Recent paintings by Keng Lye (Previously on Supersonic) which he creates by painting layer after layer of resin to create a three dimensional finished product. Be sure and check out more of his incredible work below!
Maude White is a paper cutting artist living in Buffalo, NY. She loves the great strength, yet delicacy of paper. Her work is done on the macro as well as the micro level. Every cut is exact and meaningful. She enjoys playing with positive and negative space to create fantastic scenes and stories. She considers herself a craftsperson and has a deep respect for the paper she transforms. In pursuing her work, she hopes to make visible to others the immense world of possibilities that every piece of paper holds.
September 5th-October 25th, 2014 Opening September 5th, 2014 6-9pm
White’s show is the fourth in the 12 x 14 series at WNYBAC, which features 5 artists over the course of twelve months; Maude will also host a free collaborative event that will give insight into her process on Saturday September 20th, 2014 from 12-5pm.
”When I cut paper, I feel as if I am peeling back the outer, superficial layer of our vision to reveal the secret space beneath. With paper cutting there are so many opportunities to create negative space that tells its own story. Letting the observer become present in the piece allows him or her to look through it. I like the idea of the stark contrast between the black and white paper, and the cut nature of the work makes my art more three-dimensional than paint on canvas. ”
Brooklyn-based artist Alyssa Monks is a figurative painter, blurring the line between abstraction and realism. “Using filters such as glass, vinyl, water, and steam, I distort the body in shallow painted spaces. These filters allow for large areas of abstract design - islands of color with activated surfaces - while bits of the human form peak through. In a contemporary take on the traditional bathing women, my subjects are pushing against the glass “window”, distorting their own body, aware of and commanding the proverbial male gaze. Thick paint strokes in delicate color relationships are pushed and pulled to imitate glass, steam, water and flesh from a distance. However, up close, the delicious physical properties of oil paint are apparent. Thus sustaining the moment when abstract paint strokes become something else. When I began painting the human body, I was obsessed with it and needed to create as much realism as possible. I chased realism until it began to unravel and deconstruct itself, I am exploring the possibility and potential where representational painting and abstraction meet - if both can coexist in the same moment.” Monks’s paintings have been the subject of numerous solo and group exhibitions, and her work is represented in public and private collections.
“My mother boils seawater. It sits all afternoon simmering on the stovetop, almost two gallons in a big soup pot. The windows steam up and the house smells like a storm. In the evening, a crust of salt is all that’s left at the bottom of the pot. My mother scrapes it out with a spoon. We each lick a fingertip and dip them in the salt and it’s softer than you’d think, less like sand and more like snow. We lay our fingertips on our tongues, right in the middle. It tastes like salt but like something else, too—wide, and dark. It tastes like drowning, or like falling asleep on the shore and only waking up when the tide has come up to your feet and you wonder if you’d gone on sleeping, would you have sunk?”