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Kate Hooray Osmond, Charleston, SC
My studio is located in my home, which was designed in 1960 by modernist architect Woodie Garber. It feels like a fortress and a spaceship. My studio has a wall of glass that looks out onto a laughing Buddha statue under a maple tree in the front atrium. It’s nice to see nature and to get a dose of levity while I work. Currently, I am working on a 59-panel painting-in-the-round titled “Wonderwheel,” which will show in July. The paintings are based on theories of quantum physics and Eastern teachings on consciousness. The paintings depict suburban neighborhoods, semi-automatic weapons, nuclear development facilities, and oil refineries, among many other images that blend together into one endless landscape. I paint in oil and use gold leaf in my work. Most of the imagery in my work is drawn from photos I take from a helicopter. Working on 59 separate painted panels simultaneously isn’t easy and this installation is by far the most ambitious artwork I have attempted. I paint every day and meticulously clean the studio every morning before I start working, making sure to organize my tubes of paint on the wall according to shade- one rack for blue, one for yellow, and one for red.
I share the studio space with my children when they want to create and love the benefit of working in my pajamas and receiving the occasional thumbs up from a delivery person who spots me working through the glass.
Camryn Connolly, Venice, Italy
Although I am a Boston based artist I am currently in Venice, Italy, and this is my little corner of space that I share with 12 other people and my particular room is shared with two other artists. In this picture, I have several paintings at various stages of completion, and one messy table covered with all of my supplies. Enjoy being surrounded by many other fellow artist who can give suggestions and lend a hand if needed, it is a good little community to work within.
Sandy Kinnee, Colorado Springs, CO
There is no easel, I have never used one. I paint on a large open space on the concrete floor. This is ample room to work on up to three 15-foot canvases at a time. Currently two paintings are in progress. I have always worked on the flat, having been mainly a printmaker and papermaker for decades. Multiple works in progress let me work on another while one or two more dry.
Unseen, behind the camera, is a 16-foot-tall roll-up door which, weather permitting, I open for ventilation and northern light. The entire studio is a 1600-square-foot warehouse.
To your right you can see a portion of the eight-foot-deep metal storage racks for the completed paintings. I roll two to three paintings per 6-inch by 8-inch tube. Farther from the camera on the right is the stacked and stored paper mill. When I run out of canvas and paper, I make more paper. I won’t need to make paper for another couple years, as I have more than two thousand sheets of 22-inch by 30-inch heavyweight, handmade paper.
The bright vertical rectangle on the far end leads to the clean studio and editing room.
Arthur Kwon Lee, Jersey City, NJ
In my painting practice I commit time to extensive reading at home, then I visually animate these religious and culturally significant themes in the studio. Whether the inspiration comes from Carl Jung or Joseph Campbell, I enter my space with a contextual plan baring heavy philosophical and spiritual investment onto my work. That being said, materially, my practice is in contrast to the contemplative fashion just stated — I just need my easel and a canvas to produce my language. What is born out of this combination however is a marriage between Fauvism and archetypal imagery.
Greg Bailey, St. Louis, MO
I am a fine artist. The photo shows a view of my studio. It shows a range of works that I have been developing through oil paintings, charcoal drawings and experimental usage of tar. The concept of my work, take concerns within the representation of the Afro-Caribbean identity, within the context of a post colonial setting. My work is a discourse on black representation within canonical art by means of traditional painting techniques and the allegorical meaning that goes into composing images and creating narratives. Simultaneously, I am using drawings to create future relics by portraying Black faces as monuments by means of an aesthetic that enables them to radiate a sculptural affect.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.