SHARI ABRAMSON

“A gorgeous palette combines with strength of brush stroke in Abramson’s lush and poetic abstracts. ”
— Coco Myers

“My work relies upon the moment I leave my interpretations behind

remembering to leave the window open

the wind feels warm upon my cheek

the sun upon my eyes

summons the light” — SA

Shari Abramson was born and raised in Queens, New York and attended the High School of Music and Art. She got her BA in art history from SUNY at Stony Brook, where she studied under Lawrence Alloway, and her MA in Art Education at New York University, NY. She was a model and friend of Raphael Soyer.

Abramson has taught art in New York City and in Southampton, NY schools, as well as privately in her East Hampton, NY studio. Her work has been exhibited at Spainerman Gallery; folioeast, Arlene Bujesi, and the Ross School Gallery, East Hampton, NY; Silas Marder Gallery, and Kathryn Markel Fine Arts Gallery, Bridgehampton, NY; Ashawagh Hall, Amagansett, NY; the Southampton Cultural Center, Southampton, NY: and the James Chapel Gallery, New York, NY, among other galleries.

Shari Ambramson by Jaime Lopez

Shari Ambramson by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

SHARI ABRAMSON speaks to folioeast’s COCO MYERS

CM/ WHAT MATERIALS DO YOU USE AND WHY?

SA/ Many: Oil, canvas, paper, graphite, ink, pastel, newspaper, gouache, photo transfer, cardboard, and found objects. These materials give me the diversity I need to to form the image I am compelled to express.

CM/ CAN YOU DESCRIBE HOW YOU WORK?

SA/ In the studio I listen to music, paint, print, assemble and watch, looking and eliminating what does not work and keeping what does. Then look again. Continuing this practice until it sits right.

CM/ WHY THE EAST END? WHEN DID YOU MOVE HERE?

SA/ My husband and I came here twenty-five years ago. We wanted to be near the ocean and raise our children here. Its beauty surrounds all I do. The East End holds the beauty of the early sunrise over the bay and the setting sun through the trees. And the changes which occur through the day and night hours.

CM/ DO YOU DRAW INSPIRATION FROM THE HISTORY OF ART ON THE EAST END?

SA/ I see myself in the lineage of the East End artists. The women who created, a stones throw from my home and studio, saw the same sky, water, land and air that I am living with.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME? IF YOU COULD CHOOSE ANYTHING, IS THERE ANY PARTICULAR ARTIST OR PIECE THAT YOU WOULD LOVE TO HAVE?

SA/ I have Burt Glynn, Arnold Rosenberg, Kryn Olson, Roisin Bateman, Camille Perrottet, Gabriele Raacke, Sally Egbert, Bob Golden. Would like Joan Mitchell, Helen Frankenthaler, Conrad Marca-Relli, Don Lenzer.

PORTFOLIO OVERVIEW

ROISIN BATEMAN

“With thin veils of oil or a fine dusting of pastels, Bateman’s paintings—inspired by horizon lines—create a natural landing place for the eye.”
— Coco Myers

“I grew up in the wild and magical landscape of the west coast of Ireland. The qualities of that landscape with its ever-shifting texture of sea and sky, small rocky fields and hawthorn bushes bent by winter gales, live within me as inner landscape. The continually changing weather—dark moody skies with rolling clouds, which can at any moment give way to a sudden burst of sunlight—bring everything into a heightened state of color and aliveness.

In my oils and pastels, I explore the metamorphic effects of weather upon the landscape. I am intrigued by the way color changes –how it manifests itself and dissipates as elements meet and cross. Working with thin veils of oil, or a fine dust of pastel, which can be rubbed in and lifted off, allows me to explore such an ephemeral subject.

The landscape of eastern Long Island, where I currently live and work, is of a very different quality. Its texture is much more light-reflective – large expanses of sandy shore and flat farmland. The juxtaposition of these two environments creates a tension and a balancing of forces, which provide a very rich soil from which to create new form and expression.” — RB

Roisin Bateman began her life and her art in the west of Ireland. After receiving her BFA from Belfast College of Art in Northern Ireland, she moved to the USA. For the past thirty years she has lived in Sag Harbor on the South Fork of Long Island.

Bateman’s paintings, prints, and pastel works have been shown throughout the US and Ireland, including at the Peter Marcelle Gallery, Bridgehampton, NY; folioeast, East Hampton, NY; the Watermill Center and Sara Nightingale Gallery, Watermill, NY; the Nabi Gallery, Manhattan; at the Heckscher Museum, Huntington, NY; and the Linenhall Gallery in Castlebar, Ireland.


Roisin Bateman by Jaime Lopez

Roisin Bateman by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

ROISIN BATEMAN speaks to folioeast’s COCO MYERS

CM/ YOU WORK IN BOTH OIL AND PASTEL? WHY BOTH?

RB/ I like oil paint, for it richness of color. I like to build up layers using thin veils of color, and oil is an excellent medium for that. Pastel, which is really like colored dust, and so easily blended and worked into, is an ideal medium to explore the play of elements, and the sudden transformations that can happen in nature.  

CM/ HOW DO YOU BEGIN A PAINTING?

RB/ I empty my mind of thoughts and listen. Through a process of listening and responding, a painting grows organically out of that conversation. I just keep following some kind of invisible thread and it's always a surprise where it leads.

CM/ YOU WERE BORN AND RAISED IN IRELAND. HOW DOES THIS AREA RELATE TO YOUR HOMELAND?

RB/ I've always lived by the shore, and can't imagine life without my daily pilgrimage to look at the changing light on the water. It inspires me endlessly. Even though my work is abstract, much of my inspiration comes from landscape, and weather as a shapeshifter in that landscape.

CM/ YOU WORK IN A STUDIO MOSTLY, YES?  

RB/ I have a studio on my property in Sag Harbor village where I do most of my work. Occasionally I set up a temporary studio when I travel to Ireland or other places that inspire me.

CM/ DO YOU HAVE ANY FAVORITE SPOTS ON THE EAST END?  

RB/ Barcelona Neck is a favorite walking spot, because it has a rocky shore and is full of texture, which remind me of the coastline of the west of Ireland were I grew up. The ocean inspires me in a different way—a vast expanse of open sea and sand, it speaks to me and spaciousness the vastness—it's full of possibility.

PORTFOLIO OVERVIEW

SCOTT BLUEDORN

“More than just technically superb, Bluedorn’s fantastical paintings and drawings conjure up a world between the real and the imagined.”
— Coco Myers

“Whether in my painting, drawing, printmaking, or found object assemblage, I am an observer of the natural world and its collision with a modern society. I create drawings that celebrate the mystery and magic of the natural world in a supernatural sense. I am an avid traveler and draw from direct experience of a place, making work that hints at the wonder present in every detail of creation. I draw inspiration from cultural anthropology, primitivism, and nautical tradition, distilling imagery that speaks to the collective unconscious, especially through myth and visual storytelling—a world I conjure as “maritime cosmology.” – SB

Scott Bluedorn was born in 1986, in Southampton, NY and received his BFA from the School of Visual Arts in Manhattan. He has exhibited extensively on the East End of Long Island, including at the Southampton Art Center, Kathryn Markel in Bridgehampton; folioeast and Roman Fine Arts in East Hampton; the Whaling Museum, Sag Harbor; Crush Curatorial and Ashawagh Hall, Amagansett; the Parrish Art Museum, Watermill, NY, as well as in galleries in Nantucket, New York City, and Miami. Bluedorn’s work is also on view at The Edward Albee Foundation in New York City, and included in numerous private collections in the US, Canada, Ireland, France and Portugal. He lives and works in East Hampton, NY.

Bluedorn in his studio

Bluedorn in his studio

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold paintings

SCOTT BLUEDORN speaks to folioeast’s COCO MYERS

CM/ YOU WORK IN SEVERAL MEDIUMS?

SB/ I use acrylics, watercolors, inks, graphite, and wood. Each material lends its own capability in expression. I use a range of media and try to challenge myself by always experimenting with new ones. Recently I have turned to various print processes, such as solar plate etching, which is an unusual and versatile printmaking medium.

CM/ HOW DO YOU CHOOSE YOUR SUBJECT MATTER?

SB/ My inspiration comes from various sources — imagery, mythology, anthropology, historical documents and direct experience. I have always used drawing as my primary mode of expression, which is a starting point for how I construct a picture, which may then become an object or assemblage.

CM/ YOU WERE BORN AND RAISED HERE. WHAT CONTINUES TO BE THE BIGGEST DRAW?

SB/ The ocean has been the largest influence in my life, and is a constant generater for my inspiration. Having always been surrounded by its presence, I can’t help but let it seep into my work through many different lenses.

CM/ WHAT IS YOUR FAVORITE TIME OF YEAR ON THE EAST END?  AND YOUR FAVORITE PLACE?

SB/ Fall on the east end is the best of all worlds. Warm temperatures, harvest time, wave season, depopulation . . . I always like Montauk for its primal edge of the world feel. As a surfer, the waves are a big draw, but also the secluded coves, bluffs and forest trails are much different than other places on the east end.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

SB/ I have a small collection of works traded with other local artists, including Paton Miller, Dalton Portella, Sydney Albertini, Grant Haffner, Colin Goldberg, Billy Strong, Christian Little, and various anonymous "street artists.”

