Pamela J. Wallace

in secluded corners

November 14 – December 6, 2015

Pamela J. Wallace

  Click -here- for images from the exhibition.

 “Weeds grow in the cracks of concrete. Siding boards on buildings are almost parallel, but not quite. Rusting industrial machinery sits in the sun next to crumbling concrete structures.

We all know that the landscape of American manufacturing has been disappearing rapidly. The remnants of our old fabrication processes are getting lost as we push forward and collectively forget what they used to do. My work intersects the space between the things we can make, the things we used to make but can no longer identify, and the way things change over time. I look at the rich surfaces and forms of obsolete industrial structures, and old houses and buildings in our cities and towns. I notice the process of nature asserting itself around the edges of these spaces, as coarse weeds re-claim the man-made, and rust reveals the passage of time. I notice order and repetition, whether manufactured or natural. It often seems as though industrial processes mimic the order and efficiency of nature; both strive for an elegant economy of production.

Once in the studio, I combine hard durable industrial materials such as iron, concrete, and wood with organic, ephemeral materials like paper, thread, fabric, and wax. Sewn elements and forged steel make references to issues of work and gender. The process of making multiple forms often resembles industrial processes, but because I make each form by hand, they each have individual character. Often I lay my parts out like specimens in a natural history museum, or trays of parts on an assembly line. I imagine forms mapped out like constellations, where elements are distributed forming non-linear geometries. Order emerges and dissolves and even the smallest detail is essential.”

–Pamela J. Wallace



Main Galleries

Lee Marshall


October 17 – November 8, 2015


  Click -here- for images from the exhibition.

“In my recent paintings I experiment with transparent layers of colored geometry to create ethereal architectures. My invented images are rooted in a love for urban and wild places along with a desire to converse with favorite works of art.”

Lee Marshall, 2015


Sculpture Garden

Jan Abt


  Click -here- for images from the exhibition.

“Nature is interesting. Human nature is interesting: its narrative in terms of form, weight and space and all those other aspects pertaining to the domain of sculpture and how those things can create a tactile experience, which in turn can give rise to feeling, which can evoke memory, which can awaken the heart and activate one’s being.”

 Jan Abt, 2015 


Carriage House, 1st Floor

Erin Walrath

The Old and the New


  Click -here- for images from the exhibition.

“In this body of work, I continue to employ the covers of discarded books, chopped and sorted.  The fragments I create become a basic, if modest, block with which I can build.  This is a process that allows for play and a certain amount of detachment from outcome.

As I work, the patterns and forms that evolve conjure up thoughts of natural forms; life gone digital, human development, chaos and sprawl, disease, Roman antiquity, – the list goes on.   I pull back from letting my mind get too hung up on these associations or the force of their implications begins to direct the work.  But then, it is very hard to resist being pulled toward decisive meaning and inevitably, at times I yield.  Ultimately, the glue that binds these is that they are an exercise in embracing a certain sense of symmetry, softness, even calm and relaying that sense of balance through form, rhythm and color – trying to create something that serves the viewer somehow, beyond conveying the cynicism or illustrating the role of darkness.”

Erin Walrath 2015


Carriage House, 2nd Floor

Nandita Raman

When Mountains Rise and Fall Like Waves


  Click -here- for images from the exhibition.

Louise Bourgeois talks of the unconscious and attempts to draw a petal on a grid. The

grid and the unconscious are so far apart that a spacious ground emerges between them.

This is where twilight occurs. The day hasn’t folded yet and the night hasn’t fallen.


The works in this exhibition find the opposites only to discover that the distance between

them is contingent on where one stands.


“Each ray of sunshine is seven minutes old,”

Serge told me in New York one December night.


“So when I look at the sky, I see the past?”

“Yes, Yes,” he said, “especially on a clear day.”*


Nandita Raman, 2015


* Agha Shahid Ali, Snow on the Desert




Carriage House, Third Floor

Elisa Jensen

Call Out


  Click -here- for images from the exhibition.

