Seconds in An Hour, 2020 by Scott Albrecht (b. 1983)
Acrylic on wood
28 1/4 × 28 1/4 in; 71.8 × 71.8 cm
"A large part of my process is spent writing and reflecting on situations and things happening around me. It helps me process and understand things more while giving me something to react to within my work. For the woodworks specifically, I generally start with a hand drawn sketch of the forms and once I get it to a good place I translate it to a vector illustration and use a laser cutter to cut out the initial shapes. Once I have the pieces cut, I go through a pretty lengthy production process of gluing, sanding, painting and reassembling all the pieces."
― S A
Acrylic on wood
28 1/4 × 28 1/4 in; 71.8 × 71.8 cm
"A large part of my process is spent writing and reflecting on situations and things happening around me. It helps me process and understand things more while giving me something to react to within my work. For the woodworks specifically, I generally start with a hand drawn sketch of the forms and once I get it to a good place I translate it to a vector illustration and use a laser cutter to cut out the initial shapes. Once I have the pieces cut, I go through a pretty lengthy production process of gluing, sanding, painting and reassembling all the pieces."
― S A
Seated Girl Seen from the Back, 1928 by Salvador Dali (1904-1989)
Oil on canvas
41 × 30 in; 104 × 74 cm
From an interview by Mike Wallace with Dali:
WALLACE: . . . what do you think will happen to you when you die?
DALI: myself not believe in my death.
WALLACE: You will not die?
DALI: No, no believe in general in death but in the death of Dali absolutely not. Believe in my death becoming very -- almost impossible.
WALLACE: You fear death?
DALI: Yes.
WALLACE: Death is beautiful but you fear death?
DALI: Exactly......because Dali is contradictory and paradoxical man.
Oil on canvas
41 × 30 in; 104 × 74 cm
From an interview by Mike Wallace with Dali:
WALLACE: . . . what do you think will happen to you when you die?
DALI: myself not believe in my death.
WALLACE: You will not die?
DALI: No, no believe in general in death but in the death of Dali absolutely not. Believe in my death becoming very -- almost impossible.
WALLACE: You fear death?
DALI: Yes.
WALLACE: Death is beautiful but you fear death?
DALI: Exactly......because Dali is contradictory and paradoxical man.
Bleed in Black and Gold, 2019 by Joey Bates (b. 1982)
Cut paper, glue, and acrylic paint
17.3 × 22 × 2.5 in; 44 × 55.8 × 6.4 cm
"It typically takes me 40+ hours to do a piece. The larger the piece, the more time, of course. Some of the large pieces have taken hundreds of hours. I enjoy the process the most; time often melts away when I’m really on a roll.
A number of factors come into play in keeping me going with the work. One of the biggest things is competition, kind of with myself, but I address every body of work as another chance to come out swinging. I want to knock people’s socks off and sell work. That mindset keeps me hungry, and it can keep me working for a long time."
― J B
Cut paper, glue, and acrylic paint
17.3 × 22 × 2.5 in; 44 × 55.8 × 6.4 cm
"It typically takes me 40+ hours to do a piece. The larger the piece, the more time, of course. Some of the large pieces have taken hundreds of hours. I enjoy the process the most; time often melts away when I’m really on a roll.
A number of factors come into play in keeping me going with the work. One of the biggest things is competition, kind of with myself, but I address every body of work as another chance to come out swinging. I want to knock people’s socks off and sell work. That mindset keeps me hungry, and it can keep me working for a long time."
― J B
Fake Abstract (Ingres) 2020 by Lino Lago (b. 1973)
Oil on Canvas
29.5 × 25.6 in; 75 × 65 cm
"My pieces are oil paintings, technically done in the most traditional way. I work by copying fragments of feminine portraits, preferably from the XIX century.
I try to express a universal ideal of art where the novelty is not more important than tradition. “Fake Abstract” is a subtle and ironic critique of contemporary art."
― L L
Oil on Canvas
29.5 × 25.6 in; 75 × 65 cm
"My pieces are oil paintings, technically done in the most traditional way. I work by copying fragments of feminine portraits, preferably from the XIX century.
I try to express a universal ideal of art where the novelty is not more important than tradition. “Fake Abstract” is a subtle and ironic critique of contemporary art."
