CHICAGO — The 45th 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.
Hamishi, Melbourne, Australia (site)
My studio is really cold, I hate that about it. It’s like being outside without being able to see anything green or other people, which is okay because my girlfriend says I kill all the plants I see and other people distract me too easily.
The studio is downstairs from my bedroom, so I tend to work on 3D stuff and compositions on my computer in the warmth of my room while being distracted by all those social media (which isn’t too bad because I justify it to myself as “research.” I’m not entirely sure what real “research” is.
This photo is an anomaly, it’s always messy. Due to the mess I spend a long time upstairs tinkering, trying to earn the right to paint something. I’m only really happy with my practice when I’m painting but sometimes I just don’t let myself paint.
Nancy Bass, Charlottesville, Virginia (site)
My studio is in an historic house (circa 1825) on a farm in Virginia. The original wood floors and architecture are intact. You can see the fireplace and details of my studio and the original clawfoot tub. I paint realistic depictions of farm animals and am constantly inspired by looking out my studio window or sitting on my porch and watching the cows graze. I can’t imagine a better place in the world to paint.
Jordan Buschur, Lincoln, Nebraska (site)
This is a view of my studio at the LUX Center for the Arts in Lincoln, Nebraska. To access my studio I walk in through two classrooms, the ceramics resident’s studio, a small gallery, then up the stairs past the administrative offices, through another classroom and in to the studio area for painting and drawing residents — there are three of us. Along this route I inevitably encounter people; I love the social walk to work.
I have a small table for drawing, a palette table, and shelving for paint, tools, and books. Most of my time in the studio is spent at the wall painting, at the palette mixing, or seated at the table, looking out the window or at the paintings in process. The walls have prints of images from photo shoots for the paintings, found photocopies, fabric, and other things of interest. The slides on the window were found in an abandoned art building office. They are mostly Post-Impressionist painters and they are quite faded. Just behind my palette is one of my prize possessions — an old book (unread) entitled “The Strange Woman.”
Michela Muserra, Brooklyn, New York (site)
This is mainly my working area. It’s actually the living room of my apartment and it’s definitely the room where I spend most of time. This is where I draw, paint, eat, email, watch movies, listen to music, etc. It’s hard to keep it straight, but I like it this way.
The desk is where the ideas usually come up. Sometimes I use the drawing table and sometimes the wall, depending on the piece I am working on. My computer is always on, mostly on my iTunes or the radio. The bookshelf is where I keep everything “organized.” There are my colors, pencils, painting, tape, tools, and lots of books and magazines that I keep for inspiration. I mostly work on paper and cardboards, so I don’t have an easel.
Ioan Florea, Shelbyville, Illinois (site)
The studio is an industrial building with 12-feet-high ceilings. You can see a small section — paintings and sculptures together, which are part of an installation. The shapes are migrating from canvases on the nearby objects and sculptures. I work on multiple projects that create a lot of mess. The biggest challenge is to keep the stuff off the floor and organized enough to be able to walk around.
You can see a 3D painting with a special 3D printing transfer technique, and beside that a nanotube sculpture object, 10 feet high with liquid metal paint. On the left side is another nanotube in progress and in the middle is a car door. There is a lot of sanding, spraying, pouring, dipping, transferring, ventilating, and moving stuff around.
As arts communities around the world experience a time of challenge and change, accessible, independent reporting on these developments is more important than ever.
Please consider supporting our journalism, and help keep our independent reporting free and accessible to all.