“Here are images hung together like words following each other in the line of a sentence. Not fair to images, which exist in their own right independent of their fellows, but what of words? Who argues that words should be separated and never forced into the bunches of sentence, paragraph, poem and novel?

No one.

Words are consigned to their fate in every conversation, every imprecation, every prayer.

So let it be with the pictures in this show.

In these paintings two things are stolen: an apple and a kiss.

Someone falls from grace.

Or that same someone floats up or down or side to side, depending on how you see it.

And someone else falls through a trap door only to dangle from their Texas necktie.

The connections exist in punctuation of line and light and tint, and in the fact that I painted them all incorporating what I know and what I think and what i feel.

The words — which is to say the individual paintings – are mine.

The sentence — which is to say the aggregation of the paintings – belongs to John Davis, who, as a gallerist, does the sentence making.

The response belongs to the viewer.”

Elisa Jensen, 2015


Elisa Jensen is a  2015 New York Foundation for the Arts Fellow


Carriage House, Fourth Floor

Ying Li



  Click -here- for images from the exhibition.

“My goal in painting is to capture nature, in both its toughness and vulnerability, and transmit all of its energy to the canvas. To this end I use intense colors, earthy textures and calligraphic lines, working in the zone where abstraction and representation shade into each other. My interests and training in Chinese painting and calligraphy lead me to a brushwork that is at once free and disciplined.

Color lies at the core of my painting process. I use it to convey mood and memory, and to express a particular sense of place and time. In my painting, color, line and plane interact, pushing each other until they reach a harmony, a unity. Like a jazz musician, I hear the lines of saxophone, bass and drums, each improvising in response to the others, swinging the piece forward. If and when these responses reach their climax, the painting is done.”

 Ying Li, 2015

Main Galleries

Daisy Craddock

Four Decades

September 29 – October 11, 2015

 web-Willows-Midday- 2013- 1_14 x 14 1_2 incheslg.print

  Click -here- for images from the exhibition.

“I’m thinking about my upcoming move after over forty years of living in Soho. This show opens right in the middle of it (the move.) I’ve been putting off packing up long term painting storage for as long as possible, so it seemed like the perfect time to have this show of works on paper.

The earliest work in the show dates to 1983. Strictly speaking, that’s not forty years, but it’s the year I found a roll of photo backdrop paper here on Crosby Street and started making plein air drawings. It’s also the year I met John Davis and showed works on paper at the Drawing Center in New York. The next year I showed paintings based on these drawings in my first one person show with John in Akron, Ohio.

Landscape remains a primary focus, even though my recent shows of abstract fruit diptychs would suggest otherwise. Plein air drawing is more challenging these days, what with aging knees and the ubiquitous Lyme tick, but though I’ve tried referencing photos, what really interests me is a response to being there and to being in the moment.

Daisy Craddock, 2015


Sculpture Garden and Carriage House

Renee Iacone

Stacks – Cylinder Series


  Click -here- for images from the exhibition.

“This exhibition reflects my continued exploration of the mysterious, totemistic energy of cairns – those arranged piles of stones found all over the world for thousands of years by various cultures having such purposes as shrines, burial markers, road signs and navigational aides.

Compared to my earlier, more geological stacks, this series of sculptures become more abstract with a vocabulary of weathered and textured cylinders which I’ve stacked into megalithic columns.  Each cylinder is different and many are broken – perhaps cracked and broken with time and stress. These columns are punctuated with industrial looking black rings which serve as a contrast to the hand crafted, aged appearance of the others.  Perhaps like the rings of a tree trunk there’s a history contained in each assemblage.”

Renee Iacone, 2015


Carriage House, 2nd Floor

Jenny Snider

The Old and the New


  Click -here- for images from the exhibition.

Jenny Snider will be showing on the 2nd floor of the carriage house, including works on paper from the 1990’s, and paintings, drawings and sculpture, begun in Rome in 2011-12. In the four small adjoining rooms, she continues her project, MONTAGE OF ATTRACTIONS, on the art and history of the Soviet Russian Constructivists.

