Support Hyperallergic’s independent arts journalism. Become a Member »

Support Hyperallergic’s independent arts journalism.

The 150th 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.

Nick Aumiller, Baltimore, Maryland

This composite view of my basement studio represents my working space of 20 years. More like a cluttered ‘kabinett’ now, I can still complete my necessary work flow. There is a separate room for wood working, dusty carving and framing chores. On the left in the picture are several painting areas. The center pile conceals a large antique “japanning press” which is successful at printing nice-sized plate lithographs and etchings. The far dark corner has several sound systems. The mid-center back table I use for bookbinding and layout chores. The right-hand side has a large glass drafting table. In the basement of my house the spirit-lifting commute is only downstairs. I control light here with a Kelvin-balanced array of assorted light stations. And although I acquired the house for the dry basement, it is not heated and for five months I am chased out by numbed fingers; Still, this is my sanctum sanctorum.

Alysia Davis, Colorado Springs, Colorado

My studio doesn’t have a window, but it does have bright, office-like fluorescent lights. Their harsh hum complements my high-frequency paintings, made of spray paint and acrylic on stretched canvas. I don’t have a table, I prefer to leave as much space as possible for my work.

Amelia Briggs, Nashville, Tennessee

Located in an old classroom in Nashville, my studio is currently strewn with found fabrics, toys and various thrift store finds that either physically become part of the work or serve as inspiration. I often refer to my sculptures as “inflatables” even though they are heavy and not filled with air. Their bulbous, cartoon shapes give them a creature-like presence and reference my interest in childhood identity development. Lately, I have been most interested in using faux fur to build large-scale wall sculptures that almost feel related to stuffed animals or a beloved toy yet retain an unsettling presence.

Tyler Kline, Philadelphia, Pennsylvania

I am now creating in the Papermill Artist Community in the Kensington neighborhood of Philadelphia. I occupy a space on the fifth floor of an old building that was once utilized for industry, large windows grace me with light, air and a spectacular view of downtown. This relative oasis upon the shores of the nations opioid epidemic and post industrial class war between the moneyed overlords and the on the ground street soldiers provides ample fuel for the spirit. My work is concentrated on carving out forms that to define the Chthulucene, this new epoch we have entered, post-Anthropocene, tentacular, multi-optic, and multi-specied. I’m interested in digital instantiation, how our technologies have worked through our central nervous systems and etched marks in our flesh. I feel we are internalizing rapidly shifting currents of change that are moving at velocities that momentarily transcend literal articulation. Pictures and forms work best now, gestures that are quick and close to thinking, and space enough to capture new forms from flickering ephemera.

The Latest

Required Reading

This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.

Eric Vilas-Boas

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