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04 Apr

Guno Park

Subway riders lost in their own thoughts or asleep entirely, flora and fauna of all varieties, many from the taxidermy at the New York Museum of Natural History, quiet still-life's and gesture drawings full of life and motion; Guno Park's drawings seem to cover every conceivable subject matter but have one thing in common: an arresting sense of volume and form told through a masterful artistic hand.

Guno Park "MTA Sleeper"
ink on paper11" x 15" 2016

Unlike contour drawing, that describes a given form by its outline, a kind of peripheral description of the subjects exterior shape, cross-contour drawing describes a form by it's interior volume. Lines bend and arc, rolling over convexities and converging in concavities, expanding and contracting over the surface. While a contour line can describe a shape in a single, exterior stroke, cross-contour is the sum of countless strokes that combine to describe an overall image. Guno Park's cross-contour drawing is unrivaled. With a precise, hatching stroke, he indicates not only the folds of a puffy jacket worn by a sleeping subway rider, but the pinching of that fabric in areas around stitching. By condensing his lines, he creates the illusion of the inky dark in the eye-socket of a skull, or by only a bare minimum of strokes the sun drenched pate of that skull. That he is able to so thoroughly describe form and light through the hatching strokes of a ballpoint pen is awe-inspiring.

Guno Park "Skull's Crack"
ink on paper 13" x 10.75" 2016

Even in quicker gesture drawings, like the one below done from a live model, Guno is able to par down the number of hatching cross-contour lines to the essentials, describing the female form in a few quick and unfussy lines that capture the pose and gesture masterfully. Color temperature is added with a light wash of watercolour, a modulation of cools and warms that wrap over the figure and add to the illusion of dimensionality on a two-dimensional surface.

Guno Park "Back Twist"
ink and watercolor on paper 9" x 12" 2015


More of Guno Park's work can be found at:






25 Mar

Antonio Massarutto

Antonio Massarutto's wire sculptures depict a range of fauna from poultry to rhinoceri, and are immediately eye-catching. When seen from afar, they appear to be line drawings pinned to the wall, with a fluidity and grace to the gesture of each mark. Upon closer inspection, their three-dimensional quality becomes evident, with abstracted shadows cast on the wall behind them. The life-like motion and gesture of each pose is built upon a clear understanding of animal anatomy, one that the artist gleaned from his taxidermist father while growing up. Massarutto describes each creature with a succinct number of lines, giving his sculptures the effect of a house of cards; if one wire were to be left out the whole effect would be lost.

Antonio Massarutto "Rooster"
wire sculpture 22" x 22" x 8" 2016

A graduate of the Art Institute at Cordenons and the Academy of Applied Arts in Milan, Massarutto’s creative endeavours comprise two parallel activities – sculpture and design. Among his design clients are BMW, Electrolux, Rosso Design and Rosso Academy, Kong’s KTL Jewellery Manufacturer Ltd., and his commissions include interior design, fashion & accessories, jewellery.

Antonio Massarutto pursues his fine arts interests as sculptor and sculpture teacher. He established his studio in Cortona inspired by the city’s rich cultural heritage. One of the twelve Etruscan federated states, Cortona’s importance is impressively visible not only in its ancient walls and tombs, but also in the finely crafted objects in bronze and terracotta on display today at the city’s Etruscan Academy MAEC.

Antonio Massarutto "Rhinoseros"
wire sculpture 20" x 10" x 8" 2016

His passion for sculpture brought him to Tuscany, where the greatest of the sculptors lived and worked. In the vicinity of Cortona Antonio Massarutto discovered ideal locations for his materials – pietra serena (sandstone) quarries, travertine marble near the spa town of Rapolano, clay in the nearby Siena hills or Crete as they are known, and the noblest of them all, Carrara marble. But Tuscan nature came up with another kind of inspiration. His stylized animals in mixed media, be they wild boar or deer, have captured the imagination of collectors from all over the world.

