JAIME LOPEZ

“Lopez’s photographs play upon and expand conventional perceptions of nature, visually enhancing the familiar.”
— Coco Myers

“My photographs are a response to the environment around me—not only the natural beauty of the landscape but also the way that the environment is being threatened. These sometimes ominous visions of beauty can be interpreted as a metamorphosis taking place within nature. My hope is that they will evoke a positive action towards ongoing nature preservation and protection.

The phrase ‘art imitates life’ has been a constant theme and inspiration in my career.” 


Jaime Lopez was born in Peru, a country rich in breathtaking landscapes, which became an aesthetic foundation for his lifelong career as a photographer and artist. His vast body of work is a reflection of his journeys across the globe.

Lopez arrived in New York City from Peru to study graphic design at Parsons School of Design in 1980. After three years assisting top fashion photographers in New York City, he began his own fashion photography career, shooting mostly in Italy and Spain. Jaime’s work has been widely published in Elle, Marie Claire, Telva, Hola, GQ, Woman Magazine, Glamour and Cosmopolitan.

In 2000, Lopez returned to the U.S. moving to Sagaponack on the East End of Long Island. There, he became captivated by the raw aesthetics and pristine beauty, which inspired the next artistic chapter of his life, photographing the environment around him.

In 2020 Lopez began photographing folioeast artists in their studios, a project that turned into a self-published coffee table book, “Hamptons Artists: The Current Wave-48 Artists Making Their Mark on the East End.”  A second edition is in the works.


Lopez in his studio

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

JAIME LOPEZ speaks to folioeast’s COCO MYERS

CM/ YOUR PHOTOGRAPHS ARE PRINTED ALMOST EXCLUSIVELY ON ALUMINUM; CAN YOU EXPLAIN THE PROCESS?

JL/ It is printing sublimation on aluminum. It has a super quality, with no reflection, and can be hung in different environments, like outdoors, in humid areas or near heat sources without risk.

CM/ HOW WOULD YOU DESCRIBE YOUR CREATIVE PROCESS?

JL/ I capture landscapes and reinterpret them, approaching the idea as if I was a painter. All my images have color that’s different than one may expect of a traditional landscape.

CM/ WHAT BROUGHT YOU TO THE EAST END?

JL/ My wife, Marilyn Clark, is from East Hampton. We had our house in Sagaponack rented while we lived in Europe, and after ten years abroad in Milan and Madrid, decided to move back so our daughters could attend the one-room schoolhouse in Sagaponack.

CM/ YOU DO ALL YOUR FINE ART PHOTOGRAPHY HERE?

JL/ Yes. I want to capture this ever-changing landscape so we have a record of how it used to be when we were in the Hamptons.

CM/ WHAT IS YOUR FAVORITE SEASON?

JL/ All four seasons. Because of the light and the blend of farmland and ocean—two of my favorite habitats. It seems to me that every day is different and always has a surprise in mood or color.

CM/ WHERE DO YOU DO YOUR WORK?

JL/ I photograph outdoors and I just started to work on portraits and still life in my new studio in Sagaponack.

CM/ DO YOU HAVE ANY FAVORITE SPOTS ON THE EAST END? ANY THAT HELP YOU FEEL INSPIRED?

JL/ The fields and beaches of Sagaponack. The trails all over the East End are gorgeous and exciting to ride a mountain bike around them in the winter time. In summers, I ride my road bike and motorcycles around the roads in the area. It is a very nice and practical way to discover and get inspired by new sites!

PORTFOLIO OVERVIEW

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

CHRISTINE MATTHÄI

“Matthäi’s photographs, with their aura of sensuality and spirituality, are also quite stylish, sometimes even glamorous.”
— Coco Myers

“I use photography as a tool to express my feelings and impressions. The original photographic images are digitally transformed so that colors and shapes turn into abstractions of the source image.

My intention is to convey the feeling of losing oneself in space with no sense of time and place, which is similar to the practice of meditation. I often work with multiple layers to achieve the final image, which emerges from my subconscious.

My favorite subject has been water, a fascination that resulted in my Light and Sea series. This work consists of abstract visual meditations on the interplay of air, light and water, the shifting of colors and shapes from form to formlessness. In Light Meditations, the brushing light lines on the water’s surface turn into visual rhythms, repetitive strolls on lines and dots.

With Musings on Words and Poetry, I incorporate repetitions of words and sentences from poetry and letters. The images pay homage to the vanishing word as a carrier of thought. The form of the square represents the four elements of fire, water, air and earth. I use the square as a sacred place to hold multiple layers of writings precious to me. The visual effects are similar to ancient hieroglyphs—an expression of my desire for timelessness and preservation.”

