what I am working on. It is always a process of filling the studio up and then emptying the studio out: pushing the work towards the edge of the space. I think of myself as primarily a painter but somehow the space becomes full with sculptural interventions. I have been in this space for nine years. It is 900 sq. ft. This is my largest studio that I haven’t lived in. I have lived in storefront studios before. It is a warehouse space in the mid-city area, close to the galleries in Culver City. Next door to my studio is Fine Art Stretcher Bars. They make my stretchers, and several artists work there and have their studios there. We hang out at the end of the day and play cards and talk about art. I save the cardboard from their work tables and make them into paintings. That is the cardboard stapled to the wall in the picture. It has our card game scores and drawings (history and ephemera).

Thomas Friel, Pontiac, Michigan (site)

thomas friel

My artistic practice includes video, performance, sculpture, collage, sound and drawing, and so my studio space reflects this diversity. On the left wall and adjoining wall until the window is a painted set for video production, which is central component of my work. The PVC pipe cluster at the ceiling and sea of paper and repurposed objects on the floor are various props for the videos at different stages of completion. Past the window are shelves with materials for collage, casting, sewing, animation, painting and more props. Outside of the window to the right is a small drawing table and a chair and then the wall. Things get moved around constantly to create a space to move in. This photo is about as clean as my studio gets, as typically it looks like a dumping ground to sort trash. The sea of stuff, all democratized by the expanding piles, is a result of making, and in the videos it is lovingly re-imagined in colliding colors and forms which flatten and disorient the space the characters inhabit.

Alexis Duque, New York City (site)

alexis_duque_Studio

My studio is a small space and my easel is the wall. I prime and stretch the canvas directly on the wall, so I have the support of a solid and hard surface. Then I start by sketching with a #0.5 graphite pencil. I draw with sharp lines to define the entire structure of the work. Then I proceed to paint many smooth layers of acrylic, using mostly very small brushes such as #0 and #2.

Beatriz Crespo, Berlin, Germany (site)

beatriz_crespo_atelier

I have a studio located in an industrial area of Berlin. Everything is honest and rough there, 100 sq meters of studio to go mad or to find yourself. The arrangement of the studio changes the whole time. I have some big pieces of wood and furniture that I assemble and use in a puzzle way to create structures that help me while doing or conceiving my art. Lots of light comes from the big windows, but I only use it for conceiving. I paint at night, creating my own special light-space. It’s intimate, so as to be inside of yourself.

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  • hardart

    yay

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