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10 Jun

"Bounding Main" Highlight: Diana Corvelle

Diana Corvelle, "Besotted"
gouache and watercolor on panel, 11" x 17," 2013

Diana Corvelle's work engages with the traditions of folklore and allegorical narrative, reimagining personal experience as myth.  "Using mythological and iconic imagery to depict real-life issues establishes a protected space in which to examine the emotional content of each experience."

Countless layers of gouache, delicately cross-hatched and seemingly "stitched" together on the wood panel, gives the painting a solidity  and depth. "Like remembered experiences, each component is both elusive and concrete."

In "Besotted," Corvelle creates a deeply moving image, a figure standing at the shore of a sea of words, gazing off at distance horizons.

06 Jun

"Bounding Main" Highlight: Jenny Brown

Jenny Brown, "Infinite Starlit Lily Reef"
pen & collage on paper, 8.5" x 11," 2016

Based in Providence, Rhode Island, Jenny Brown's artwork is truly unique. Elements of drawing, pen & ink, collage of found paper, and an imagination unlike any other combine to bring a mythical world of sea and forest creatures to life. Her recent collage works are dream-like, focusing on "a harmony amongst different elements of the natural world, from flora, to fauna, to the celestial, to the oceanic." Each individual piece is a unique organism, one of a seemingly infinite number of teeming and multitudinous forms of life drifting through the sea, or nestled into a quiet nook deep in the forest. The use of paper ephemera gives each piece a feeling of having been pulled from a vintage oceanographic almanac, or from the flat files of a natural history museum. We see that each is composed of multiple aspects: flowers, shells, jellyfish, tentacles, wisps, tendrils, feelers, pollen suspended about, but the collage of all these recognizable elements creates something new, something never seen before. Whether flora or fauna, we know these beings have life, a unique quality fashioned by a keen eye and delicate sensibility.

"An abundance of florals in the work represent the hearts and souls of these fantastic creatures...branches and tentacles represent their yearning to be connected...corals and sea plants reconnect these creatures to the most basic elements of life which created them...water and mineral."

Jenny Brown, "Homesick for the Starfish,"
"Homesick for the Cobweb Jellyfish," "Homesick for the Mirabelle Jellyfish,"
pen & collage on antique photo, 4" x 6.5", 2016

Jenny studied art at Bennington College and received her MFA from School of Visual Arts. She recently showed her work with the Anonymous Drawings collective in Berlin, Germany & Rome, Italy. She has also been featured on blogs such as Boooooom, Anthology Magazine, and The Jealous Curator. She was a featured artist in the October 2015 international issue of Fresh Paint Magazine."

Jenny Brown, "Weeping Sea Willow"
pen & collage on paper, 8.5" x 11," 2016
08 Apr

Jessica Augier

The monotype is a unique form of printmaking, in which the artist creates an image on a smooth, non-absorbent surface with either water or oil based mediums, and transfers that image onto paper by running both through a printing press. Unlike most types of printmaking, the monotype is a one-off operation; as most of the medium is removed in the initial print, no multiple editions are possible. This makes each monotype a unique, one-of-a-kind piece of art.

Jessica Augier "Nimbus" "Stratus"
monotype 4" x 6" 2015

This quality of the monotype as a precious object is nowhere more evident than in the work of Jessica Augier's. Each of her small, circular compositions, petri dish-like, invite the viewer in to have a closer look. There is an intimacy in this, the initial draw of the piece, jewel-like on the wall from a distance, that upon closer inspection reveals an entire chromatic landscape and skyscape that rolls back in space over seas and mountains. Through chromatic shifts, subtractive highlights, and a range of textural illusion, Augier creates small, inhabitable spaces for the viewer to inhabit. 

Jessica Augier "Jadeal" "Garnet Storm"
monotype 4" x 6" 2015

At the opening reception of "A Moveable Feast," once visitor was overheard describing them as poems. Like a poem, they are short but focused investigation, simultaneously composed and improvised, an offering of something sublime that transforms the viewer into a visitor.

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:






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:

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