Showing posts with label abstract art. Show all posts
Showing posts with label abstract art. Show all posts

October 23, 2020

STRIPES

Prismacolor markers on Tyvek, 24 x 24"
Everything counts. And everything's connected.

It's almost exactly a year ago that I started making these striped drawings. I was having a lot of anxiety at the time, and the only thing I could think of to calm my nerves was to color long straight vertical lines over and over. 

So much has happened in one year. I have gone back and forth, working on the stripes, then putting them away, working on more stripes, then putting them away, in different mediums, materials, and sizes. All along, I struggled to see their relevance within the context of my painting practice. I knew they were worthwhile to make, but I didn't know what to do with them. 




Four 5 x 7" drawings, prismacolor markers on card stock, the backs of old gallery postcards


With the pandemic and quarantine, the need for anxiety reducing activity became paramount, and the stripes suddenly were brought to the forefront of my studio practice. Working on these scraps (literally, since some of the drawings are on scraps of cardboard, and the knitted pieces are mostly made with leftover scraps of yarn) has been a great source of reassurance and consistency for me. And, as with most things, the more you do, the more you discover. The work has grown in scope and importance. The stripes seem to have taken on a life of their own, infiltrating even the large paintings now.


detail of knitted piece


I still don't know exactly how it all fits together, but my color choices, and the energy behind them, the organic nature of so much of it, which includes the imperfections of the handmade and hand drawn object, all of that speaks to what interests me in my work. I can't say I'm pleased with the 'extra bout of anxiety' that first led me to the stripes, but I'm pleased I made something out of it, and that I keep making, in spite of not knowing why or where it's going.

I keep reminding myself, everything counts, and everything's connected. 


Grasping, prismacolor markers on fluorescent cardstock, with collaged elements


See more drawings on my website.






August 24, 2020

Pandemic blues and opportunities



This week I picked up the paintings from my show at Pen & Brush. Thrilled to have been asked to participate, thrilled that we were able to have an opening reception right before the pandemic, but crushed that no one got to see the show, and that those paintings are now rolled up in storage and will probably not get shown again. Also this week I finally got word about the artist residency program I was supposed to participate in this month at Arts Letters & Numbers. It is now officially postponed until further notice. 

I am extremely fortunate to be on my own, with a place to live and work, and the freedom of time and commitment, but having all communal activities shuttered or postponed, some indefinitely, is certainly bittersweet. 

Time itself is bittersweet. The state of the world, our country, our communities, leaves me feeling scattered and restless. 

I'm aware that this time I've been given is a gift, an opportunity to be focused and introspective, innovative, productive. So, each week I start all over with lists of how not to squander it. How to make the most of these moments. 

As today is Monday, I guess I'm sending this out into the world to anyone else feeling this way-
Keep working! little by little by little... 


Untitled Pink I, oil on canvas, approx. 46x40 inches

Untitled Pink II, oil on canvas, approx. 46x40 inches

Untitled Pink III, oil on canvas, approx. 27x35 inches





June 6, 2020

New Drawings

Learning patience is not an easy thing.
The second I asked for it, all my markers and pens ran out of ink simultaneously! No joke! I'm grateful for the lesson, and in spite of that, I'm really enjoying these drawings, not only for the process of making them, but because I feel certain they will make their way to larger paintings, and that makes me happy. The series is ongoing and is titled Fill My Cup, each one is 8 x 10 inches, art markers and colored pencil on paper











February 21, 2020

In Defense of Painting

Installation view of the exhibition, In Defense of Painting, at Pen + Brush


Pen & Brush is a not-for-profit organization showcasing the work of female artists and writers. They have over 125 years under their belts fighting for gender equity in the arts. Amazing! I am so excited and honored to be showing my work here, and to be part of such a wonderful history. 

















at the opening February 27


In Defense of Painting
February 27 - April 11, 2020


Pen + Brush

29 East 22nd Street, New York , NY          
Opening Reception: Feb. 27th, 6-8pm


In Defense of Painting brings together three contemporary artists, Julia Jo, Samantha Palmeri, and Hojan, who are working with the age-old medium through the basics of form, color, shape, and materiality on a flat surface to embody feelings, emotions, and possibly new ways of seeing. In the twenty-first century context, generations have now lived through the death of painting many times over – yet the medium’s capacity to hold an expression of who we are as humans remains boundless. This boundlessness seems ever more compelling in the internet age.


Each of these artists grapple with pigment, allowing it to dry at various stages of abstraction and, at times, giving way to figuration and from there, animations, all while definitively leaving moments of ambiguity on the surface. Through their invention of forms, viewers are encouraged to enter at their own point of reference, to dive in, to swim, to see, to think, and to feel. This way of painting is a humanist act. It connects us. It doesn’t have to be new every time but somehow it is. Yet, perhaps that is beside the point.