PORTFOLIO OVERVIEW of paintings

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold drawings

PERRY BURNS

 
“In paintings that pop with pattern and color, Burns merges Islamic-inspired shapes with expressive elements of abstraction.”
— Coco Myers

“Growing up in Greenwich, Connecticut in the seventies, I had the good fortune to travel to Beirut, Lebanon at the age of 13. My uncle was a naval attaché stationed there. He was a very gregarious man and he knew everybody, from street cleaners to diplomats to the Prime Minister. Together we would walk the streets. Beirut was a virtual orgy of the senses. The colors of the people in all manners of dress, the architecture, ornament, craft and culture, the smells wafting from restaurants and street vendors, the sounds of different languages and calls to prayer were so unlike everything I had known in Greenwich. The experience left an indelible impression.

Yet it wasn’t until years later, when I traveled again to Eastern and Islamic countries, that I began to incorporate the sensibility of those cultures into my artwork. I also find inspiration in the nature of the East End—the reflections of the water, the play of sunlight through the fog, and the colors of the sky at ‘the magic hour’ all make their way into even the most abstract of my paintings. For me, however, painting is not the reproduction of nature as much as the dynamism of visual forces. I do not want to reproduce the visible, I want to create an experience of perception.” — PB

Perry Burns was born in New York in 1965. He received his BFA from the Rhode Island School of Design in 1988.

Burns has lived on the East End of Long Island for the past twenty-five years and has exhibited widely in the area and beyond. His solo shows include: Cheryl Hazan Gallery, New York; ARC Fine Arts, Larchmont, NY; the Islip Art Museum; the Scope Art Fair in London; Sara Nightingale Gallery in Watermill, NY; Lizan Tops Gallery in East Hampton, NY; and Comerford Hennessey in Bridgehampton, NY. Group shows include: Ille Arts and Neoteric Fine Art, Amagansett, NY; Silas Marder Gallery, Bridgehampton, NY; the Artists Chose Artists show at the Parrish Art Museum in Southampton, NY.; Guild Hall, folioeast and Spanierman Gallery, East Hampton,NY; Spainerman Modern in New York; ArtAspen and ArtHamptons.

Perry Burns in his studio by Jaime Lopez

Perry Burns in his studio by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

PERRY BURNS speaks to folioeast’s COCO MYERS

CM/ YOU ARE KNOWN FOR YOUR OIL PAINTINGS. WHY OIL?

PB/ I find it to be the richest, vibrant and most versatile medium. I build up layers of oil paint, sometimes as many as fifteen to twenty, then strip the painting back using sanders, scrapers, etc. to reveal previous layers and thus, the "history" of the painting.

CM/ ARE YOU INSPIRED OR INFLUENCED BY THE HISTORY OF THE ABSTRACT EXPRESSIONIST MOVEMENT ON THE EAST END?

PB/ Yes, my first studio out here was across the street from the Pollock/Krasner house, and in the neighborhood of Willem de Kooning. I had been studying the abstract expressionists for years and was very influenced by them, though I eventually moved toward other elements in my painting, also being influenced by Islamic art and its sense of history, time, pattern, and repetition.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

PB/ I have works by Donald Baechler, Richmond Burton, and Yung Jake, all of whom used to live on the East End, as well as Darlene Charneco, Alice Hope, Philippe Cheng, and Margaret Garrett, all of whom I love.

PORTFOLIO OVERVIEW

PETER DAYTON

“Colors pop, surfaces gleam...Peter Dayton’s artwork, whether two or three-dimensional, radiates an electric energy.”
— Coco Myers

“I have always been an artist. I know that because my earliest memories of school were of teachers who would bring it to my attention and tell my parents too. I always felt like I had to be making art. 

I think my idea of art is different from a lot of other artists in that I express myself in a neo-pop sort of way and reference other artists while concentrating on issues of surface and beauty. I try to stay outside of it. I keep my hand out of my work too and frequently use found photographic images of flowers and the look of the Xerox as I print the pictures and degrade the image. My work looks to me more like signage or posters, and it  often has a commercial aspect to it that subverts the idea of fine art, yet strives to be beautiful and rewarding to the eye of the viewer.” — PD

Peter Dayton was born in New York City in 1955. He  got a BFA from Tufts University, attended art schools in Europe in the 1970’s and finished with a degree and diploma from the School of the Museum of Fine Arts in Boston. While at The Museum School he studied video and performance art and started pursuing music as an art project. After art school, he pursued music professionally, first in the punk rock band La Peste, then under his own name. He got back into visual art in 1988 and began showing brightly-colored flower collages, using photocopied images from seed catalogues that referenced Pop Art and Andy Warhol. In the last several years he has been making paintings on vertical plywood panels that mimic the brightly colored surfaces of surfboards that critique and explore commodity culture.  

Dayton has exhibited in numerous galleries in the US and abroad, including the Eric Firestone Gallery, The Leiber Museum, and Glen Horrowitz, East Hampton; the Parrish Art Museum, Southampton; Devin Borden Hiram Butler, Houston; and Morris-Healey Gallery, Los Angelos, Miami, and Basel, Switzerland. Solo shows include Winston Wachter, New York City; the Collective Design Fair, New York, NY; the Baldwin Gallery, Aspen, and the Drawing Room, East Hampton, NY.  

He has also collaborated on numerous commercial and residential projects with the architect Peter Marino, including the elevator interiors in New York and Los Angles for Chanel and many other projects for Chanel boutiques worldwide. Dayton’s works are held in several private and public collections of Philip Morris & Co., New York as well as The Museum of Fine Arts, Houston, and Guild Hall Museum, East Hampton, NY.  

He lives and works in East Hampton, New York.

Peter Dayton by Jaime Lopez

Peter Dayton by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

PETER DAYTON speaks to folioeast’s COCO MYERS

CM/ What brought you to the East End? And when? 

PD/ My mother and stepfather moved to East Hampton in 1975. I would come out as a teenager in the early seventies with friends and go to the bluffs in Montauk .…no one around really back then. I decided to move here in1988 after art school and eleven years pursuing punk rock/new wave music professionally. I returned to making art and have been doing that ever since. 

CM/How does this area influence or infiltrate your work? 

PD/ Reflecting on nature is something thats very important to me. I marvel at the water and sky here every day.

CM/ Is there a running thread throughout your work?

PD/ I reference photography in almost all of my art. 

CM/ What materials do you primarily use? 

PD/ The usual …acrylic, resin, paper canvas etc. I have really very simple approach to making something. I like it to go quickly….speed is an important part of it sometimes.

CM/ Can you briefly describe your creative process, including any special or unusual techniques that you use in your art?   

PD/ My process is simple. I enter the studio and take a hard look around. It’s a mess and it’s hard to decide what to do. I usually just pick up where I left off or I’ll have a flash of an new idea and i get right into it.

CM/ Do you draw inspiration or have a connection to the history of the abstract expressionist movement on the East End? 

PD/ I do. I feel it. I live a mile or two from where Pollock and de Kooning lived and worked. The works that were made out here and elsewhere by the abstract expressionists are still an inspiration for me. In fact, I am exploring abstraction in a way that I have not before and to me it’s coming from the world we live in right now. Reality has taken a toll on me and I’ve been feeling all mixed up as most people I know do currently. I want to express that now.

PORTFOLIO OVERVIEW

MICHELE D'ERMO

“D’Ermo’s paintings pull you into a sea of color, creating an environment of pure sensation.”
— Coco Myers

“My paintings hover on the edge of abstraction and are more remembered sensations than direct observations of nature.  

I strive to create poetic environments with the use of organic shapes and saturated surfaces, establishing vistas with minimal imagery. The reduction of details and unoccupied spaces on the canvas bring the imagery closer to the viewers so they can fall further into the painting, pulling them in through color, form and scale. My landscapes can be seen as architecture, in which exterior spaces are read more as interiors.

Painting is my response to the timeless beauty found in the natural world. Art and nature both rely on impulse; I allow my work to be uninhibited, reaching for what lies beneath the surface. I paint as a personal response to what moves me.” — MD

Michele D’Ermo was born in Miami Beach, Florida and spent most of her childhood in Washington DC. She now divides her time between her studios in New York City and East Hampton.

D’Ermo is a self-taught artist whose education in art was an organic process that grew out of observation and early childhood experiences traveling throughout Europe. Her paintings continue to reflect these early impressions as she records her observations of the natural world. As an adult, she studied at the Arts Student League and the New York Academy of Arts.  

D'Ermo's work has been exhibited widely in museums, art fairs and galleries in New York City and on the East End. She has had solo exhibits at the Peter Marcelle Gallery, Southampton, NY, and the 1stdibs Gallery at the New York Design Center. Her work has been in group shows at Silas Marder Gallery, Bridgehampton, NY; Guild Hall Museum, Lizan Tops, and folioeast, East Hampton, NY; Ashawagh Hall, Amagansett, NY; the Parrish Art Museum, Southampton, NY; Elisa Contemporary Arts, Salmagundi Club, and Cheryl Hazen Gallery, New York, NY; North Haven Gallery, North Haven, Maine and Scope at Art Basel, Miami, FL.  D'Ermo often collaborates with interior designers and architects on special projects and commissions and her work is included in many private and public collections.

