In the Studio

May 02, 2014, 9:18am

In the Studio: Process of a Painting with Chris Thorson

Thinking back to my senior year of college, I lived in a co-ed rental house with a bunch of guys and I remember the shocking and seemingly exponential amount of dirty socks that would congregate in the living room. In fact, there were so many that I christened a plastic laundry bin as a permanent dirty sock receptacle, living quietly behind one of the leather sofas.

Dirty socks are Chris Thorson’s (NAP #109) recent subject for her three-dimensional cast and painted works. These discarded, twisted forms carry a life of their own that tell a number of stories – where they were that day (mud from a hike or wetness from the rain), what kind of activities ensued (knee-high soccer socks or thin black dress socks), and what kind of mood the wearer might be in (sleeping sloth socks or whimsical polka-dots). For something so ugly, dirty, and potentially smelly, these worn socks carry a beauty that Thorson illuminates in her works.


Chris Thorson | detail from “Bro Series,” mixed media: hydrocal mixture, gouache, watercolor, colored pencil, oil paint, and dry pastel, 2014. Courtesy of the artist.

Listed under: In the Studio

April 17, 2014, 9:58am

In the Studio: Process of a Painting with Cary Reeder

Cary Reeder (NAP #108) paints industrial sites in a very particular manner. These normally cold places are made to feel slightly warm because of her attention to precise details like shadow, color, tone, and hue. They are also compelling, as if Reeder is able to call our attention to details that we might have overlooked in our own neighborhoods and cities.

In this Process of a Painting, we join Reeder on her lengthy, complicated, and rather grueling process toward completing “They Still Work.” Follow along with Reeder’s thoughts and insight embedded throughout her equally important visual documentation of the process. – Ellen C. Caldwell


Cary Reeder | “They Still Work,” acrylic on canvas, 2014, 28”H x 36” W. Courtesy of the artist.

Listed under: In the Studio

April 15, 2014, 10:28am

In the Studio: Process of a Painting with Howard Sherman

In this Process of a Painting, painter and collagist Howard Sherman (NAP #60, #72, #90, #108) gives great insight into his process, which is based on experimentation, intuition, and action. Sherman does not have a formal approach to his works, which he feels out as he goes, much as many artists do. His approach is additive and subtractive though, and he finds the end result and the painting’s completion at unexpected moments during this experimental time.


Howard Sherman | "Edgy community of unconventional types", 70 x 60 inches, acrylic, canvas and marker, 2014. Courtesy of the artist.

In his own words, “I have had a long-standing interest in creating paintings that mix muscular abstraction with a playful cartoonist sensibility. The results have been commanding and humorous. My most recent work has included a disruption of my painting’s surfaces with collage in a raw and powerful way.”

What I love about Sherman’s process is that it is not necessarily what you expect, if you’ve only seen his finished works. It’s a fun, investigational journey, resulting in witty, playful, and wonderful painted finishes. – Ellen C. Caldwell, Los Angeles Contributor

Listed under: In the Studio

February 23, 2014, 11:38am

In the Studio: Process of Painting with Nick Brown

In this Process of a Painting, we follow painter Nick Brown through his creation of Gloaming which is part of his larger, ongoing series Ice House.

English-born and LA-based Nick Brown paints oversized and grandiose oil paintings of an unexpected LA subject: snow and ice. Journeying into surrounding mountain communities outside of Los Angeles, he photographs glimpses of what man has left behind to be re-subsumed by the earth…Architectural ruins, signs of old houses and lives once lived, and decaying wood burning ovens and chimneys all point to mother nature’s slow, yet beautiful decay. – Ellen C. Caldwell


Nick Brown |
Gloaming, 2013, oil on canvas, 96"x 72"x 19 1/2"

Listed under: In the Studio

February 19, 2014, 6:30pm

Hayal Pozanti at the Tamarind Institute

The Tamarind Institute was founded in 1960 by June Wayne with the intent of revitalizing and elevating the status of lithography in the U.S.; It moved to Albuquerque in 1970 where it became affiliated with the University of New Mexico. With a strong focus on research, education, collaborative exchange and experimentation, Tamarind has undeniably changed the course of lithography through its 54 years of operation.

Fresh off a couple of high-profile exhibitions at Susan Vielmetter in Los Angeles and DUVE Berlin, New York-based painter Hayal Pozanti made a brief stop in Albuquerque in late-January for a week-long printmaking residency at the Tamarind Institute. Her efforts resulted in several monotypes and two lithographs that will be editioned later this spring. During her visit, we had the opportunity to talk about her experience at Tamarind as her first foray into lithography. – Claude Smith, Albuquerque/Santa Fe Contributor


Hayal Pozanti at Tamarind; photo courtesy of Logan Bellew

Listed under: In the Studio, Interview

February 03, 2014, 3:47pm

In The Studio: Process of a Painting with Terrence Campagna

Terrence Campagna uses new and found wood to make art that is both painterly and sculptural.  Gathering wood from a range of places including Wisconsin, Nebraska, New York and more, Campagna (NAP #101) pieces together beautifully weathered pieces with newer and bolder painted pieces that are inspired by the traffic signs on the interstate. 

In a way, his work encapsulates the blurriness our eyes encounter when taking in the juxtaposition of aged buildings and new signs we see while speeding down an interstate.  As with all Process of a Painting pieces, we follow Campagna’s work from start to finish…A process which began by filming video studies for inspiration and one which ended with two additional pieces (Untitled) pictured at the end of the post. – Ellen C. Caldwell, Los Angeles Contributor


Terrence Campagna | Plumule (Reedsburg, WI/ Omaha, NE/ Marquette, NE/ Utica, NY), 10' x 5.5' x 1', 2013.

Listed under: In the Studio

April 30, 2013, 8:30am

In the Studio: Process of a Painting with Erin Murray

Erin Murray’s (NAP #69, #98) oil paintings have a way of making the everyday environment feel surreal, fluid, informal, and in flux.  Regular land- and cityscapes are painted to feel slightly off, making the viewer feel faintly uneasy compositionally, yet vaguely at home geographically.

April 25, 2013, 8:30am

In the Studio: Process of a Painting with Matthew Bourbon

Matthew Bourbon (NAP #90, #102) creates a wonderful balance in his paintings – he fills organic shapes and figures with loud, bold, geometric shapes.  Rather than seeming meddlesome or intrusive, though, these shapes look and feel quite at home in the spaces they occupy.

January 23, 2013, 8:30am

In the Studio: Process of a Painting with Laura Lark

Laura Lark (NAP #102) has been making pointillist portraits and video installations for the past decade.  Painstakingly detailed and almost obsessive in artistic process and dot application (similar in methodology but even more precise than someone like Bonard Hughins), her portraits result in a delicate and even nostalgic aesthetic that walks a fine line; the softness of the images is almost undermined by the painstaking efforts it takes Lark to complete them.  Seeing the miniscule details and knowing the time and potential agony involved in creating such works opens a window to viewers and

January 22, 2013, 8:30am

In The Studio: Pairings with Eric Elliott

Eric Elliott's fourth solo exhibit at James Harris Gallery, called Pairings, shows a body of work getting much muckier. And the muck is getting more colorful. Paint, slowly and painstakingly built up in daubs, nearly curls off the canvas like calcified petals, resembling the flora with which he is obsessed. (His botanical illustrations fill notebooks scattered around his studio; dried bouquets languish in vases.) Elliott’s fascination with rendering the representational abstract is consistently apparent in his work: the subject of his paintings is sometimes legible, sometimes it spastically dissolves. Pairings takes this study of abstraction to a dialogic place.

Listed under: In the Studio, Interview, Q&A

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