Ron Throop, Oswego, New York (site)
This photo shows the basement clutter of joy. It’s tight and I am prolific — to my wife’s chagrin. I wish I had a wide angle lens, but my daughter said this mid-view is better than a photo I took of the floor which is strewn with 267 paint tubes, acrylic shavings, empty country wine bottles, and record albums. It’s cold in the winter and perfectly cool in summer. It is a poor painter’s paradise. I had a show down here last fall. I made people get closer than they ever could in real life.
Jeff Kraus, Grand Rapids, Michigan (site)
I have been occupying this 1,000 sqft warehouse space in an old furniture factory for four years. Before me there was a karate dojo that painted this very large red and black ying-yang on the floor, sometimes I forget that it is even there. The work tables in the photo are my favorite thing in the studio right now. It has been really beneficial to my practice to be able to wheel them around the space and even stand on them to work on the big canvases. House paint is my primary medium and I seem to have a lot of it, the second layer of the table makes a great shelf.
Kim Brickley, Ardmore, Pennsylvania (site)
This is the attic of my house. It is the first time I have a space that is totally mine. It is hot in the summer and freezing in the winter and I could not be happier. My pink kid’s chair is essential, I sit there and read material that inspires my work. It flips into a little bed if I am too tired to go downstairs. Styrofoam is second, I gauge and chemically reduce it into work. Posters are third, they have traveled with me since college, they are constant images that make me feel more settled in a space. I moved a lot, as most artists do. I suppose night would be the last thing, as I usually only work at night.
Fritz, Rochester, New York (link)
I built my studio in my basement after I moved out of my loft. I wanted to make the studio feel like a work of art. I like to work on a flat table rather than an easel. I also like the feeling of being holed up in a basement for hours creating something. Then I go outside and it’s like I’m emerging from something, a cocoon maybe. It’s a nice escape.
Peter Holden, Baja Sur, Mexico (site)
I work mostly at night here in Baja Sur, Mexico and so have two Tota lamps to ambiently light my palapa-roofed live/work space. I tend to work on a few different paintings and drawings at one time, both on an easel, flat on the ground and on my work table.