Michelle D’Ermo by Jaime Lopez

Michelle D’Ermo by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

MICHELE D’ERMO speaks to folioeast’s COCO MYERS

CM/ YOU PAINT WITH OILS ON LINEN. WHY?

MD/ The luminosity of oils and the freedom to layer and conceal or highlight are all within the power of a brushstroke. Linen because it allows for more light to be captured due to its varieties of natural textures and colors.

CM/ WHAT IS YOUR MOTIVATION TO PAINT NATURE, HOWEVER ABSTRACTED?

MD/ Inspiration of the natural world was said by Dante to be the art of God. This is not to say that my motivation is restricted to the natural world, rather that although my paintings have reference to the landscape, seascape, weather or natural light, my work remains grounded in visual experience.

CM/ YOU SEEM TO LOVE BLUE. WHAT IS IT ABOUT THE COLOR?

MD/ I have been struck for decades by the beautiful color of the sea, the sky as well as the vastness of the color itself. Ultramarine tastes of the ocean—Italians refer to it as "from beyond the seas." Indigo is like ultramarine in that it refers to where the color historically comes from, rather than what the substance actually is.

CM/ WHAT BROUGHT YOU TO THE EAST END?

MD/ My love of nature and freedom from the confines of New York City brought me here years ago. The East End also retains a strong artistic identity and traditions that I hold close to my heart.

CM/ SO YOU FEEL CONNECTED TO THE LEGACY OF THE ABSTRACT EXPRESSIONISTS?

MD/ History plays a large part. Powerful art was created here at that time. Abstraction allowed for artists to be at a distance from the material world. This was a juxtaposition to the motivations and psyche of New York City. The East End represented freedom of expression.


CM/ DO YOU DO MOST OF YOUR WORK IN YOUR STUDIO?

MD/ I am an observer of my environment so most of the time I am watching and listening to my surroundings. At times I create on the spot as in a nighttime landscape but most often I go to my studio and paint with my emotional  memory of my visual experiences.  That’s where the work actually occurs.

PORTFOLIO OVERVIEW



DENISE GALE

“You see and feel the energy in Gale’s dynamic abstract paintings. She’s a painter’s painter, expressing herself through stroke, color and movement. ”
— Coco Myers

“I have been an artist my entire life. After so many years, I am still in love with painting. It beguiles me. I am intrigued with a blank canvas and fascinated with paint. Moving paint around to make a language…this is the most important part of my painting; the rest is all about color, perspective, size, and composition. I have been schooled with the formal elements and sometimes they work successfully and sometimes they do not. The essence of my paintings I really cannot define. It is almost like meditation because the  world can drop away and I can invent my own.” — DG

Denise Gale was born and raised in St.Louis, Mo. In 1967 she moved to Los Angeles and attended Valley Community College and then California State College Northridge, where she studied with Fidel Danieli and Peter Plagens.  

After graduating she moved into a loft in downtown Pasadena, where she became part of a tight knit art community. She had her first show at age 26. 

Gale has exhibited widely across the country.  Solo shows include Ille Arts, Amagansett, NY; The Painting Center and the Mercer Gallery, New York, NY; the Janus Gallery, Newspace Gallery and the Los Angeles Institute of Contemporary Art, Los Angeles, CA.  She has show in group shows at the Penine Hart Gallery and Mokotoff Gallery, New York, NY; Jan Cicero Gallery, Chicago; The Oakland Museum, Oakland, CA; Long Beach Museum of Art, Long Beach, CA: and the Carol Shapiro Gallery, St. Louis, MO, among others. 

Denise Gale by Jaime Lopez

Denise Gale by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

PORTFOLIO OVERVIEW

DENISE GALE talks to folioeast’s COCO MYERS

CM/ WHAT BROUGHT YOU TO THE EAST END?  

DG/ I came to the east end because of a strong desire to live near  nature. Since college, I’d always lived in lofts and in cities.  I wanted to be around trees and open sky and the ocean. How lucky to be here—and I never take it for granted.  One of the most beautiful experiences  is to hear and see the geese in their formations going south for the winter.

CM/ YOUR PAINTINGS ARE SO EXPRESSIVE AND GESTURAL. DO YOU AGREE?

DG/ Gestural strokes and movement are a language. I am creating a world, communicating with with color, paint, and texture. It is my world and I am showing a part of me that is very deep inside.

CM/ WHAT INSPIRES YOU ABOUT ABSTRACT PAINTING?

DG/ I really think  that I have had a genetic predisposition towards abstract painting. My parents took me to Washington University Art Gallery when I was young, and that is where I saw my first Willem De Kooning  painting. I got it , I was smitten and I knew I had to make art like that. Another influence was when I saw the Jackson Pollock painting on the cover of Life Magazine. I was young but these experiences spoke to me.  

CM/CAN YOU BRIEFLY DESCRIBE YOUR PROCESS? HOW YOU BEGIN A PAINTING?

DG/ I begin paintings with a wash of color and then I layer over and over. My paintings have gotten more baroque with lots and lots of stuff. Drawing, splashing and dripping—all of these are ways to make discord and somehow this lack of harmony makes harmony for me.

CM/ WHAT DO YOU LIKE ABOUT PAINTING ON A LARGE SCALE? AND ON A SMALLER SCALE?

DG/ Working on a large scale is like the sublime and largess of the Hudson River Painter—my body in space dancing with a paint brush. Smaller work is immediate and I feel like the artist hovering over the paper or canvas on a table. 

CM/ WHERE DO YOU DO YOUR WORK?

DG/ In a converted garage with sliding glass doors that look out at my garden. I think the intimacy with the seasons and the earth enhance my ability to paint in a very profound way.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?  

DG/ I have work by Claire Watson, Christa Maiwald, Sue Heatly, Don Christianson, Barry McCullum and Eric Brown.



MARGARET GARRETT

“Garrett’s paintings are alive with movement, rhythm and color—expressions of balletic grace.”
— Coco Myers

“My childhood was spent dancing. It was my first identity and my first mode of expression as an artist, and one that continues to inform my work to this day. When I begin working on a new piece, I see the paper or canvas as an empty stage and the line as movement. Texture, form, and the way that colors interact are all different manifestations of motion, rhythm, and energy.

While my work is abstract, it can at times evoke shapes and patterns found in nature. I often work in ongoing series, developing a language and following it as it morphs and evolves. Some of my series are more driven by mark making and layers of color, and in others the shapes and the way they interplay are the dynamic force, but in all my work I’m concerned with movement and the overall music of the piece.” — MG

Born in North Carolina and raised in Pennsylvania, Margaret Garrett currently lives and maintains a studio on Shelter Island, New York. She left home at the age of 16 to join the Pennsylvania Ballet Company and later joined the Cleveland Ballet as a soloist. At the age of 22, she began painting, finding a spiritual connection to dance in the movement of line and color.

Garrett’s work has been widely exhibited in galleries, museums and art fairs, including the Parrish Art Museum, the Watermill Center, the Heckscher Museum, Danese/Corey, Art Miami, Art on Paper and the Armory Show. In 2018, she was awarded a fellowship at the Virginia Center for the Creative Arts. Her work is held in the Parrish Art Museum and Guild Hall Museum and in numerous private and corporate collections in the United States and Europe.

Margaret Garrett by Jaime Lopez

Margaret Garrett by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

MARGARET GARRETT speaks to folioeast’s COCO MYERS

CM/ WHAT MEDIA ARE YOU CURRENTLY WORKING IN?

MG/ Acrylic on paper and linen. I like that acrylic dries faster and allows me to work more quickly. I'm also doing a lot of work with film now, using my iPhone to film and Final Cut Pro to edit.

CM/ CAN YOU TALK ABOUT HOW YOUR LOVE OF DANCE IS INCORPORATED INTO YOUR CREATIVE PROCESS?

MG/ I see line as movement and I’m fascinated by the choreography of everything. I find myself composing a painting by finding the balance of patterns or deciding where to leave space. I’m also very aware of the rhythm or music of the piece. In dancing I frequently find shapes or motions that capture a certain feeling and I incorporate these into my artwork.

CM/ HOW DOES THIS AREA INFLUENCE OR INFILTRATE YOUR WORK?

MG/ The light and space has a huge effect on my work and on my psyche. This area has also become such a center for art-making, so it's wonderful to live where there is a community of artists to share work and ideas with.

CM/ DO YOU HAVE ANY FAVORITE SPOTS ON THE EAST END?

MG/ I live on the beach on Shelter Island and I love the beach, especially watching the light on the water. I like to take walks around the island and in Mashomack Preserve. I like going out in Sag Harbor with friends. And of course, I love the Parrish and Guild Hall!

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

MG/ I have a watercolor by Eric Fischl, a work on paper by David Salle, a photograph by Ralph Gibson and a painting on paper by George Negroponte. I would love to have many more—too many to name!

