Articles

A View from the Easel, Part 6

CHICAGO — The sixth installment of a series (Part 1Part 2Part 3Part 4, Part 5) in which artists send me a photo and a description of their workspace. Click here to see guidelines for submissions.

Man Bartlett, Brooklyn (link)

I’ve been a resident for three months this winter, at the Wassaic Project, where I’ve been making a lot of collage work, and also a fair amount of video-based work. But my little corner of the world is usually in Bushwick, Brooklyn. The white drafting table is for drawing, performance relics are strewn about, internetting takes place at the back and there are collages-in-progress on the far right.

Joseph Kucinski, Portland, Oregon (site)

I use the room so each step in the process has its own station and area to work. On the floor in front I lay out the canvas and start the paintings with layers of ink. Then I build the frames to the right and stretch them. After they are stretched I hang them on the far wall or easel and start going into the detail with brushes. Light and space is the most important aspect in my work, so this arrangement keeps my head clear. Having proper light also allows me to work in mostly blacks while still seeing the details.

Victoria Rance, London, UK (site)

Here is my workspace, but with chairs set up to watch an animation projected from behind the wall of my storage space on the right there. You can mostly see my sculpture to wear pieces. I move things around all the time, trying to get space to make new work in, covering things up if I’m doing messy work like brazing. Several pieces were made for the corner of the studio shown here so they have to take it in turns to inhabit it.

Mars Tokyo, Baltimore, Maryland (site)

This is my workspace in my studio. I’ve got paints and brushes on my right and a nice flat table for working. The windows face southwest so it gets warm in the summer but the light is quite good. In the far corner is a utility sink. To the left of the sink is a cabinet for jewelry making supplies (something I do secondary to painting) and below are some flat files for work and paper storage.

Peter Ciccariello, Ashford, Connecticut (site)

On the monitor you can see one of my images in progress. I started with a photo-montage created from images of dried leaves and gourds from last year’s garden, bits old crumbling book pages, things I find on my walks through the woods. That montage is used to texture map a composition of polygon modeled objects created in a 3-D software program. I use the brushes and pens to create additional textures which I digitize on the flat-bed scanner on the right and then add to the montage. The result is rendered into high-resolution files which are finally printed as limited edition sets. You can see several camera lenses and an iPhone on the left, all essential tools.

My studio is a tiny room nestled in the center of a 300 year-old farmhouse, so looking out that window on the right is like going back in time.

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