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The 147th 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.

Nicolette Maguire Bonnstetter, Scottsdale, Arizona

After a move to the southwest my studio is the smallest I’ve ever had. I’ve needed to figure storage as a priority! My work is detail oriented so, the studio has to be detail oriented for me to store and work, although it doesn’t look like it in this picture! While I work I have a book on tape going in the background, I miss most of the content, but it’s drone is a good sound blocker.

Jane Everett, Kelowna, British Columbia

My studio has been the room over the garage. I have worked there for 25 years with my paints spilling over a table tucked under the knee walls. When I work on large scale drawings, anything larger than my 48″ x 72” drawing board, I have to roll part of it up or work on the floor. To get a proper look at the whole piece I roll it out on my driveway and then take the stairs two at a time to look out the studio window before it rains, or the neighbor’s dogs gallop up the driveway to say hello. I have loved and hated the chaos and the clutter of that space. But now I am getting a new space: a purpose-built studio with north facing skylights, a fourteen-foot ceiling and a big beautiful flat wall where I can draw or paint at any scale! It is as thrilling to me as a brand new untouched canvas; light, air, space, and all unsullied possibility.

Jenna Citrus, Evansville, Indiana

I’m creating in my studio, The Colorful Critter, with my friend. We wear white clothing so we can paint ourselves into our work. I frequently use this space as a performance zone and record the results of my dancing artistic expression. I checked my crocs at the door and delved into my free to splatter paint creative space. The outside of this building is white, well it was, every time I paint I leave an impression of what was on my hands and body.

Elizabeth Awalt, Swan’s Island, Maine

In my studio on Swans Island, Maine, I make paintings and constructions that refer to the sea outside my door. I collect seaweeds and print and use them as a template to paint with starting on the floor and then develop them further on the wall. I collect lobster trap detritus, seal bones, fishing rope and other objects that wash up on the shore and construct objects with them. The island is a rich resource for my work and a place where I feel free to play and experiment. It’s been my muse for over 30 years.

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Eric Vilas-Boas

Eric Vilas-Boas is the former managing editor of Hyperallergic. He has previously worked at Thrillist, Esquire, SPIN,, and his writing has appeared at Vulture, Slashfilm, Lit Hub, Paste,...