PORTFOLIO OVERVIEW

KURT GIEHL

“Giehl’s paintings—both his seductive, soothing landscapes and graphic abstracts—have immediate and lasting appeal. ”
— Coco Myers

“My seascape paintings highlight the subtleness of horizon – where air meets land meets water. I find the horizon fascinating and attempt to capture it using images I’ve taken on numerous fishing trips around East End bodies of water. My intent is that these paintings induce a level of calm and tranquility. Slightly abstracted, the paintings are intended to draw the viewer into a surreal and somewhat otherworldly scene. I intentionally limit my palette to further exaggerate the subtleness of my composition and create a soothing experience.

Different from my seascape paintings, my abstracts are bolder oil paintings and collages that explore the process of creating art. I like to explore an object or shape by replicating it multiple times – finding structure and balance as the creative process evolves. My line paintings are complete play on color and structure. There is something incredibly satisfying about a line – it provides order and balance. 

On any given day, I pivot between working on my seascape and abstract paintings. I love switching things up and am constantly exploring new ways to express myself..” — KG

Giehl was born and raised in Rochester, NY. He attended Drexel University. After 23 years on Wall Street, Giehl decided to leave his financial career behind and pursue his passion for art full time. Having only dabbled in art while on Wall Street, Giehl and his husband relocated from Manhattan to East Hampton to fully immerse himself into the East End art scene. Primarily self-taught, Giehl has relied heavily on his collaboration with other Hamptons artists to develop and guide his creative journey.

Giehl’s work is exhibited widely across galleries on the East End and Los Angeles. He has had solo exhibits at Exhibit A Gallery in Los Angeles, CA, Ashawagh Hall and Lululemon in East Hampton, NY. His work was included in gallery exhibits at the Kathryn Markel Gallery in Bridgehampton, NY; William Ris Gallery in Jamesport, NY, and The White Room in Bridgehampton, NY. Giehl’s work is also included in numerous home stores,  including Elizabeth Dow Home in East Hampton, NY, Destination Haus in Amagansett, NY; and Atlantic in Nantucket, MA. Giehl enjoys working with collectors on numerous commissions and his work is included in many private collections located in the United States and abroad.

Giehl lives and works in  East Hampton, New York.

Kurt Giehl by Jaime Lopez

Kurt Giehl by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

KURT GIEHL speaks to folioeast’s COCO MYERS

CM/ WHAT MATERIAL DO YOU USE?  WHAT APPEALS TO YOU ABOUT THOSE MATERIALS?

KG/ My paintings generally start with an acrylic base followed by oil. I started painting using acrylic, but it was always a battle to inhibit the drying process. I felt like it was a race against time and very stressful for me. With oil, there is a luxury of feel and movement of the paint across the canvas. I can manipulate the paint over time in a way that is far more enjoyable. 

CM/  IS THERE AN ASPECT OF YOUR CREATIVE PROCESS THAT YOU FEEL IS PARTICULARLY UNIQUE TO YOU/YOUR ART? MAYBE IT’S THE PALETTE OR THE SIZE OR THE SHAPES YOU ARE DRAWN TO?

KG/ I’m most creative between the hours of 3 and 5 am. This is when I lie in bed and think, some would say obsess, about inspiration, paintings, techniques, process, what I’m trying to say with my art. While it’s not good for my sleep, it’s a great creative journey – at least in my mind.

CM/ YOU DO BOTH ABSTRACT WORKS AND LANDSCAPES. DESCRIBE HOW YOU APPROACH EACH STYLE OR HOW YOU GO FROM ON TO THE OTHER.

KG/ I work on multiple paintings throughout the day. I love going from one type of painting to another as it keeps things interesting. Painting landscapes puts me in almost a trance where I get completely lost in the painting. My abstracts require more focus on the process and techniques I’m using.

CM/ Where and when do you do your most of your work? WHERE AND WHEN DO YOU DO MOST OF YOUR WORK?

KG/ I do all of my work in my studio at my home. Having spent a big part of the night thinking about what I want to do, the day finds me in full execution mode. The only change I would make to my work process is to find more opportunities to paint with other artists. I like to watch other people paint, I like the collaboration that occurs, and I like to talk. I can only listen to so many podcasts during the day without going nuts.

CM/ WHAT BROUGHT YOU TO THE EAST END? AND WHEN?

KG/ Three and half years ago, both my husband and I were ready to make a life change. I left my 25-year career on Wall Street, we sold our apartment, and we moved to our East Hampton home. The way of life on the East End is the way we like to live. 

CM/ Do you feel inspired by the history of art on the east end? DO YOU FEEL INSPIRED BY THE HISTORY OF ART ON THE EAST END?

KG/ Living in the Springs especially, it’s hard not to be inspired by how many great artists lived and worked in the area. I also find incredible inspiration from current living and working artists on the East End. The community is so welcoming and open to new and emerging artists. It’s really quite special and I’ve benefited tremendously from the relationships I’ve built with the artist community.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME? ARE THERE ANY ARTISTS YOU WOULD LOVE TO OWN?

KG/ I do own work by many east end artists. There are so many talented artists on the east end, it’s hard not to collect. I am particularly fond of Christine Matthai, a folioeast artist. I find her work incredibly exciting and vibrant, but somehow at the same time, there is a meditative quality about her work that I Iove. 

PORTFOLIO OVERVIEW

JONATHAN NASH GLYNN

“Glynn’s bold paintings are vibrant fields of color and movement. You sense the artist’s hand in the swirls and layered gestures of paint. His pastels are balanced, energetic compositions that are irresistibly up-lifting.”
— Coco Myers

“I see imagery as musical—choreographed to show movement. I choose vibrant colors and use them in combinations that could be considered discordant. In so doing, I hope to jar the viewer out of a conventional manner of looking at color.

When I work within a painted collage format I use a mix of materials, such as aluminum foil and gold, silver and bronze leaf over iridescent and translucent acrylics. My intention is to project an image holding and unfolding itself together in fragments without a clear resolution.

With my pastel series, I employ simple geometric shapes that become part of more intricate patterns that should draw the eye in different ways, thus making their own and unique claim for attention.

My work has evolved into an expressive, pure abstraction as I’ve begun  to open up and lose control of the composed parts. These paintings  are about freeing myself and creating work that’s like a jazz composi tion—without a simplistic theme or introductory passage. They get into  the layering and weaving of surface patterns until they form a unified  whole.”

— JG

Jonathan Nash Glynn was born and raised in New Jersey. He gradu ated from the School of Fine Arts at Tufts University and got his MFA at  the Cranbrook Academy of Art. He taught painting at the Minneapolis  College of Art and Design and ceramics at Montclair State College. 

Glynn has exhibited widely across the country. Solo shows include  Arthur T. Kalaher Fine Art, Southampton, NY; Pace Collection, Palazetti,  Sarah Rentschler Gallery, Littlejohn-Smith Gallery, and Carlyn Gallery,  New York, NY; Chrysalis Gallery, Santa Fe, NM; and Carol Getz Gallery,  Coral Gables, FL. Group shows include The Watermill Center, Wa termill, NY: folioeast, East Hampton, NY; Miller Gallery, New York, NY;  Swan Gallery, Philadelphia, PA; Joan Robey Gallery, Denver, CO; Gal lerie Martin, Boca Raton, FL; Caroline Lee Gallery, Houston, TX; Gas pari Gallery, New Orleans, LA; and the Museum of Fine Arts in Boston,  among other exhibits. 

Glynn is the founder of Wings Over Haiti, a non-profit dedicated to build ing schools in central Haiti. He lives fulltime in Sag Harbor, NY. 

Glynn in his studio by Jaime Lopez

Glynn in his studio by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

JONATHAN NASH GLYNN speaks to folioeast’s COCO MYERS

CM/ YOU’VE BEEN WORKING IN ACRYLIC RECENTLY. WHAT IS THE APPEAL FOR YOU?

JG/ Acrylic pours easily, has a variety of translucent and iridescent properties and dries quickly so I can proceed with other layers.

CM/ YOUR PASTELS ARE VERY RICH, THE COLORS SATURATED. HOW DO YOU GET THAT EFFECT?

JG/ I do not use pastels in the traditional way of blending subtly; I use them in a direct attacking mode—strong and bold and spontaneous. I like pastels because they are so immediate and the colors are so luscious. They allow me to work with composition and unusual relationships with color. I often combine pastels with other materials. For instance, by using butchers wax all over the surface and then scraping it away and adding more colors, I got some interesting effects—the pastels look like they’re being layered.

CM/ DO YOU HAVE AN IDEA WHEN YOU START A PIECE HOW IT WILL LOOK WHEN IT’S FINISHED?

JG/ Most of the time my work just unfolds; I don't know how it will end up. My interest is to not know exactly where I’m going when I start working on a piece, and to explore areas that are not typical for me. I’m looking for images and ideas that reflect the mystery of it all while keeping myself interested in what I’m doing. Hopefully others will find pleasure or curiosity in these artworks as well.

CM/ HOW DID YOU END UP LIVING IN SAG HARBOR?

JG/ It started with a summer share in 1995 and then I bought my house and did a gut renovation. When I completely rebuilt the house, from an old 1840s whaler’s cottage that was in complete disrepair, the town allowed me to construct an art studio with 20-plus-foot ceilings—which you can’t do now. I feel lucky to have a spacious studio in my home in Sag Harbor Village. I couldn’t ask for more.

CM/ DO YOU HAVE ANY FAVORITE THINGS TO DO OUT EAST?