Jenny Snider, 2015


Carriage House, Third Floor

Larry Brown


web-Rise 2015 22x18 o_c-240

  Click -here- for images from the exhibition.

“The research data concerning Global Warming and its effects (i.e. Climate Change) are well documented and profusely published.  The range of Climate Change information should, without a doubt, confirm the potential possibilities of how the earth is currently being compromised.  If we look carefully, we can observe many of these effects in our current time period.  The predictive climactic computer modeling creates a rather bleak and formidable series of problems for the future of this planet.

This new work represent an attempt to envision a series of circumstances and the results of continued massive production and release of carbon dioxide through the use of fossil fuels and the general release of methane into the earth’s atmosphere.  The catastrophic combination possibilities are frighteningly profound and will challenge virtually all aspects of life as we know it.

And yes, I am a painter who is deeply immersed in the magic of paint and the painting processes.  It is my hope that through the combinations of my interest in Science, Nature and Painting, we can come to some understanding of our place in the world.”

Larry Brown, 2015


Carriage House, Fourth Floor

Bruce Gagnier


Gagnier-ceramic show-front-web

  Click -here- for images from the exhibition.

“Several times I worked in the studios of ceramicists. I watched them form volumes from the inside of the form. I wanted more volume at the time and to break with the expressive restrictions, the built in memories of the normative form of the figure. I devised a way to work from the inside out and changed my pattern of behavior and thought in regard to the form of the figure. I don’t think I will have to revisit that way of working again.”

 Bruce Gagnier, 2015




Main Galleries 

William Ransom 

Hem n’ Haw

August 22 – September 13, 2015


  Click -here- for images from the exhibition.

“Life is flux. Life is complicated and full of choices. When standing at crossroads we deflect, reflect, procrastinate, rationalize and hem and haw. Sometimes these moments of decision happen while soaking in a sunset, sometimes stuck on the freeway, sometimes hungry in the kitchen. Some folks just turn it over to a higher power or rely on supernatural influence, letting faith tell them they are on the right path. Some make lists and apply reason to the pros and cons and cut the knot only once everything is measured and collated.

The teeth grinding and soul searching must yield something and I find that something in the studio. For me decisions are best made with my hands in material. Larger life questions can wait; right now I create something tangible and real.”

William Ransom, 2015


Sculpture Garden 

Bruce Gagnier




  Click -here- for images from the exhibition.

“The clay records nearly all the thoughts and efforts of the Sculptor although some feelings are buried within, beneath the surface which remains agitated, partly due to the effort.”

 Bruce Gagnier, 2015


Carriage House, Ground Floor

Laetitia Hussain



  Click -here- for images from the exhibition.

  “Starlings form murmurations as a defensive response to sensing the presence of a predator, such as a hawk, falcon, or other raptor. With perfect synchronization, they create an obscure cloud which both frightens and captivates the viewer. Composed of many unique elements, the murmuration becomes a unified entity which nevertheless has many faces and facets.”

 Laetitia Hussain, 2015


Carriage House, Second Floor

Benjamin Pritchard

Go West East In

Painting by Benjamin Pritchard


  Click -here- for images from the exhibition.

Friends, grounding. The self in the world, different times of day. The psychic reality manifest. Friends, conversation, connections over time and space. Food. Love, Beauty, the Gods and soul and souls. Undercurrent manifest through devotion to looking, working, looking, working. Turning your back and seeing what is.

Not taking any shit.

Benjamin Pritchard, 2015


Carriage House, Third Floor

Peter Bonner



  Click -here- for images from the exhibition.

“On my Painting:

I make work with primordial intentions, working instinctively at each stage with the goal of knowing experience. I use a process that leaves the possibility of achieving an image open and uncertain. I rely on my body and its wisdom. In this regard I have been influenced by the contemporary Australian Aboriginals and their processes; for example, I lay my surfaces flat when I work, often sitting with the work on the floor. I listen to what comes by attempting to discipline myself to remain in the moment, attentive to what is happening on the surface.

