Mary Carlson at Independent

Sunday, May 25, 2025

I-phones come pre-loaded with a function wherein from a photograph of a plant the phone bounces back at you the name, the genus and the family of the plant. My I-phone identifies Mary Carlson’s diminutive, porcelain sculpture of a yellow Zinnia as a Mediterranean Strawflower, or as an elm tree; the phone is unsure. How […]

GREG DRASLER

Wednesday, January 24, 2024

There is a moment, if memory serves, about halfway through Godard’s Pierrot Le Fou, where his camera is following Belmondo and Karina as they scarper across the cliffs overlooking some gorgeous Mediterranean inlet. They are on the lam; someone is dead, killed. I do not recall if they are being chased, probably. Tension mounts, (that […]

SUSANNA STARR

Tuesday, May 31, 2022

New York City artist Susanna Starr uses saturation, absorption, and even simple rubbing, to make delicate porous objects. Her work offers a glimpse into the unseen structures of familiar things – exploring questions of space and physicality. She received an MFA from The Yale School of Art, a BFA from The Maryland Institute College of […]

Michelle Weinberg

Monday, May 9, 2022

When I create art for an interior, exterior or public place, I’m thinking of surfaces as social veneers that are penetrated by viewers/participants. I like to connect with individuals moving across or around a public artwork by suggesting a synchronization with their own bodily rhythms of breath, footsteps, heartbeat and pulse. It’s this flickering, pulsating effect I’m after – a vibration we can feel with the fundamental sublime geometry existing beneath all things.

Ilene Sunshine

Thursday, April 28, 2022

I’m using twigs and cord to frame air. That’s what enchants me most— how a space can be empty, yet full of presence. So, though I’m technically the maker, it’s a matter of me paying attention to how these materials behave under certain circumstances.

Fran Shalom

Tuesday, April 12, 2022

I am always teetering from one edge: from abstraction to figuration; from ambiguity to obviousness; from clarity to mystery; from additive to subtractive.

Brian Gaman

Monday, March 7, 2022

In 2014, Brian Gaman, one of the founders of Romanov Grave died. We miss his exacting intellect and his rigorous vision for art but hope this page will help us and the art community remember him. A friend of his once said he was a fringe dweller. It turns out fringe is the place where […]

Alex Branch

Wednesday, February 23, 2022

I think my interest in transformation can be traced back to my childhood growing up on an island in the Pacific Northwest. As a child, I was fascinated by the mysterious objects that would wash ashore from unknown places, some from the natural world, and also those that were human made but had been transformed by their time in the water. Barnacles and seaweed would attach to them, changing them into hybrids. When I work with found objects in the present day, they carry with them a residue of a life lived. It’s not possible to know exactly where the objects have been, or who interacted with them, but the fullness and richness of their experience resonates.

Alexi Worth

Tuesday, February 8, 2022

In my current show giant fingers are the first thing you see, and they are unmistakable, […]. I think their obviousness mis-sets our expectations in a funny way, so that you feel you have a right to understand everything else as immediately. But you don’t. I’m interested in that mix of extreme clarity and uncertainty. That corresponds to my sense of things.

Nick Van Zanten

Monday, September 27, 2021

My work starts from my pleasure in the tactile and visual experience of myself in these fabrics, which are shiny as if they were wet, colorful like neon, so wonderfully smooth that you just want to slide around in them, and so utterly unnatural that they put me outside my normal body. This same artificiality also makes them strange and abject, offering a promise of transformation that they can’t fulfill.

Julie Evans

Thursday, September 2, 2021

In my sculptures, I have to compress anything I may want to suggest into the singular form, with no assistance from the space that surrounds it. This difference changes everything and requires me to be more direct, more specific, and more finite in the work. I can not smudge something into a ghostly state, (suggesting character) or indicate where or how a form exists in space. Working with the isolated forms themselves means they must be complete, discrete, and particular unto themselves.

Elisa D’Arrigo

Saturday, August 14, 2021

I consider the works’ configurations to be poses in a way. They are taking a stance or are in a paused position between moves. I feel their position in my own body, and those positions often record or express my own transitory states of mind. Clay is a good material for revealing the previously unthought.

A Reminiscence of Carol Hepper

Tuesday, July 13, 2021

Sarah van Ouwerkerk remembers Carol Hepper who passed away on April 29 2021.

Listening to her, I was transported back to my own childhood in Wisconsin, lying in a cow pasture with my sister, staring up at the sky and thinking life was perfect. I will always be grateful for those conversations that reminded me of how I got here. They were sweet, tender, and inspiring. Theory, the business of art, all that comes later and is often more difficult to navigate. First, the artist has to be born, and Carol knew where she came from.