JG/ I love to hike and kayak with friends and meet Coco and Arthur for drinks!

PORTFOLIO OVERVIEW

MELINDA HACKETT

“Hackett’s vivid, fantastical images float, hover, and spin to the edge of the canvas and seemingly beyond.”
— Coco Myers

“I explore the relationship between interior and exterior space, the interior being intimate and personal, the exterior being immense—the universe, the cosmos. My paintings represent the near and the far, the view through a telescope, the view through a microscope, the sheltering sky, the intimate forest.

To call my paintings landscapes would be misleading since they are inventions of my imagination and reference the world of nature rather than depict it literally. Space is organic and time is non-linear—a group of different objects moving through the picture plane at various rates of speed, in opposite directions, some gliding slowly and others whirring as if in a blender. There is a sense that the activity continues outside the borders of the paintings as the forms flirt with the edges or get chopped off by them. Some forms are only just coming into being while others have already 'come out' and some just like to watch.

By virtue of their inability to be fully identified, the objects remain in the realm of the poetic.” — MH

Melinda Hackett was born in New York City. She graduated from Hobart William Smith College and got her MFA at Parsons-New School. She has exhibited widely: at Mark Humphrey Gallery, Peter Marcelle Gallery, and Jeff Lincoln Art and Design, Southampton, NY; Guild Hall and folioeast, East Hampton, NY; Cade Tompkins Gallery, Providence, RI; Odetta Gallery, Brooklyn, NY; The Painting Center, New York, NY; and Scott Richards Contemporary, San Francisco, CA, among others. She has had solo shows at John Molloy Gallery, McGrath Galleries, and Charles Cowles Gallery, New York, NY; Estia Gallery, Sag Harbor, NY; 4 North Main Gallery, Southampton, NY; Thirteen Gallery, Danbury, CT. She is in the permanent collection at The Parrish Art Museum, Southampton, NY.

Hackett is on the board of the Vermont Studio Center in Johnson, VT, where she is a part-time resident printmaker. She lives in New York City and Southampton, NY.

Melinda Hackett painting in her studio by Jaime Lopez

Melinda Hackett painting in her studio by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

MELINDA HACKETT speaks to folioeast’s COCO MYERS

CM/ WHAT MATERIALS DO YOU PRIMARILY USE?

MH/ I work in oil because it gives me the greatest fluidity with color and the space I like to create in my paintings. Also water colors for complete transparency and color. And I always travel with pencils and color pencils.

CM/ CAN YOU DESCRIBE YOUR CREATIVE PROCESS?

MH/ My paintings start very basically with a ground and then I layer up, adding forms as I go. The early stages involve a lot of paper towels as I have to get the transparency of the layers right before I can lay on the forms that float around on the surface.

CM/ WHEN DID YOU FIRST COME TO THE EAST END?

MH/ I came at two weeks old and have never really left.

CM/ WHAT IS YOUR FAVORITE TIME OF YEAR ON THE EAST END?

MH/ Winter, when the light is consistent, the trees are bare and the energy hums rather than buzzes.

CM/ DO YOU DO YOUR WORK INSIDE OR OUT?

MH/ I paint in my studio where I have a big window to the outside marsh. I don't need to turn the lights on until it gets dark.

CM/ WHERE DO YOU FEEL MOST INSPIRED?

MH/ The endless stretch of beach is the most inspiring but life on the marsh is pretty great too, with its changing tides and colors.

CM/ DO YOU FEEL A CONNECTION TO THE HISTORY OF THE ART COMMUNITY ON THE EAST END?

MH/ I do. I miss the big legs outside Larry Rivers’ house on Little Plains Road and I wish I had known at the time that Fairfield Porter lived two houses down from my best friend growing up on South Main Street.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME? IS THERE ANY ARTIST’S WORK YOU WOULD LOVE TO OWN?

MH/ I mostly collect my my friends—a work in progress I hope… but who wouldn't love a de Kooning, a Krasner or a Motherwell hanging over the fireplace?

CM/ ANYTHING ELSE YOU WOULD LIKE TO SHARE ABOUT YOUR WORK/PROCESS?

MH/ Being an artist is a blessing and a curse . . . but I’m too far in to get out now.

PORTFOLIO OVERVIEW

JOHN HAUBRICH

“Haubrich’s expressive abstracts have a vitality created by vivid color and unexpected combinations of drips, lines and shapes.”
— Coco Myers

“When I was three, I picked up a pencil and began to draw. My parents, who found this interesting, provided me with a table in the family kitchen on which to work. I would draw for hours at that table.

Growing up in rural Minnesota, I had a physical and emotional connection with the large skies and expansive landscape of the region. Along with this response to the natural world, I had an affinity with the abandoned farms, rusted cars and farm equipment, and the sense of the past that permeated this world.

The large landscapes I physically inhabited when I was young and the expansiveness of my vision brought me to painting. Through gesture, color, and form I can articulate my visual experiences and emotional responses to my life in a physical world. Abstraction allows me the opportunity to create landscapes that are a physical, rational response to external and internal experiences.” — JH

John Haubrich was born and raised in Minnesota. He got an Associate of Arts degree from Normandale College in Bloomington, Minnesota and went on to a forty-year career as a graphic designer and art director for corporate and educational institutions. He is currently pursuing a degree in visual arts at Fordham University at Lincoln Center, where he serves as an in-house art director.

Haubrich’s work has been exhibited at Ille Arts and Neoteric Fine Art, in Amagansett, NY; Guild Hall, folioeast, and Longhouse Preserve, in East Hampton, NY; the Southampton Cultural Center, and Chrysalis Gallery, in Southampton, NY; Boltax Gallery, Shelter Island, NY; Silas Marder Gallery, Bridgehampton, NY; A.I.R. Gallery, Lexington Avenue Armory, and Stricoff Fine Art, New York, NY; Los Angeles Center for Digital Art, Los Angeles, CA; and Axis Gallery, Sacramento, CA, among other galleries.

He maintains studios in East Hampton, NY and New York City.

Haubrich in his studio by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold work

JOHN HAUBRICH speaks to folioeast’s COCO MYERS

CM/ YOUR PAINTINGS ARE MULTI-LAYERED. CAN YOU DESCRIBE THE PROCESS?

JH/ Using my own photography, I print out the images, then with gesso and polymer emulsion, I transfer the printed images onto the canvas. After this, I begin to layer the work with oil paint, more image transfer, pencil, crayon, and oil stick, until there is material depth on a two dimensional surface.

CM/ WHAT BROUGHT YOU TO THE EAST END? AND HOW DOES IT INFLUENCE YOUR WORK?

JH/ I had visited prior to buying my first home, and I loved being near the sea. Also the landscape reminded me of my midwestern upbringing. I am inspired by the light, the color, and the abundance of plant life. I live on Hogs Creek so I have a beautiful view of the creek and the bird life that occupies the area.

CM/ DO FEEL A CONNECTION TO THE HISTORY OF THE ABSTRACT EXPRESSIONIST MOVEMENT ON THE EAST END?

JH/ I am particularly inspired by Willem de Kooning for his use of color and abstraction.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

JH/ I currently own two pieces by James Kennedy.

PORTFOLIO OVERVIEW

RJT HAYNES

“A Haynes painting makes you feel as if you are right there with the subject; the work is figurative, though filtered through his own eye, and often with a twist of humor.”
— Coco Myers

“My father was a sign writer so I grew up surrounded by the smell of paint and turpentine. I have early memories of climbing ladders and scaffolding to help him work on rooftop signs or the paneled sides of heavy goods vehicles.

Although I went on to study German and Philosophy at Oxford, it was probably inevitable that I would end up as a painter. My work is uncompromisingly figurative, but varied in stylistic treatment, content, and medium. No picture should turn out exactly as originally conceived. I am not in control of the process, nor would I want to be. It’s the journey that’s interesting and discoveries made along the way. I will change my technique or the colors on my palette if it starts to feel too familiar and comfortable. The materials and subject have a say in what becomes of them, and painting is always a form of negotiation or collaboration between us.

I’m not so much interested in fleeting impressions as in their lasting effects, memories and echoes: everything we see is full of cultural and personal references, just as words are to a poet; and I want to tap into that—a ‘simple’ lamb or apple is abuzz with symbolism. But images must also ultimately have a life of their own, and make their own connection with the viewer without exegesis, independently of the artist.” — RH

Toby Haynes was born in Essex, England. He now divides his time between Cornwall, New York City and East Hampton, New York. After studying at the University of Oxford, he turned to painting.

Haynes’ work is widely collected and exhibited. He has shown at Kathryn Markel Fine Arts in Bridgehampton, NY; RJD Gallery in Sag Harbor, the Water Mill Museum, Pamela Williams Gallery in Amagansett, NY; Guild Hall and folioeast in East Hampton, the Southampton Cultural Center, and in London at the Battersea Art Fair and The Art Movement. He won consecutive awards at the East End Arts Council juried shows, from 2011-2015.

RJT Haynes by Jaime Lopez

RJT Haynes by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold paintings

RJT HAYNES speaks to folioeast’s COCO MYERS

CM/ WHAT MEDIA ARE YOU CURRENTLY WORKING IN?