― L L
Hello Kitten, 2019 by Matthew Grabelsky
Oil on Canvas
16 × 20 in; 41 × 51 cm
"Most of the time I listen to audiobooks while I’m painting. When I’m composing a piece I need it to be quiet but when I’m painting listening to a story helps me concentrate. I love that painting allows me to listen to books all day long. I can’t imagine ever having had the time to sit down and get through War and Peace but by listening it only took me a couple of weeks. All of these stories then feed me creative ideas all day which I can then incorporate into my work."
― M G
Oil on Canvas
16 × 20 in; 41 × 51 cm
"Most of the time I listen to audiobooks while I’m painting. When I’m composing a piece I need it to be quiet but when I’m painting listening to a story helps me concentrate. I love that painting allows me to listen to books all day long. I can’t imagine ever having had the time to sit down and get through War and Peace but by listening it only took me a couple of weeks. All of these stories then feed me creative ideas all day which I can then incorporate into my work."
― M G
Nymphéas, 1908 by Claude Monet (1840 - 1926)
Oil on Canvas
36.2 × 35 in; 92 × 89 cm
"I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd . . . Please be kind enough to have some money forwarded to me."
― C M to his art-dealer Durand-Ruel
Oil on Canvas
36.2 × 35 in; 92 × 89 cm
"I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd . . . Please be kind enough to have some money forwarded to me."
― C M to his art-dealer Durand-Ruel
A Habit that Refuses to Die, 2016 by Amanda Greive (b. 1978)
Oil on wood panel
30 × 30 × 1.5 in; 76.2 × 76.2 × 3.8 cm
"Though I come from a family that is very musically and artistically inclined, I originally went to school to become an epidemiologist. After graduating from school, I took a job but still felt unfulfilled. A little over 10 years ago, I decided to take a drawing class at my local community college and instantly felt that making art was what I was meant to do and I've been doing it ever since.
In my art-making process, the portrayal of relationships symbolically through the interplay of objects and the female figure has been a priority. I have found that traditional representation has, thus far, best suited me in my exploration of this topic, and my imagery references both classical and contemporary symbolism and iconography. While my paintings are singular to my own experiences, it is my hope that they also have a universality to them, wherein the viewer is able to relate his or her own relationships to the portrayals, making the act of viewing the painting an experience in its own right."
― A G
Oil on wood panel
30 × 30 × 1.5 in; 76.2 × 76.2 × 3.8 cm
"Though I come from a family that is very musically and artistically inclined, I originally went to school to become an epidemiologist. After graduating from school, I took a job but still felt unfulfilled. A little over 10 years ago, I decided to take a drawing class at my local community college and instantly felt that making art was what I was meant to do and I've been doing it ever since.
In my art-making process, the portrayal of relationships symbolically through the interplay of objects and the female figure has been a priority. I have found that traditional representation has, thus far, best suited me in my exploration of this topic, and my imagery references both classical and contemporary symbolism and iconography. While my paintings are singular to my own experiences, it is my hope that they also have a universality to them, wherein the viewer is able to relate his or her own relationships to the portrayals, making the act of viewing the painting an experience in its own right."
― A G
Enxurrada (Flood) 2014 by Vanderlei Lopes (b. 1973)
Polished bronze
55 x 31 x 12 in; 140 x 78 x 30 cm
"I came to live in the city of São Paulo, the state capital, to broaden my studies and find an experience that was more directly urban. This led me to work as a bus money collector and at that time it held a certain fascination because the experience thrust me totally into the city, the ambience and urban space that was more aligned with my interests. The experience of moving around, the daily perception of changes around the city was foundational. There was a continual panoramic view of Sao Paulo, with its construction and deconstruction, an imposing horizontality pitted against a powerful desire for vertical integration; the thought of space and time in the urban social context."
― V L
Polished bronze
55 x 31 x 12 in; 140 x 78 x 30 cm
"I came to live in the city of São Paulo, the state capital, to broaden my studies and find an experience that was more directly urban. This led me to work as a bus money collector and at that time it held a certain fascination because the experience thrust me totally into the city, the ambience and urban space that was more aligned with my interests. The experience of moving around, the daily perception of changes around the city was foundational. There was a continual panoramic view of Sao Paulo, with its construction and deconstruction, an imposing horizontality pitted against a powerful desire for vertical integration; the thought of space and time in the urban social context."
― V L
Radio, FLUX Series, 2019 by Alia Ali (b. 1985)
48 × 36 in; 122 × 92 cm
Pigment print on photorag 310gr. with UV laminate mounted on aluminum dibond in upholstered frame (wood & wax print)
To me, my practice is about risk and facing fears. I realized that I was the most afraid of how people would react to the work. I wasn’t thinking in the moment or what I was doing, I was thinking about what people would say.