What comes takes many forms, from remembered moments experienced to particular light conditions, familiar shapes or a spatial feeling that I know. These disparate elements may come from different points in time or different events; yet in the studio relate. I have a need for resolution, and I’ve discovered that through working in the studio with materials I am able to find this resolution anew with each new work. I go through a process of re-determining my beliefs and rediscovering what it is that I hold to be true concerning a constantly changing and expanding number of qualities; like color, mark making, structural organization and the space that is evolving within the painting. I get a fleeting sense of what I believe each time I am fully engaged with the materials of paint and charcoal, however I must do it again or that sense that I had passes and feels lost to me.

What happens within this space is something that I get to know more about as the painting progresses, and get to know again and again with each new work. Characters form relationships and narratives between these develop. Language evolves out of the process of clarifying these relationships and narratives, codifying these experiences; these memories and how they relate. Specificity is the degree of intimacy I am able to achieve with the remembered experience, whether I am able to be at one with it, knowing it and make it live as an experience again through paint.”

Peter Bonner, 2015


Carriage House, Fourth Floor

Farrell Brickhouse



  Click -here- for images from the exhibition.

“As a mature artist now 66 years old, I find I have this large vocabulary to draw from. Imagery that has woven its way thru my entire career is available and malleable. I have access to this personal history with a renewed understanding of its original intent and a deepening understanding of how these “forms” can continue to speak for me in paint. I also seek to explore the range of subject matter my paintings can encompass as I look to everyday experiences, tell stories and paint about current events in an expanding as well as deepening vocabulary. There is in Art History an excitement as I see my concerns expressed in new artists and old ‘friends’ offer continued gifts. At its best, making art is a revelatory experience, a conduit to the beauty and mystery in the miracle of simply being here. As I wrote earlier- Painting is the wish and the prayer and the offering all in one. It is an act of faith just to pick up the brush.”

Farrell Brickhouse, 2015



Main Galleries

Janice Nowisnki

Recent Paintings

July 25 – August 16, 2015


  Click -here- for images from the exhibition.

“Lately, some of the paintings I have been making spring from snapshots that I have taken. These snapshots are a catalyst for my image making. I am basically taking a situation that happened in a moment and am reconfiguring it on the canvas. This has been surprisingly fertile territory. I am not alone here: Degas, Bonnard, Vuillard, Matisse, Alex Katz, Francis Bacon are other artists who took advantage of the ability of the camera to capture a moment that would have been lost or misremembered.”

Janice Nowinski


Sculpture Garden & Ground Floor, Carriage House

 Ben Butler


Butler_Wanderers 1_web

  Click -here- for images from the exhibition.

“My sculptures reflect the sensibility that an object stands as a momentary physical manifestation of an ongoing process.  They provide evidence of unseen forces, and they point to the distinction between the human and the non-human.  Throughout the natural world, unexpected complexity emerges from simple, persistent processes.  When the order of things is not readily apparent, complexity is often mistaken for chaos.  In the rush to comprehend we often miss the wonderful unseen forces at work.  My response is to play in these boundaries between the simple and the complex, as it veers toward the overwhelming.

This new work represents a shift in focus from constructed wood sculptures to cast and carved work incorporating a range of new materials.  Rather than being built slowly and incrementally in a linear progression, these forms are generated fairly quickly and spontaneously through a unique casting process.  The technique involves a close interplay between carved polystyrene and cast gypsum cement.  An abundance of forms are generated through intuitive experimentation – carved polystyrene voids become molds for casting, and those casts then inform further carving.  The resultant forms are then carefully edited and refined, or dissected and reconfigured.  The finished work appears to be in flux, simultaneously emerging and dissolving, evoking a richness of process.”

Ben Butler, 2015


Carriage House, Second Floor 

Vilaykorn Sayaphet

Family and Friends, to my mother


  Click -here- for images from the exhibition.

Vilaykorn Sayaphet (1976) is a Laotian born painter.

His work is a deeply personal meditation on finding inner “truth.”

His art studio features two chairs facing one another.

In one seat is the artist, brush in hand.

In the other a wood panel leans against the back.