RH/ Oils, watercolor, pastel, charcoal, colored pencil, graphite, ink; various combinations of the above. I like to switch media, subjects, styles—it's only a journey if you're moving.

CM/ ANY PARTICULAR TECHNIQUES YOU USE WHEN CREATING?

RH/ Good drawing is key; I never use preliminary sketches or drawing aids, but work freehand, directly on the final canvas or paper, adjusting forms along the way—changes may be visible in the finished work. I often work in series, exploring colors, textures, forms, emotional resonances, as the theme develops. It's important to let the subject and materials have a say in the outcome, but I don't focus much on techniques per se.

CM/ YOU ARE FROM ENGLAND AND SPEND A LOT OF TIME THERE. HOW DO YOU RELATE TO THE EAST END?

RH/ It's interesting to see the Atlantic from both shores. Where I live, in Cornwall, the seasons are less extreme; there’s no real winter, and (some would say) no real summer either, and it's green all year. The East End is all blue and gold in the summer, and much more muted in winter. I like the transition of winter to spring and summer to autumn best: the change of energy in the air.

CM/ DO YOU HAVE ANY FAVORITE SPOTS ON THE EAST END?

RH/ My friends have a catboat on Three Mile Harbor—a good place to end a summer's day. The Springs General Store is a good place to start one.

PORTFOLIO OVERVIEW of paintings

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold drawings


NICHOLAS HOWEY

“Nicholas Howey’s paintings are minimal yet full of power—saturated canvases of colors punctuated by graphic, geometric forms. ”
— Coco Myers

“My work has both a primitive and gestural nature. It is my own alphabet of of new forms. There is little relation to nature, the human figure or landscape. The image is central to the meaning of the painting. The background is about pure color on which abstract images float. The depth of field is variable. 

Some works are made without brushes. Literally handmade objects. Forms are often repeated and brought back in various and different incarnations to promote a continuity of purpose. There is always a sense of play and spontaneity.” — NH

Nicholas Howey was born and raised in western Pennsylvania. He has a B.A. from University of Pittsburgh an a M.A. from New York University, both in fine arts. From 1981-1983, Howey worked on the productions of Robert Whitman's performance pieces at a DIA Foundation building in New York City and in 1982, he traveled to Belgrade for his first solo exhibition.  In 1986 Robert Rauschenberg curated an exhibition of his paintings at Edison College in Fort Myers, Florida. His paintings have appeared on two covers of the Italian art magazine, Tema Celeste.  Howey lived in the city until 2009, when he moved to Bridgehampton, N.Y. where he currently maintains a studio.

Howey has exhibited widely both in the United States and abroad, including Groninger Museum, Groninger, The Netherlands; Norjyllands Kuntsmuseum, Aalborg, Denmark; Espace Dieu, Paris, France; Artiscope, Brussels, Belgium; Sergio Tossi Galleria In Arco, Turin, Italy, Galleria Otto, Bologna, Italy, Galleria Loft, Valdagno, Italy; Bianchi Nuovi Gallery, Rome, Italy; Citizens Gallery, Yokohama, Japan;  Leo Castelli Uptown, Max Lang Gallery, Christinerose Gallery, and Greenberg Wilson Gallery, New York, NY; Guild Hall, East Hampton, NY;Evansville Museum, Evansville, IN; Nancy Solomon Gallery, Atlanta, GA; Schmidt Contemporary Art, Saint Louis, MO; Margulies Taplin Gallery, Coral Gables, FLA; Richard Feigan Gallery, Chicago,IL; and Rochester Institute of Technology, Rochester, New York.

Nicholas Howey by Jaime Lopez

Nicholas Howey by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

NICHOLAS HOWEY speaks to folioeast’s COCO MYERS

CM/ WHAT MATERIALS DO YOU PRIMARILY USE?  AND WHAT APPEALS TO YOU ABOUT THE MATERIALS?

NH/ I use mostly acrylic on canvas and occasionally watercolors. Acryclic on canvas because it can be created like a drawing in the sense that it can be “erased” since it dries quickly and a new image can be applied in a few minutes. Watercolors because I like working in a large formatted page. 

CM/ IS THERE ANY ASPECT OF YOUR CREATIVE PROCESS THAT YOU FEEL IS PARTICULARLY UNIQUE TO YOUR ART? THE PALETTE OR THE SHAPES OR FORMS YOU ARE DRAWN TO?

NH/ In a lot of my earlier paintings I used my hands instead of brushes. In my later paintings I still used my hands to paint the central image. The shapes and forms are from my own personal vocabulary which I create instinctively without references. They are purely abstract.

CM/ WHAT IS IT ABOUT ABSTRACTION THAT APPEALS TO YOU?

NH/ The element of surprise, since the forms are new and new to me.

CM/ WHAT BROUGHT YOU TO THE EAST END AND WHEN?

NH/ The feeling and existence of space and extraordinary light. I’ve been coming to the Hamptons since the early 80’s and moved here permanently in 2010.

CM/ DOES THIS AREA INFLUENCE YOUR WORK? HOW SO?

NH/ The area gives me the liberty and privilege of reflection in a welcoming and serene atmosphere.

CM/DO YOU FEEL INSPIRED BY THE HISTORY OF ART ON THE EAST END?

NH/ Certainly, with all the innovative and important work that has been done here.

CM/ DO YOU OWN WORK BY EAST END ARTISTS? ARE THERE ANY ARTISTS WHO YOU WOULD LOVE TO OWN?

NH/ I own work by two early east end visitors, Rpbert Rauschenberg and jasper Johns. I would love to own a series of watercolors by Alexis Rockman of the indigenous birds and fowl of this area, a bronze water inspired sculpture by Brian Hunt and a florescent wall sculpture by Keith Sonnier.

PORTFOLIO OVERVIEW

JANET JENNINGS

“It’s easy to be seduced by one of Jennings’ landscapes or abstracts; she brings her eye for color and composition to every piece.”
— Coco Myers

“I paint from memory, using sketches and photographs as reference, but informing the painting with everything I am thinking about in my life and the world at large. I use abstracted natural images for my narrative, communicating my emotional temperature through the use of color, shape and line. There is a strong spiritual influence in my work that accesses the sublime and the beautiful.” — JJ

Jennings began as a Color Field painter, working on canvas and linen, and maintained a studio at Waverly Studios in New York City. After moving to Amagansett in 1981, she switched her focus to landscape painting.

She received her BFA from the University of Dayton and attended The Dayton Art Institute, Antioch College and The Art Students League.

Jennings has exhibited at numerous galleries on Long Island and New York City, including Gallery North, Elaine Benson Gallery, Hampton Road Gallery, Glenn Horowitz Gallery, Lizan-Tops Gallery, Mark Humphrey Gallery, Pamela Williams Gallery, folioest, Chase Edwards Gallery, and The New York Design Center. Her paintings are in numerous corporate and private collections worldwide.

Jennings is a member of the East Hampton Arts Council, and from 1993 to 1998 was the Chair of the Andy Warhol Visual Arts Preserve Program. She has taught at the Parrish Art Museum, Guild Hall and The Victor D’Amico Institute of Art. She currently has a painting studio in East Hampton and teaches oil and watercolor classes.

Janet Jennings by Jaime Lopez

Janet Jennings by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

JANET JENNINGS speaks to folioeast’s COCO MYERS

CM/ YOU’RE A PAINTER; WHAT SPECIFICALLY DO YOU PAINT WITH?

JJ/ Oil and watercolor. I have worked with oil and watercolor for over thirty years. At some point in working with them, I gained an ease and familiarity, dropping any hesitation. Working with other mediums which I am not as familiar with can be challenging, but can open up new methods of working and therefore point me in different directions that I may not have followed. Each time I return to oil and/or watercolor, I try to bring something with me from the experiments with the new mediums.

CM/ DO YOU HAVE A SPECIFIC PROCESS? HOW DO YOU BEGIN STARTING A PAINTING?

JJ/ My studio has multiple medium stations: Oil, watercolor, pastel, acrylic and drawing. My camera is always available for taking photos of whatever pops into my mind. When I begin a new series, I usually start with multiple drawings in sketch pads following by color studies in watercolor. I try to summon the image before I start an oil, but it often morphs into something else along the way. When I am working on an oil series, the paintings are all hanging at the same time. I move from painting to painting throughout the day.

CM/ WHY DID YOU DECIDE TO LIVE ON THE EAST END?

JJ/ I first came to the East End when I was a teenager. I grew up on Long Island so driving out to Montauk for the day was something we did often. After living in the city, I moved here permanently in 1981. The ocean, the landscape, the light, the countryside were the draw for me.

CM/ WHAT IS YOUR MOST CREATIVE SEASON?

JJ/ My favorite season is spring for it is the most optimistic. The winter is a favorite time to experiment with new ideas, but I am most productive in spring and summer.

CM/ DO YOU DRAW INSPIRATION FROM THE ABSTRACT EXPRESSIONIST HISTORY OUT HERE?

JJ/ Certainly inspiration. I had the good fortune to meet many artists before they passed away and they offered me encouragement as well as advice.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

JJ/ I own several Priscilla Bowden paintings, an Esteban Vicente and a Larry Rivers. I cherish them all.