Samantha Palmeri uses personal experiences to inform her painting and in turn “exteriorize our human and cultural interactions” through the examining of the natural, physical, and spiritual world. Born in Staten Island, New York, Palmeri received her Bachelor of Fine Arts from the School of Visual Arts in 1996. She has exhibited throughout New York and has been awarded the Arts Letter and Numbers Residency for 2020. Palmeri works with both figurative and abstract shapes to intentionally create ambiguous forms that aim to challenge the viewer. Focusing on materiality and movement, Palmeri obscures the everyday to explore the relationships and forces that pulse through both objects, space, and the paint itself.









February 11, 2020

finding meaning



Samantha Palmeri, Unravel, 2018, oil and charcoal on canvas, 60 x 60 inches

When I titled this piece, a little over a year ago, I pictured unraveling as a breaking apart of things, and it felt like a good metaphor for me. 

So much has changed since November 2018, and I can now appreciate that to unravel is also to untangle, and resolve

I've never shown the painting before, so I'm excited that the timing seems so perfect to have it included in a group exhibition coming up in March in Beacon, NY. 


Loss doesn't equal failure

This is hard to sink in because we are brainwashed to believe we need things that we don't really need, and that we are supposed to want things that we don't always want. We can make our own rules and find our own way of doing things. Things that make us feel most like ourselves. Even if, and especially when, it doesn't make any sense to anyone but us.


lovers
friends
husbands
children
houses
possessions
mothers
brothers
I lose them all
little by little
and then all at once
still
in this sea of loss
I find things
in packing your bags
my lost kimono
and in filling my voids
without warning
the answer
Here all along









February 1, 2020

fake it till you make it

detail of working painting, oil on canvas



This morning I made coffee, put on my favorite Chopin, peeled an orange, fried up two beautiful eggs with butter and crusty bread, which I slid onto my grandmother's perfectly sized Jadeite plate. I even lit a candle. 
A good friend recently said to me, I’ll know you’re in a real relationship Samantha when you gain those relationship 10 lbs. The other day I said to her, hey you’re right! I’m finally having a real relationship. With myself. Apparently it’s going really well I’ve already gained 5 lbs. Cue drum laughter..
Listen, I know how to wine and dine myself
The spirit of self-care has extended into my art studio as well. I am feeling a new sense of freedom and independence. I am no longer painting angsty continuations of what came before. I've decided to paint the joy I want to feel, and damn if it's not working. Is that the expression, fake it till you make it? I'm okay with that. My studio is a positive ray of light, and I've got the comments on instagram to prove it, Lol
I know the world is falling apart and all, and I'm here writing self-help messages to myself, but sometimes you just have to go in the studio and close the door. 


detail of working painting, oil on canvas


detail of working painting, oil on canvas

September 18, 2019

PAINTING WITH ACTION

Samantha Palmeri, The Things Between Us II, 2019, oil on canvas, 60 x 60 inches

Actions speak louder than words, and my paintings speak louder than me.

Unless you put your words and thoughts into action they lose meaning. In the end wishful thinking is just wishful thinking.

Friends who constantly say to you, I'd love to, I wish I could but can't, and never do, aren't really your friends. Friends actually show up, physically and emotionally. And isn't it wonderful when they do!

Then there's my paintings, which is what I really want to talk about. I'm so proud of this work that is now showing at the Catalyst Gallery in Beacon, New York.

My amazing artist friends who have seen this work in progress know what a struggle it was, my constant questioning, uncertainty, and doubt. And yet somehow the work has ended up speaking  louder than my trepidation.

I guess I'd say these are paintings of action. They showed up! Somewhere between my brain and my hand came some resolute power to pull it through.

The work is all the things I'd like to be: vibrant, decisive, satisfying.

(other people's praise not mine btw)

This reassures me, and we all need that reservoir of surety don't we, that I am doing exactly what I was meant to be doing.

Installation view, Samantha Palmeri, The Things Between Us, Catalyst Gallery, 2019


The Things Between Us is showing at Catalyst Gallery through September 29th.
I am at the gallery weekends 12-6 and by appointment any day of the week.






February 22, 2019

NYC ART: 3 MUST-SEE SHOWS

I went to see some gallery shows yesterday, in particular Dana Schutz at Petzel Gallery, Judy Pfaff at Miles McEnery, and Brenda Goodman at Sikkema Jenkins.

Judy Pfaff, detail of Quartet II

Judy Pfaff, Quartet II, 2018, Photographic inspired digital image, steel frame, acrylic, expanded foam, aluminum discs, lightbulbs, wood, melted plastic, Styrofoam. 128.5” x 160” x 60”

Dana Schutz, Trouble and Appearance, 2019, Oil on canvas, 90 x 96 inches

Brenda Goodman, Let the Match Begin, 2017, oil on wood, 60 x 72 inches

Brenda Goodman, Possibility of Age, 2018, oil on wood, Two parts: 80 x 144 inches overall


WOW. These three artists are kicking ass with uncontained, unbridled energy, intention, and material-love. Monsters of color, detail, and form. I saw the shows in that order, Schutz, Pfaff, and Goodman. I left the Dana Schutz exhibition feeling like I should just give it up right now. The work feels so big, and a lot of it is so big. Big and bold and juicy. I imagined my paintings next to hers like little puny specks. Then I walked into Judy Pfaff's show and just started smiling uncontrollably. She is total exuberance! I was still smiling when I got to the Brenda Goodman show. Goodman has been at it for so long, I think of the saying, slow and steady wins the race. She is persistence. The surface details and little unexpected moments everywhere are too marvelous!