The seat is full of bright sludges of oil paint.

The scene is a home against a wide windswept landscape.

His windows are open and the summer breezes come through.

His eyes close and he trusts instinct.


The body of work that the artist is exhibiting has been produced since his September 2014 solo exhibition “Latmanikham & Thongsy” at English Kills Art Gallery. Named for his mother and father, the show received positive criticism in Hyperallergic. He maintains a studio in Bushwick, Brooklyn.


Carriage House, Third Floor 

Melinda Stickney Gibson



    Click -here- for images from the exhibition.

I struggle when asked to write an artist statement because the urge for verbosity can become strong, and the result not very enlightening. So, this time I am attempting to reduce a whole lot of the conversation in my head to what feels fundamental about the paintings for me.

The Paintings:

They’re beautiful.

And they’re not.

They’re autobiographical.

And they’re not.

They’re just paintings.

And they’re not.

They are informed by the formal, historical, accepted constructs of painting.

And they’re not.

They’re documenting bits of this life we’re all in, while also attempting to keep irony and cynicism at bay. Most of the time.

They’re honest.


All of the above is true.

For now.

Melinda Stickney Gibson, 2015


Carriage House, Fourth Floor 

Laurel Sucsy



  Click -here- for images from the exhibition.

“I pay attention to the weight of color, to its material feel, to patches of pigment.  The rhythmic arrangements of these patches characterize the work.  Layering creates depth and distance not through perspective, but through accumulation of materials and textures.  Incongruous color combinations- delicate, faded, or vibrant- oscillate.  My primary interest is in discovering.

For me painting is about holding time, delineating consciousness through moments looking. Transitions between how and where things meet become a way of giving form to relationships otherwise invisible.  When a painting is able to give back a quality of time, it is done.  More often than not, the work implies a certain shifting, non-settling, ongoing process.”

Laurel Sucsy, 2015



Nicolas Carone

The Fictitious Image

Main Galleries

June 27 – July 19, 2015

Nicolas Carone, Italy, 2000








Nicolas Carone, Italy, 2000
Photo: Lilliana Malta

“I don’t think Abstract Expressionism was a concluded idea. I think it was in flux; it was becoming something. And it went two ways: to the very abstract or even minimal; and on the other hand, to a configuration of forms that identify with nature or to unconscious elements.  There’s something of life’s experience that can give more to a picture.”

Nicolas Carone

The gallery is proud to be exhibiting work from the Estate of Nicolas Carone.  The exhibition will consist of painting, drawing and sculpture representing heads and the figure.

Carone-webNicolas was born in 1917 in New York City and was an active artist with the New York School of Abstract Expressionists.  His work is in the collections of the Whitney Museum of American Art, The Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Baltimore Museum of Art and the Mobile Museum of Art.

He died in 2010 at the age of 93.


Isidro Blasco


Sculpture Garden



“My work recreates the architectural space of the whole or a particular section of the build space according to a subjective perception of this environment.

This non-permanent house-like constructions are made of wood, plywood, metal and sometimes are painted.

Beginning with a room, or part of it, I choose a point within the space to stand and rebuild the room with the perspective deformations that you have only from that point. From there, another room appears, and while it may resemble the original (same number of windows, doors, walls…) it is also quite deformed. Windows are misshapen, walls are skewed, and there may be very few, if any, vertical or horizontal lines. The replicated room feels simultaneously familiar and strange, as it claims an entirely new space.

This installation is based in several images that I have taken from the different homes I live in New York since I arrived from Spain in 1996.”

Isidro Blasco, 2015

Kiki Smith

Each Day

Carriage House, Ground & 2nd Floor


Printmaking has been central and fundamental to Kiki Smith’s work for over 30 years and continues to be a source of discovery for her. Smith has been working primarily in print for the past year and has chosen to exhibit prints in Each Day at John Davis Gallery.

The works are made in a variety of different techniques, primarily etching, inspired by methods inspired by Kathan Brown’s book Magical Secrets about Aquatint and from making demo plates to teach printmaking at New York University and Columbia University. Also represented are color polymer, digital and relief printing techniques.