PORTFOLIO OVERVIEW

DENNIS LERI

“Leri’s paintings and welded steel sculptures, whether curvy or linear, are pure expressions of abstract form. ”
— Coco Myers

“As a young person, my need to create art was nurtured by my uncle, who himself was a painter and sculptor. My early training was in figurative sculpture, and my style ultimately developed from representational to abstract sculpture and mixed media conceptual works. I also paint and often create works using both disciplines. Curved shapes, clean minimalist lines, and abstract designs are common themes.” — DL

Dennis Leri was born in Brooklyn, NY and was raised in a family of artists. He attended the Arts Students League, National Academy of Fine Art, the Brooklyn Museum Art School and the Sculpture Center. He lives and maintains a studio in Springs, East Hampton.

Leri’s work has been shown in numerous shows, at Gerald Peters Galleries, New York, NY and Santa Fe, NM; The Southampton Cultural Center, and Peter Marcelle Project, Southampton, NY: Ille Arts, Amagansett, NY; folioeast, East Hampton, NY; Dodds & Eder Sculpture Garden and Robert Hook Gallery, Sag Harbor, NY; Art Hamptons and The White Room Gallery, Bridgehampton, NY, among others. His work has been awarded Best Sculpture and Best Mixed Media at the Guild Hall Museum of East Hampton.

Dennis Leri by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold paintings

DENNIS LERI speaks to folioeast’s COCO MYERS

CM/ WHAT MEDIA ARE YOU CURRENTLY WORKING IN?

DL/ Sculpture: painted, welded steel. Paintings: Acrylic on wood panel, canvas.

CM/ WHAT MATERIALS DO YOU PRIMARILY USE? AND WHY?

DL/ Steel because of its strength and flexibility; wood, metals, and acrylic paints because of the range of opportunities for expression.

CM/ YOU ARE CLEARLY AN ABSTRACT ARTIST. HAVE YOU ALWAYS BEEN?

DL/ My early training was in figurative sculpture, and my style ultimately developed from representational to abstract sculpture and mixed media conceptual works. I also paint and often create works using both disciplines. Curved shapes, clean minimalist lines and abstract designs are common themes.

CM/ WHERE DO YOU DO YOUR WORK?

DL/ My studio is located on my property in Springs. It is primarily for painting and mixed media work. I have an outdoor space where I do the steel work.

CM/ DO YOU OFTEN INTERACT WITH OTHER ARTISTS THAT LIVE/WORK OUT HERE?

DL/ In the more than 30 years that I have lived here, I have had the opportunity to meet and exchange ideas with well established abstract artists who lived and worked in this area, including Ibram Lassaw, Robert Richenburg, Ray Ferren, William King, Eric Ernst, Dan Christensen and Berenice D'Vorzon.

PORTFOLIO OVERVIEW of painting

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold sculpture

JANE MARTIN

“Martin’s absract paintings are richly colored, textured and beautifully balanced. Her photographs are always compelling, whether they capture the grandeur and power of nature or its subtle complexity. ”
— Coco Myers

“For me, painting is an act of faith. When I approach the white canvas I open myself to a meditative state that allows color and form to rush in. Then I often paint or scrape over existing layers, leaving traces of what has come before. This creates a seemingly direct connection with nature, however abstract.

In my photography I am drawn to water in all its forms. In The Break series, my study of of the ocean captures the 'moment between moments' of surf, invisible to our human eye. These images reveal the inherent sensuality and power of the ocean on the East End, creating a visceral experience for the viewer.

Since I moved to East Hampton sixteen years ago nature has increasingly called to me in my work—asking for recognition, as I attune myself to its rhythms and celebrate its beauty.”

— JM

Martin was born in Brooklyn, grew up on Long Island where she spent summers on Peconic Bay, and subsequently spent much of her adult life between France and New York City. She studied art in Tours, France under the direction of a former assistant to and student of Hans Hoffmann and evolved as an abstract painter. Exposure to artistically compelling European cinema led her back to New York City where she studied filmmaking at New York University. After a career in filmmaking in both NYC and Paris with the likes of Al Pacino and Gregory Colbert, she directed the documentary film Silent Sentries, broadcast on PBS.

In 1996 she established an art studio on the Lower East Side, returning to painting as a means of creative expression. In 2004, after nearly 15 years of city life, she moved her home and studio to East Hampton, New York, where the focus of her work shifted to the primal and powerful forces found in nature, in particular through her long love for and practice of photography.

Martin’s work has been exhibited in numerous museums, art fairs and galleries in New York City, the East End, Miami, Santa Fe, Dallas, Los Angeles, Australia, and Europe. Martin has had solo exhibitions at Guild Hall, East Hampton, NY and Islip Art Museum, Islip, NY. Her work can also be found in the permanent collection of the Parrish Art Museum, Southampton, NY; Guild Hall, East Hampton, NY; and in numerous corporate and private collections throughout the world.

Martin by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

JANE MARTIN speaks to folioeast’s COCO MYERS

CM/ WHAT MEDIUMS DO YOU WORK IN?

JM/ When something calls to me, however undefined it may be at the inception, it seems to speak in the language of a particular medium. So by nature I am a multi-disciplinary artist, currently working primarily in photography, video, and painting. Each medium informs and enriches the other as their subjects refer to both the primal power and quieter mysteries of nature.

CM/WHAT ARE YOUR MAIN PAINTING MATERIALS?

JM/ Acrylic paint (including iridescent colors), silver and gold leaf, brushes, scrapers, sandpaper, charcoal and graphite. I switched from oil to acrylic many years ago as acrylic allows me to work more quickly and still gives beautiful rich results.

CM/WHAT DO YOU FIND MOST CHALLENGING OR SATISFYING ABOUT PAINTING?

JM/When I have been working on photographs and printing for a long time I like getting back to painting. Painting allows me to move away from screens and digital technologies. I enjoy working with my hands and listening to music. One of my favorite moments is when I go into my studio late at night to sit and look at what I have accomplished or muse about how I want to approach a painting I have been working on. There seems to be increased clarity at that hour.

CM/ WHAT DRAWS YOU TO PHOTOGRAPHY?

JM/ Photography is an act of intimacy. It often allows us to see what we are incapable of observing in the movement of life. The wave images were shot post-hurricane with a 300mm lens – stepping way beyond the danger zone ropes, standing in the raging sea. The format that feels most potent to me is a long horizontal, a 2.4:1 ratio called Anamorphic, that echoes cinematic widescreen. I crop my images according to this ratio, allowing the ocean ‘riffs’ to fill the screen.

CM/ WATER IS A MAIN THEME IN YOUR WORK. WHY?

JM/ Whether the primal force of the ocean—the enormous surf of the East End—or the stillness of lakes on the easternmost point of Australia. Water also comes to a perfect stillness as reflected in my more abstract series, shot above tea tree lakes, ‘Down Under,’ once aboriginal birthing grounds. Full of depth and mystery, we find the extraordinary in the ordinary. 

CM/HOW DO YOU DECIDE WHEN TO PAINT OR PHOTOGRAPH?

JM/Photography is based on the natural elements, dependent on weather and seasons. But I can paint whenever I like. I simply go into the studio to work rather than waiting for inspiration.

CM/ WHAT BROUGHT YOU TO THE EAST END?

JM/ I first came to the East End in 1998 looking for a weekend respite from New York City. I immediately fell in love with the diversity of waterscapes and its more rural areas combined with the level of cultural sophistication.

PORTFOLIO OVERVIEW

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold photography

MARK PERRY

“With their fluid brush strokes and lush colors, Perry’s canvases are landscapes of sensuality.”
— Coco Myers

“Of the themes that define my waking hours and is undeniably woven into my work, is an obsession with time—as a resource, as a thief, as a constant shadow. I'm intrigued by the the perception of time as a very real phenomenon: the older we get, the less we experience the rush of novelty. What does that mean for an artist in the fullness of middle age? Is it possible to see and to paint with a heightened sense of discovery? Does experience give depth or limit my ability to engage fully, and without judgement?

My process is fluid, creating space for the adult or the child with a five-second attention span. The challenge when making abstract work is keeping an open mind when imagery and thoughts constantly swirl through the brain. If there is conflict I find the best solution is to work through it, approach things differently and remain open to an unexpected resolution.” — MP

Born and raised in Providence, Rhode Island, Perry studied portraiture and life drawing at the Rhode Island School of Design while working for ten years an an electrical draftsman for an architectural engineering firm in Providence.

In 1987, Mr. Perry entered the Providence Art Club's Open Painting Show and won the Milton Halladay prize for his portrait, "Bonnie." In 1989, Perry moved to New York City and continued his studies at The Society of Illustrators and the Spring St. Studio.

Once he began spending time in Amagansett, on the East End of Long Island, he left figurative work behind and entered a new phase, which became his passion—the landscape. Perry now divides his time between New York City and East Hampton, where he maintains a studio.

Perry has had solo shows at Ille Arts, Amagansett, NY; Elizabeth Dow, East Hampton, NY; and the New Century Gallery, New York, NY. His work has been exhibited in group shows at Lawrence Fine Arts, Ashawagh Hall, folioeast, and Guild Hall in East Hampton, NY; Ille Arts, and Neoteric Fine Art Gallery in Amagansett, NY; Zoya Tommy Gallery, in Houston, TX; and Lyons Weir Gallery, in New York, NY, among others. He has participated in numerous art fairs across the country.

