Register to post news

Maryann Ficker

May 16th, 2018

Sitting for a painted portrait is an unusual and intimate experience. It involves taking time out of normal life, of sitting still, being looked at and listened to, listening and sharing. In the age of the digital, online selfie, including staged and shallow self representations along with mass exposure and over sharing, this process contrasts with its slowness, intensity and physical presence. It is a reminder that we are not pixels, that personal relations are important and require time, presence and reflection.

These works are from a series of oil portraits, done from sittings, which focus on just faces. Their small size invites the viewer to approach each face closely.

Kelsey Reilly

April 26th, 2018

Kelsey Reilly is a painter born and raised in Jersey City. With a BFA in illustration from Parsons the New School for Design, Kelsey has various interests from narrative, patterns, and editorial. Her favorite medium is acrylic ink.

In her most recent body of work, Kelsey explores mind and body experiences, particularly with insomnia. Her canvas paintings depict a colorful, yet often horrific reality of an over stimulated mind that fails to get rest. With the use of figures that are distorted with grotesque flesh, she exaggerates the agony of the restless mind that carries through the body along with symbolic scenarios based on thoughts throughout the night. Kelsey’s next works aim to be more reactionary from life while connecting the mind and body.

Jingyi Wang

April 23rd, 2018


Jingyi Wang is a realistic artist who was born and raised in China.She graduated from China Central Academy of Fine Arts  in 2013, with a BFA degree in painting. She earned her MFA degree from New York Academy of Art in 2016. Jingyi has had a solo exhibitions at Amerasia Bank gallery in NY this year.She was selected for an artist residency at the Terra Foundation of American Art in  Giverny, France.Then she was invited to participate 2nd Annual Plein-Air Invitational by New York Botanical Garden.Her works has been widely exhibited at Art New York

2017,Sotheby’s New York,The Metropolitan Pavilion, Flux Factory,Art lines Gallery,Portraits,Inc and Cloud Gallery.Her works was published in ArtMaze Magazine, Studio Visit Magazine,reported in China press newspaper,Sing Tao daily newspaper, world journal and interview by Sinovision English Channel.


During my painting time, over half of my time was spent on landscape painting.Observation and perception is the inspiration source of my artistic creation, which helps me keep improving myself. I drew a lot of landscapes and ancient cities all of the world.I combine rigorous observation and illusionistic rendering with the possibilities of open-ended interpretations.When I got a artist residency in Giverny, France.The plants blooming and withering allowed me to have a deep thought, plant looks more vulnerable than humans but they live without fear. I would like to express this concept through botany.I have recently painted a series of cactus. This series is a result of my search for ways of bringing traditional painting into contemporary art. I use the cactus to compare life. I thought that these cacti have their own sense of character,while this kind of image is relatively strong and sensible to everyone.Such a plant depicts a spirit that people can resonate to.In the struggle of our society comes to a struggle in nature.

Chris Winslow

April 23rd, 2018

Musicians, Musical Instruments, Sleeping Monks, Serpents, and Masonic Symbols are recurring images in my art. Although their meaning is very personal, they are merely starting points rather than destinations.
While painting, my original intention gives way to change as the creative process unfolds. For example, when I work from small photographs or preparatory drawings, the transition to canvas creates new visual demands that I must consider. This alters my original pictorial intention. I try to respond emotionally and physically — hoping to remove myself intellectually — to allow instinct, accidents and chance to arise.

I start the process by drawing directly onto each canvas for some length of time, eventually applying multiple layers of impasto, when working in oil, or applying a sawdust/acrylic compound to achieve a sculptural relief surface. My attention is focused on the physical presence of the medium on the flat surface. I am not satisfied until a certain patina of texture emerges more akin to the surface of fired clay or blown glass, than to a painted flat picture plane.

These paintings hint at or partially reveal some visual allegorical mystery or secret, yet I am not interested in illustrating an allegory in the literal sense. I am ultimately striving for a finished painting that shows the residue of allegory, but emphasizes a physically sensuous art object in the abstract, aimed at affecting the emotions.
In this way, I am interested in abstract forms and all that form gives us: design, pattern, mark making, texture, size, volume, weight, color, mood, light and darkness, temperature, etc. I see the artist as magician/craftsman, constantly telling a series of lies to get at the truth. While attempting to complete a painting, I feel my best work is done when I let go of my ego/self and stay on the lookout for what the painting is telling me to do next… until my instincts tell me a piece is finished. I then become a vessel for an outside power that is greater than me. I think that is what Marcel Duchamp meant when he said…”the artist is the painting’s way of getting painted”.

Carol Quint

April 10th, 2018

I received my B.F.A. from Pratt Institute. I relocated to Los Angeles, and discovered the feminist art world and it’s leaders from the California Institute of the Arts. I exhibited at Womanspace and other feminist venues.

I returned to New York and moved to Williamsburg, the place of my birth, now a vital art nexus. I was the coordinator of the WAH Salon, the Artist membership club of the Williamsburg Art & Historical Center, and curator of the WAH Salon at the Amarin Cafe for 15 years.

My sculptures are included in the following art books: Encyclopedia of Fantastic Woman Artists, and Lexikon-Surreal International Encyclopedia of Fantastic Symbolic Visionary Artists, Vienna, Austria Monobloc: The Infamous Chair,  220 C Virus, Berlin, Germany Sculptures/A Thief in the Museum, Sussex, UK.

I have shown my work at: Perpetual History Museum, Hiroshima Japan, Riverside Art Museum, Texas Tech University, Triton Museum, Laguna Beach Art Museum, Fresno Art Museum, International Art Center Budapest, Galveston Art Center, SOHO20 Chelsea, Curate NYC, Fort Worth Community Arts Center and others nationally and internationally.

I exhibit with a group called Art from Detritus, who find inspiration from discards, trash transformed. I am a founding member of SJAC ( Society of Japanese and American Creators).

My thoughts are about impermanence and mortality. The underlying message alludes to the symbolic links between life and death. The use of discarded objects followed my visits to Thrift Shops. I began to see art materials everywhere, even on my dinner plate. Currently, I use chicken bones on my sculptures. The bones are a visceral material that refer to my primal vision. This particular detritus, or leftover, represents an internal truth and mimics an artifact.

I believe in Jung’s concept of the collective unconscious, the accumulation of inherited experiences that live deep in the psyche. We unconsciously recognize the archetypes, a transpersonal symbol with latent familiarity, that is older than the individual and the culture. The content and function of my work reflects both a sense of time past and time present, qualities that are in the nature of a relic.