Smith has been privileged to work in some of the great printmaking studios across the United States. This exhibition includes prints published by Harlan & Weaver, LeRoy Neiman Center for Print Studies at Columbia University, Ribouli Digital, Savannah College of Art and Design, Universal Limited Art Editions, University of North Texas, and her own homemade efforts published under Thirteen Moons. Most of the images were inspired by the various living beings found in Catskill, New York.


Rachel Ostrow

Nothing but Love Songs

Carriage House, Third Floor

Rachel Ostrow: paintings

“My paintings use movement and light to explore space and form.  They skirt the line between abstraction and representation.   They are ambiguous, yet feel recognizable, familiar or iconic.  By hinting at the identifiable yet remaining elusive, they use abstraction to be suggestive and to engage the viewer’s imagination.

I paint with a squeegee and the images are created through removing layers of paint to expose what is beneath.  The final form is often revealed through one single gesture.  This process is physical, improvisational and playful.  I erase entire paintings frequently and chance plays a large part in each piece.  Pushing around layers of transparent colors, I collaborate with the natural properties of the paint to create spaces, forms and moments of light that could have never been planned.”

Rachel Ostrow, 2015



Valerie Hammond

Lure Songs

Carriage House, Fourth Floor


Hammond has long been fascinated by the folklore and oral tradition of other cultures, especially by those fables which blur distinctions between fantasy and reality. In all of her work, there is play between the material and the immaterial, the physical and the spiritual: the dichotomy between what is seen and the sensation it provokes. One story, told to Hammond during one of her recent stays in Ireland, especially resonated: upon death, one’s soul takes residence in the body of a hare so that it might attend to unfinished business or visit loved ones. (Because of this, hares are protected creatures, and the Irish are not allowed to kill them.) Hammond’s daily walks in the countryside were often punctuated by sightings of these hares. Silent and unmoving, they fearlessly returned her gaze, penetrating the hushed gulf between human and animal, as if accessing a timeless, primordial realm. Hammond’s drawings convey a similar feeling: her hares, uncannily corporeal, seem witness to the brief manifestation of passing memory.  For Hammond, the work becomes talismanic, her imagery like visual memory.


Dawn Clements


Main Galleries

May 30 – June 21, 2015


  Click -here- for images from the exhibition.

“After some years involving much travel away from home, I took this past year to be home, reflect and work.   This work took me back to my living space, particularly the kitchen table.  I count my days through my work.  Thoughts of passing days, people, gestures and the often overlooked aspects of daily life have driven my work in a sentimental direction, many in the form of watercolor flower works.

I have always worked both in and out of the context of a traditional artist studio.  Because I work from life, when I make a drawing of my kitchen table, I draw at the table; when drawing my view from bed, I draw in bed.   “Home” and “studio” are wherever I am.    Whether working in solitude, in collaboration with others, in familiar or unfamiliar places, my immediate environment presents opportunities for intimate engagement. The close quarters of domestic space continually fuels my work.  For me, any space I occupy is a work space where my life and art can connect and thrive.

Working on paper has been important to my process.  It allows me to expand and extend, cut and paste.  I often begin with a rectangle, but if the limits of the rectangle cannot contain an image I’m making, I make the work bigger by adding more paper.  Through these physical extensions I present fragments of a continuum, a little corner of a big world. When I make the drawings of my apartment, I draw in my apartment, a very confined space.  In order to make large works, I fold-up the paper to a manageable working size.  When a work is extremely large, I cannot see the whole drawing as I am working.  And so, as my works expand, each part of the image is a response to the last thing I drew, almost never a response to the work as a whole.  Each perspective in the work is local, almost never an overview.   As a result some distortions and surprises ensue, resulting in a highly subjective sense of point of view that still makes some spatial sense.  The adding, the folding, the drawing:  all are evidence of my physical process, in a way, an expression and document of my movement.  In this and in my film-derived work images are fixed, but the vanishing point is always in motion.”