Mark Perry in his studio by Jaime Lopez

Mark Perry in his studio by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

MARK PERRY speaks to folioeast’s COCO MYERS

CM/ WHAT MATERIALS DO YOU PRIMARILY USE? AND WHY?

MP/ I have used oil on canvas and wood for nearly thirty years, so it is what I'm most comfortable with. The slower dry time, flexibility and richness of color appeal to me. For small works and work on paper, when away from the studio, acrylic paint is my go-to.

CM/ HAS YOUR CREATIVE PROCESS CHANGED OVER THE YEARS?

MP/ Most of my life, when not working figuratively, I have used the Automatic Drawing/Painting technique practiced by some of the Surrealists Movement Artists. I was not aware of the method until 2016, when I took a painting class with Eric Dever. He put a name to the technique that I had practiced for years, making it a deeper experience. When working I enjoy classical music, classic rock or silence.

CM/ WHAT IS YOUR FAVORITE SEASON TO PAINT?

MP/ Summer is the easiest season to work but I find all the seasons are pleasing. There are usually two weeks at the end of February when it’s difficult to work in the studio because of the cold—even with heat there is a dampness that gets in your bones. Luckily it is brief.

CM/ DESCRIBE YOUR STUDIO.

MP/ I’ve had a basement studio since 2006 entirely lit with artificial light, which I adapted to right away. I have found the lack of distraction from windows is welcome in the studio. I take breaks outside for a change of scenery and air. When traveling or working small on paper, I generally work at a table and have both daylight and artificial light which I adapt well to.

CM/ DO YOU FEEL CONNECTED TO THE HISTORY OF THE ABSTRACT EXPRESSIONIST MOVEMENT ON THE EAST END?

MP/ Some of my favorite painters were part of that era. I get inspiration from de Kooning, Joan Mitchell, and Helen Frankenthaler.

CM/ DO YOU HAVE ANY WORKS BY EAST END ARTISTS IN YOUR HOME?

MP/ I have paintings by James Kennedy and several ceramic pieces by Bob Bachler, both former owners of Surface Library Gallery; also work by Scott Bluedorn, Almond Zigmund, Gus Yero, George Singer, Rosario Varela, Tim Lee, Jess Frost, Jennifer Cross, and a small watercolor by Betty Parsons.

PORTFOLIO OVERVIEW

ANNE RAYMOND

“Raymond’s oil paintings are luminous layers of rich color, full of nuance and surprise, changing with the light or the viewer’s vantage point.”
— Coco Myers

“I'm interested in the evocative power of inferred space and energy beyond the edges of the canvas. Glazes of translucent color and expressive drawing speak of nature and the transitory quality of changing light. Sky, water and motion are recurring themes of inspiration.

I begin by adding and subtracting pigment as an etcher wipes a plate, always working light to dark. The result is a composition of luminous layers of translucent color, with spontaneous drawing introduced throughout the process. I seek to balance the energy of drawing and the serenity of open space. My goal as an artist is to create powerful images that invite the viewer to move away from certainty and experience something new… even years after the first encounter.” — AR

Anne Raymond was born in Washington, D.C., and grew up in Dallas, Texas. A graduate of the University of Texas, she went on to study at the School of Visual Arts in New York City.

Raymond’s paintings and monotypes have been featured in group exhibitions in galleries and cultural centers throughout the United States, including the Sears Peyton Gallery and Robert Steele Gallery in New York City; the Peter Bartlow Gallery in Chicago; the Butters Gallery in Portland, OR; the Gail Harvey Gallery in Santa Monica; Allyn Gallup Contemporary Art, Sarasota, FL; and the Lizan-Tops Gallery, East Hampton, NY, among others.

Raymond’s work is also in the permanent collections of major museums including The Boston Museum of Fine Arts and The Blanton Museum of Art at The University of Texas at Austin, as well as in numerous private and corporate collections. She maintains a studio in East Hampton, NY.

Raymond in her studio by Jaime Lopez

Raymond in her studio by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

ANNE RAYMOND speaks to folioeast’s COCO MYERS

CM/ WHAT IS YOUR CREATIVE PROCESS?

AR/ With both my oil paintings and my monotypes I’m interested in combining subtle glazes with dramatic drawing. I make many of my tools… and I am still learning to stop working on a piece before the freshness escapes.

CM/ DOES LIVING ON THE EAST END INFLUENCE YOUR SUBJECT?

AR/ Yes. The sea, bay, sky and evergreen forest are ever present influences. The translucent light is majestic. Every season has its unique character.

CM/ WHAT BROUGHT YOU TO THE EAST END?

AR/ The abstract expressionist movement was of interest to me before studying art in college. And I bought a home in East Hampton with a large studio in 1994.

CM/ ARE THERE ANY PARTICULAR EAST END ARTISTS LIVING YOU’D LOVE TO LIVE WITH?

AR/ I would love to have a Joan Mitchell and a de Kooning from the late 50s and early 60s.

PORTFOLIO OVERVIEW

DAVID RUFO

“Rufo’s optical paintings—in precisely executed patterns of color and shape—have an electric, kinetic energy.”
— Coco Myers

“My work is informed by the hyper-kinetic shifts of the Op Art movement and viscous psychedelic imagery that permeated the visual landscape of my childhood in the sixties and seventies.

Parabolic spiral dot patterns are meticulously painted on an amorphous color field where vivid hues with intricate concentric elements dominate the compositions. I also make use of items such as frisket film, commercial stencils, and flat washers to create a variety of masking effects. This added layer generates a perceptual dissonance brought on by a narrow depth of field and shapes that seemingly float on the surface, when in actuality, they are brought about by unpainted portions of the background paper or canvas.

I am interested in making a body of work that appears cool and detached, but upon closer inspection is revealed to be imperfect, vulnerable, and wholly human.” — D

David Rufo was born and raised in upstate New York. He graduated from Syracuse University, where he holds a Ph.D. in Teaching and Curriculum with a specialization in Art Education. He is currently an Assistant Professor and Program Director of Education at Cazenovia College located in Madison County’s historic lakeside Village of Cazenovia. Previously, he was a Clinical Assistant Professor in the Graduate School of Education at Fordham University. David produces his art in New York City, Amagansett, and upstate New York.

Rufo’s work has appeared in group shows at the Pamela Willliams Gallery, Amagansett, NY; Folioeast, East Hampton, NY; Geras Tousignant Gallery, Palm Springs, CA; Soho House, New York, NY; Studio 10 Gallery, NOMENColorATURE, Brooklyn, NY; Smith Hall Gallery, Syracuse University, NY; and Cazenovia Art Gallery, New York, NY, among other galleries. His solo exhibitions include shows at Solomon Art Gallery, New York, NY; Robert J. Spring Gallery, New York, NY; 12 Rooms Gallery, Syracuse, NY; and Alldays Gallery, Bennington, VT. His work is included in several collections, in the U.S. and abroad.

Rufo by Jaime Lopez

Rufo by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

DAVID RUFO speaks to folioeast’s COCO MYERS

CM/ HOW DO YOU START ONE OF YOUR PAINTINGS?

DR/ 1. Pour a glass of wine. 2. Choose masking material (this year it has been coins, washers, or masking fluid). 3. Airbrush background. 4. Superimpose drawings using a compass and various templates. 5. Add dots in a parabolic pattern. 6. Fill in colors creating a mandala-like structure while listening to NPR and art podcasts. 7. Take dog outside 8. Bring dog back in. 9. Pour final glass of wine. 10. Take photo of work in progress and post to FaceBook and Instagram. 11. Fall to sleep while visualizing next steps.

CM/ HOW DOES PROXIMITY TO WATER INFLUENCE YOUR WORK?

DR/ During morning walks on the beach I love to examine the rhomboid patterns etched in the sand after the swash.

CM/ WHERE DO YOU DO YOUR WORK? IN A STUDIO SPACE? OUTSIDE?

DR/ I paint every night after dinner; this happens in a variety of locations. When at home, I set up my work on the table after dinner. When in the city, I work in my office at Fordham's Lincoln Center campus, or at the Library Hotel in midtown Manhattan. Also, we are building a house on twelve acres in upstate New York. I expect to begin incorporating the outside spaces into my art making process as well. 

CM/ DO YOU FEEL INSPIRED BY THE ABSTRACT EXPRESSIONIST MOVEMENT ON THE EAST END?

DR/ Yes—de Kooning. Especially his color palette from the mid-1980s. At that time I was living in Hell's Kitchen and working as a bouncer at nightclubs around the city such as Limelight, Palladium, China Club, and the Ritz. I recall seeing de Kooning’s work from that time period and feeling that it aptly reflected both the contemporary and historic trends of the Western Art canon. 
.

CM/ Do you have any works by East End artists in your home?

DR/ A signed copy of Ross Bleckner's book, My Life in the New York Times. During a studio visit I asked if he would dip his brush into a pot of silver-black paint to sign the book, which he graciously did. I am also fortunate to have a gorgeous small oil by Mark Perry that I obtained after a visit to his stunning east end home and studio.

PORTFOLIO OVERVIEW