In the Studio
July 14, 2015, 9:14am
In the Studio: Process of a Painting with Camille Hoffman
Camille Hoffman beautifully applies paint and mixed media to create collaged worlds that are fantastically mesmerizing, while also grounded and painterly. Her works inhabit a liminal space walking the line between realistic and other-worldly; timely and eternal.
In her recent work, Buried High in Heaven: Journey through nine antinomic realms, Hoffman uses golf course calendars, hair, plastic from a tablecloth, photos, and oil paint to create a monumental ode to her own artistic process and practice. Many of the allusions and collaged images in the work include references to her past weaving installations, thus welcoming viewers into a meditative space to reflect upon Hoffman’s own challenges, goals, and successes as a practicing artist. - Ellen C. Caldwell, Los Angeles Contributor
Camille Hoffman | Buried High in Heaven: Journey through nine antinomic realms, 2015, Oil, photos, plastic tablecloth, golf course calendars, and hair on board, 108 x 48 inches.
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.
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.
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
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"
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.
December 07, 2012, 8:30am
In the Studio: Process of a Painting with Karen Ann Myers
Karen Ann Myers’ (NAP #100) series of scantily clad, young females rest on their beds, but seem unrested and uneasy. They look to the viewer in a confrontational and semi-seductive manner, as if being photographed or watched voyeuristically—thus positioning the viewer in an awkward role as the voyeur getting a glimpse into or playing an active role in the intimate space of these young women.
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