            Dawn Clements 2015 


Isidro Blasco


Sculpture Garden


  Click -here- for images from the exhibition.

“My work recreates the architectural space of the whole or a particular section of the build space according to a subjective perception of this environment.

This non-permanent house-like constructions are made of wood, plywood, metal and sometimes are painted.

Beginning with a room, or part of it, I choose a point within the space to stand and rebuild the room with the perspective deformations that you have only from that point. From there, another room appears, and while it may resemble the original (same number of windows, doors, walls…) it is also quite deformed. Windows are misshapen, walls are skewed, and there may be very few, if any, vertical or horizontal lines. The replicated room feels simultaneously familiar and strange, as it claims an entirely new space.

This installation is based in several images that I have taken from the different homes I live in New York since I arrived from Spain in 1996.”

Isidro Blasco, 2015


Isidro Blasco

Tilted: Photo based Work

Carriage House, Ground Floor



  Click -here- for images from the exhibition.

“For the last several years I have been taking photographs from tall buildings in every city that I happen to visit. Taking in the large view of the city with hundreds of photos. And only now I have decided to produce the pieces. Lots of work each one but worth it!”

Isidro Blasco, 2015


Christine Hughes

Paintings & Drawings

Carriage House. Second Floor


  Click -here- for images from the exhibition.

“In these paintings there is an agreement between physical abstraction and the depiction of actual forms. There is a tension between what I am looking at and where the painting is taking me. I am focused on the physicality of the image. Painting allows for a visual definition of a physical thing.

The Common Ground Paintings have as subject minuscule bits of earth and its contents which I enlarge to an iconic scale. In the smaller paintings the solum is depicted at eye level. In the larger paintings and the larger drawings the subject is viewed from above, changing the weight from the bottom of the picture plane to the central area and receding back towards the wall. I am interested in the shift of weight, volume and the point of view.”

Christine Hughes,          2015


Kristen Rego

Works on Paper

Carriage House. Third Floor


  Click -here- for images from the exhibition.

“This show draws from two bodies of my recent work: The Duro Series, a series of gouache paintings on Duro brand paper bags, and a series of collages inspired by grocery store imagery. Both of these explorations utilize paper and repetition as a source to document color in consumer culture.

The paintings on brown paper bags contain lines of color painted in tight succession, changing in tone a little bit each time. As the lines move from top to bottom, they become more obscured and intertwined with each other, leading the eye further into forms of increased resonance. This progression leads you to a new place, but you don’t notice until you look back and see how far you’ve come.

The series of collages contain images from newspaper circulators and grocery store sale posters, evoking memories of rich flavor and saturated color. Advertising and packaging promise a “utopian experience” within their products. The glossy exterior presents itself as trusting and consistent, though the line between what we’re buying and what we’re promised is often blurred. Like the brands I reference, I prefer my collages to be pleasing and attractive but to belie a more questionable content.”

Kristen Rego, 2015


Saskia Sutherland

Flower Still Lifes

Carriage House. Fourth Floor


  Click -here- for images from the exhibition.

“The work in my series Flower Still Lifes is made primarily in clay and plaster. Usually, I begin building the sculpture in clay and then cast it in plaster. Once in plaster, I continue working on it. I often use the basic forms in sculpture for example, the cylinder, the triangle and the circle, to define what ever image I have in front of me. The interior geometry gives my work the solidity I wish to express and also supports the abstraction I want to attain. I work from set-ups which to me are like small events – a microcosm of life. I want my work to go beyond the literal presence of the objects. Instead of seeing delicate flowers, I see shapes in uncountable variations beautifully deformed and transferred into planes and spaces represented in a solid mass which defies the inherent object itself and gives the finite flowers an infinite quality. I think of my work as three-dimensional poetry conveying and inviting to moments of contemplation and joy.”

Saskia Sutherland, 2015


Priscilla Derven

DISLAND: Paintings 2013-2015

May 2 – 24, 2015

 On May 2nd, 2015 there will be a solo exhibition of paintings by Priscilla Derven. The work will be on display through May 24th with a reception for the artist on May 2nd from 6:00 until 8:00 p.m.