That’s probably the biggest restriction that one can place on themselves, and that fear can be paralyzing. It’s not about producing something for a final result, it’s the space which is carved out during the process that makes room for surprise and discovery.
― A A
48 × 36 in; 122 × 92 cm
Pigment print on photorag 310gr. with UV laminate mounted on aluminum dibond in upholstered frame (wood & wax print)
To me, my practice is about risk and facing fears. I realized that I was the most afraid of how people would react to the work. I wasn’t thinking in the moment or what I was doing, I was thinking about what people would say.
That’s probably the biggest restriction that one can place on themselves, and that fear can be paralyzing. It’s not about producing something for a final result, it’s the space which is carved out during the process that makes room for surprise and discovery.
― A A
Pagoda (Grey Day) 2017 by Anthony Sonnenberg (b. 1986)
19 × 12 × 9 in; 48 × 30 × 23 cm
Cone 10 reduction fired porcelain over stoneware, found ceramic tchotchkes, glaze
I use time‐intensive construction methods to create totems and environments that reference the cyclical nature of growth and decay, and suggest layers of time that move beyond the art historical and into the geological and emotional.
― A S
19 × 12 × 9 in; 48 × 30 × 23 cm
Cone 10 reduction fired porcelain over stoneware, found ceramic tchotchkes, glaze
I use time‐intensive construction methods to create totems and environments that reference the cyclical nature of growth and decay, and suggest layers of time that move beyond the art historical and into the geological and emotional.
― A S
Hondolea (Marine Abyss) 2021 by Cristina Iglesias (b. 1956)
The sculpture is located in the lighthouse building on Santa Clara Island, and takes up the entire space of the building. The sculpture is made up of a large bronze vessel that artristically recreates images of the depths of the bay of San Sebastián and the nearby coast. Inside the basin, the water flows and follows the rhythm of the tides.
"I like to think about life and how plants and other life forms, even insignificant little ones like lichens, fungi and algae, are so very responsive to weather, water and the lack of water, and how they form layers that can connect us to the rest of the universe."
― C I
The sculpture is located in the lighthouse building on Santa Clara Island, and takes up the entire space of the building. The sculpture is made up of a large bronze vessel that artristically recreates images of the depths of the bay of San Sebastián and the nearby coast. Inside the basin, the water flows and follows the rhythm of the tides.
"I like to think about life and how plants and other life forms, even insignificant little ones like lichens, fungi and algae, are so very responsive to weather, water and the lack of water, and how they form layers that can connect us to the rest of the universe."
― C I
Three studies of the male back, 1987 by Francis Bacon (1909 - 1992)
31.9 × 23.3 in; 81 × 59.2 cm
Lithographs on Arches paper
“My painting is not violent; it’s life that is violent. I have endured physical violence, I have even had my teeth broken. Sexuality, human emotion, everyday life, personal humiliation (you only have to watch television)―violence is part of human nature. Even within the most beautiful landscape, in trees, under the leaves the insects are eating each other; violence is part of life.”
― F B
31.9 × 23.3 in; 81 × 59.2 cm
Lithographs on Arches paper
“My painting is not violent; it’s life that is violent. I have endured physical violence, I have even had my teeth broken. Sexuality, human emotion, everyday life, personal humiliation (you only have to watch television)―violence is part of human nature. Even within the most beautiful landscape, in trees, under the leaves the insects are eating each other; violence is part of life.”
― F B
Blood Orange, 2023 by Adrian Kay Wong (b. 1991)
Oil on canvas
42 × 38 in; 106.7 × 96.5 cm
“The only goal I have in mind every morning is just “Make more paintings.” That said, I treat each new work independently almost like a puzzle or a “figuring out” of visual constraints. The decisions in my image-making are dictated and informed by the particular set of shapes I’m working with. For example, when I draw out the curvature of a flower vase it then determines the curvature of the top of a chair, then the figure’s face, then the way her hair falls, and so on. Ultimately, my work is process driven.”
― A K W
Oil on canvas
42 × 38 in; 106.7 × 96.5 cm
“The only goal I have in mind every morning is just “Make more paintings.” That said, I treat each new work independently almost like a puzzle or a “figuring out” of visual constraints. The decisions in my image-making are dictated and informed by the particular set of shapes I’m working with. For example, when I draw out the curvature of a flower vase it then determines the curvature of the top of a chair, then the figure’s face, then the way her hair falls, and so on. Ultimately, my work is process driven.”
― A K W