Antonio Massarutto "Chicken"
wire sculpture 22" x 20" x 8" 2016


More of Antonio Massarutto's work can be found at:


26 Feb

Robert Goldstrom

Robert Goldstrom, "Kentile, After"
10" x 8", oil on canvas panel
The wide range of subject matter explored by Robert Goldstrom reveals the curiosity with which the Brooklyn based artist sees the world. His varied series feel like investigations into a wide range of subjects, from familiar city scenes of Brooklyn to fanciful dovecotes to dream-like aquariums. Each series is composed of numerous paintings, each a closer look at the larger theme. His paintings of the downtown Brooklyn clock tower alone number over a hundred, each a close look at the nature of light and atmosphere at different times of day. Goldstrom describes his process:
"It starts with something I see triggering a feeling that I cannot ignore. Then I create studies, that sometimes lead to finished paintings, sometimes not. Occasionally, the finished paintings come years after the initial impulse. [It can take] that long for the idea, the mood and the scenic details to come together and scratch the itch."
Robert Goldstrom, "Medusa 2, study" and "Beluga 6, study"
oil on panel, 10" x 8"

“I paint directly on canvas, both in my studies on archival canvas boards and in the finished paintings. Since my paintings are so color-dependent, I’ve found, through trial and error, that preliminary drawings don’t take me where I need to go. So I start with oil washes to push the paint around easily and set the composition, let it dry, then finish it off with heavier pigment and a homemade painting medium."
Robert Goldstrom, "Dovecote 1 & 2", 14" x 11" "Dovecote 3" 10" x 8"
oil on canvas panel
 Goldstrom's career began in illustration, learning how to paint while on the job and earning gold and silver medals from the Society of Illustrators. His illustration work has appeared on the covers of Time, The Atlantic, and  New York Magazine; in The New York Times and The Boston Globe; posters for the New York City Opera; stamps for the UN; and illustrations for the children’s book, “Dream Away.” Since 2004, Goldstrom has divided his time between Brooklyn and Provincetown, painting full-time.
Robert Goldstrom's numerous collections can be viewed at:
21 Feb

Tyler Vouros

Tyler Vouros, "Barn Owl"
charcoal and water on mounted paper
30" x 13.5" 2015

The first thing you notice about Tyler Vouros' work is the scale. His monumental owls tower overhead, upwards of 6 feet tall. They are truly awe-inspiring, the product of intense focus, patience, and technical prowess that becomes apparent on closer inspection. In studying closely the extreme detail of feathers and talons, the second surprise of experiencing Vouros' works becomes clear: the level of detail and nuance of form. In much the same way that each varied aspect of the owl's anatomy serves a highly specified function within the natural world, so too does Vouros' varied application of charcoal as a medium. Whether charcoal pencil, vine charcoal, powdered charcoal applied with a brush as one would do with paint, or automotive sandpaper used to pull highlights out of the darkness; the variety of application of the dry media (and sometimes its removal) results in a nuance across the entire surface that parallels the multi-functional nature of the animals' various anatomical advantages. Downy under-feathers look soft and inviting, while smooth exterior feathers that enable the owl's silent night flight hint at the animals lethal nature. Talons are cold and ebony-like, a menace belayed by the often loaded symbolic potency of the owl as an icon. And it's on this point that the real impact of the series becomes clear; the owl is a potent symbol that transcends culture and time.

Tyler Vouros, "Athena Owl"
charcoal and water on mounted paper
2015, 30" x 41"

The owl accompanied and came to symbolize Athena, the Greek goddess of wisdom, appearing perched on her shoulder or emblazoned on her war-worn shield. Egyptian and Hindu cultures believed the owl to guard the afterlife and the underworld. Despite the variety and range of the owl as a symbol, it is most often associated with knowledge, perhaps due to the owl's dignified baring and knowing look. It is perhaps this range of interpretation that makes Vouros' owls so resonant, as a viewer can pull a personal meaning from the noble look and poised stance that the artist has imbued his nocturnal subjects with.

Tyler Vouros' charcoal owls can be seen at Collier West, and will be featured in the upcoming opening reception at CW Gallery a few doors down.

His work can be viewed at:


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