DISLAND 15: 2013, oil on linen, 26 x 34 inches


“Where have all the people gone?

The people are all gone now except where they wash ashore like branches or other spindly, broken detritus. Tumult ensues: floods from raging creeks and rivers or tsunamis from rising oceans after earthquakes; landscapes disturbed as water recedes. I fly overhead in my imaginary plane soaring in, too close to the jagged cliffs, as I come in for the views. Nothing stays the same on our land. Water changes everything.”

Priscilla Derven


David Hornung

Shadow and Substance

April 4 – 26, 2015

On April 4th, 2015 there will be a solo exhibition by David Hornung. The work will be on display through April 26th with a reception for the artist on April 4th from 6:00 until 8:00 p.m.

“For the past year I have been making small collages, paintings and cyanotypes that depict the human figure and animals in natural and man-made environments. These figurative compositions, like all of my work, mine the tension between pictorial fiction and material fact.

I was introduced to cyanotypes last summer and quickly realized that by making stencils out of cut paper I could readily adapt the technique to my own pictorial goals. I particularly appreciated the combination of accident and control that the process affords. The figurative silhouettes in the cyanotypes also began to appear in my paintings along with other flattened representations of the figure. The cyanotypes are delicate and resemble traditional shadow  Puppet Theater while the paintings, in their dense color and physicality, offer a more concrete and fully illuminated view of the same pictorial world. Exhibiting them together invites a comparison that reveals their similarities and stark contrasts.”

David Hornung

Ben La RoccoAlien Bird Song

March 7 – 29

Elegy 2, 2014, mixed media on masonite, 48 x 48 inches

“Did you ever see the movie The Fly?

I remember seeing it when I was a child and I think I got so scared I asked my father to take me out of the theater.

Anyway, Jeff Goldblum builds this teleportation machine, which doesn’t work very well and turns things inside out when it transports them.

My work, I’m told, is like if you put a Joseph Cornell through that machine.

I think of art more as being between things than as any one thing.

So look for the gaps.

Painting destroys things.

Sculpture builds them.

The beautiful thing, anyway, is that we are each something, which solves the problem of meaning.”

Ben La Rocco



Thomas MicchelliBacchantes and Bivalves

February 7 – March 1

Bacchante (back), 2014, oil & wax on panel, 18 x 24 1/4 inches

“This show presents two bodies of work: Bacchantes, an ongoing series of paintings and drawings, and a set of two-part drawings called Bivalves.

Both represent a concern with the dualities that play out in the creative act — the self-conscious and the instinctual, the rational and the irrational. The Bacchantes derive from The Bacchae by Euripides as well as its adaptation by the Performance Group, Dionysus in 69, a groundbreaking work of immersive theater that was staged in New York in 1968-69 and documented in book form in 1970. The figures depicted in the series are not direct references to either narrative; rather, they are theatrical characters taken out of context and reimagined in visual terms.

Similarly, Bivalves came about after reading a selection of writings by Gaston Bachelard, Max Beckmann, Jean-Luc Nancy and others, which were suggested by Paul D’Agostino as a basis for a group exhibition in 2011 at his Bushwick project space, Centotto, where the drawings were first shown. Each consists of two sheets, vertically stacked, in which the images in the upper and lower parts intersect at distinct points along the seam, conflating two figures into one.”

Thomas Micchelli           



McWillie Chambers

January 10 – February 1

Jer Z Bois (detail), 2014, oil on board, 10 x 8 inches

The frank depiction of the male figure has been a sort of taboo in modern and contemporary art, except I suppose in photography.   Some painters have masked the sexuality of the male figure with a veil of classicism; some have used a cartoonish style to make the images less challenging.

My way of working with a decided emphasis on the sensuality of color and light seems to transmit the sexuality of the male figure in clear terms.

There are always people in the background who will say, “You can’t do that”.   One of the artist’s responsibilities is to say, “I can and I must.”  Then one keeps on applying oneself to the work, and making progress.

McWillie Chambers