These women are laying it all out there. Led by a very personal, intuitive layering of material and meaning. I am so inspired. I feel like I have to go back and soak up some more.

These shows prove that seeing is believing. Visual art NEEDS to be experienced in person. Not one online image I viewed of any of these artworks came even close to what it feels like to be in a room with them.

Both the Dana Schutz and Brenda Goodman exhibitions end tomorrow, so if you haven't been, high tail it over there. Judy Pfaff's exhibit runs through March 9th.


Dana Schutz, Painting in an Earthquake, 2019, Oil on canvas, 94 x 87.75 inches

Brenda Goodman, Bringing it Home, 2018, oil on wood, 16 x 20 inches

Judy Pfaff, Quartet I, 2018, Photographic inspired digital image, wire frame, acrylic, melted plastic, aluminum discs, fungus, paper, glitter, Styrofoam, florescent light. 120.75” x 156” x 32”

Judy Pfaff, detail of Quartet I

Dana Schutz, Washing Monsters, 2018, Oil on canvas, 94 x 87.75 inches

Dana Schutz, Boatman, 2018, Oil on canvas, 88 x 75 inches

Dana Schutz, Smoker, 2018, Bronze, 28 x 30 x 12 inches

Brenda Goodman, Pink, 2018, oil on wood, Two parts: 50 x 72 inches overall

Brenda Goodman, Pushing Through, 2018, oil on wood, 14 x 18 inches

Brenda Goodman, Say It's So, 2018, oil on wood, 12 x 16 inches

Dana Schutz, The Visible World, 2018, Oil on canvas, 108 x 140 inches

Judy Pfaff, Quartet III, 2018, Photographic inspired digital image, acrylic, expanded foam, aluminum discs, Melted plastic, paper, acrylic, melted plastic, Styrofoam, lightbulbs. 121” x 149” x 21”

Judy Pfaff, Installation view

Dana Schutz, Washing Monsters, 2018, Bronze, 44 x 38 x 17 inches

Dana Schutz, detail of Strangers, 2018, Oil on canvas, 88 x 84 inches






February 6, 2019

#artistproblems

I've been able to get my painting schedule back and focus on full time work in the studio again. It's been a while. Here's how it's been going. Last week out of sheer frustration I threw my paint brush on the floor while exclaiming, I can't believe I forgot how to paint! A few days later I was feeling like a painter again and actually enjoying myself. Hashtag artist problems. This morning I added a new painting to my website www.samanthapalmeri.com. I'm excited that work for my upcoming show in September at the Catalyst Gallery is finally well on its way.

I've decided to leave the paintbrush on the floor just to remind myself, every day is a new day.


half blurry picture of paintbrush on the floor.
palette table with that little rubber hand I won at a Funky Spunky Literature Night
I'm kinda obsessed with it. 
unfinished newest painting. doesn't have a title yet. oil on canvas, 40 x 40 inches



January 3, 2019

Artist of the week Elizabeth Murray

Bowtie, 2000
Everybody Knows, 2007, oil on canvas, 87 1/4 x 93 inches

(the last painting made before the artist died in 2007)


To follow through with some of those unfinished posts I recently mentioned, here is Artist of the week Elizabeth Murray.


Elizabeth Murray's heroic paintings are as fearless as the life she seems to have led. A woman who wanted it all, and achieved it against all the odds; to have her children and family, and her artwork all playing center stage at once. She is a hero and an absolute inspiration. 
The Sun and the Moon, 2005, oil on canvas on wood, 9 feet 
Do the Dance, 2005, oil on canvas on wood, 9 1/2 x 11 feet
Kind of Blue, 2004, oil on canvas on wood, 9 x 11 feet
Midnight Special, 2000, oil on two canvases, 92 7/8 x 129 1/2 inches
Bill Alley, 2006, 3D lithographic construction, 35 x 41 1/4 inches
Hey Madge, 2001-02, oil on canvas on wood, 53 x 48 inches
Worm's Eye, 2002
Cry Baby, 2000, oil on canvas, 105 3/4 x 105 3/4 inches
Path/Door, 2002
Mister Postman, 1998, oil on canvas, 82 x 77 inches
for a better sense of scale: Bop, 2002-03, at MOMA

As always, I try my best to include the correct information for the images I post. In this case I was unable to find full descriptions for a few of the paintings. 

With one exception, these paintings are all from 2000-07. There are so many more layers to her work and it's nice to see the progression throughout the years, but these just screamed EXUBERANCE to me so that's why I chose them. 

Further looking and reading:

Pace Gallery
elizabethmurrayart.org
Art21
Everybody Knows, a PBS film