Charles Riley II, PhD Director, Nassau County Museum of Art, NY

“Matthäi’s labyrinthine meditations have a marvelous multi-media comprehensiveness. They begin with photographs of the ripples on a beach (East Hampton, the Bahamas and Miami, reminding me of Le Corbusier's black-and-white photos of beach patterns)…. Matthäi's own talent for correlating the metaphysical with the physical, through sound, color, correspondences, structures, symbols, textures, words...and even mathematics. She is the epitome of the idea we hoped to share, to make the invisible visible, to bring energy to the wall. Leonardo da Vinci would have been entranced."

German-born Christine Matthäi’s fascination with photography and film began during her early teens. She graduated from the Fashion Institute of Technology in Berlin, then moved to New York City in the mid-eighties, where she started as a photographer’s assistant. Later, she worked as a photojournalist and foreign correspondent for international magazines and newspapers.

Matthäi’s strong connections to the New York art scene stimulated and helped contribute to the exploration of her own artistic creativity. Over a decade ago, she decided to pursue her art photography full time. She moved to the East End in 1992. She now lives and works between the Hamptons, New York, Miami, and the Bahamas.

Matthäi’s work has appeared in shows at the Alex Ferrone Gallery, Cutchogue, NY; the Watermill Museum, Watermill, NY; folioeast, East Hampton, NY; Monika Olko Gallery and Tullla Booth Gallery, Sag Harbor, NY: ARC Fine Art, Fairfield, CT; ArtHamptons; Grand Gallery, Grand Bahama; Majestic Hotel, Dubai; Amarillo Gallery, Bologna, Italy; and Galerie Melior, Straubing, Germany, among others.

Christine Matthäi by Jaime Lopez

Christine Matthäi by Jaime Lopez

PORTFOLIO

current & recently sold work

CHRISTINE MATTHÄI speaks to folioeast’s COCO MYERS

CM/ DO YOU HAVE ANY SPECIAL OR UNUSUAL TECHNIQUES THAT YOU USE IN YOUR ART?

MATTHÄI/ I use photography as a primary tool. The original photographic images are then digitally transformed so that colors and shapes turn into abstractions of the source image. The images are either produced on plexiglass or as prints on paper which then serve as a canvas to be painted upon. For my newest series, Sand-gold Mandalas, I am mostly using sand and gold colors on paper.

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

MATTHÄI/ My work is inspired by nature and stillness, by the extraordinary light conditions of sea, sky and water on the East end of Long Island. These conditions are reflected in my Light and Sea, Sacred Path and Architecture of Sound series.

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

MATTHÄI/ I can work anywhere when I feel inspired. My house in Shelter Island serves as my summer studio. My latest Sand and Gold Mandala art works were initially started on several Bahamas and Florida beaches where I let the natural forces of wind and sun form sand patterns for my photographic images which I later painted on with sand and gold color.

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

MATTHÄI/ I have works of several fellow artists from Shelter Island and I hope to eventually exchange art with my friend and sculptor Hans van de Bovenkamp.

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

MATTHÄI/ I work in series and each series is a continuation of the previous one. They are all connected though my inner quest of seeking the core of our existence.

LESLEY OBROCK

“Obrock’s monoprints have color, character and charm. They feel personal—as if the abstract shapes have a life of their own.”
— Coco Myers

“Very simply, I am inspired to make art because I love colors, shapes and textures.

I often start a piece with only a vague intention of composition and color and then let spontaneity and intuition take over. While I sometimes produce work that is representative, I am most moved to paint abstracted landscapes. I enjoy working with materials that have a tactile sensibility and believe in constantly challenging myself with new techniques, concepts and subject matter.” — LO

Lesley Obrock grew up in the Midwest. Her formative childhood experiences, working alongside her seamstress grandmother amidst piles of fabrics and trims, had a profound impact that sparked a lifelong interest in texture, color and pattern.

Obrock studied painting and printmaking at Meramec Community College in St. Louis, MO and obtained a degree in interior design. She went on to open a private gardening business in St. Louis, which she ran for 18 years. She moved to the east end of Long Island in 2008 and returned full-time to making art in a variety of media—primarily printmaking, encaustic, watercolor and acrylic.

A member of the Artist Alliance of East Hampton, East End Arts and Springs Improvement Society, O’Brock has participated in numerous curated and juried shows, including two curated shows at the Islip Art Museum, Islip, NY, and the 2016, 2017 and 2018 Springs Invitational in East Hampton, NY, the Watermill Center, Watermill, NY, and in several folioeast shows in East Hampton. Her work can be found in private collections across the country.

Lesley OBrock by Jaime Lopez

Lesley OBrock by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

LESLEY OBROCK speaks to folioeast’s COCO MYERS

CM/ Can you describe the mediums you work in and your process?

LO/ I primarily make monoprints or small editions of varied prints. I usually start with quick sketches, a general idea of composition and color and then just dive right in. Often I'll end up with something completely different, but that is the nature and beauty of monoprints.

With encaustic I use a mixture of beeswax, damar resin and pigment. It produces a wonderful wax paint that when applied to a substrate has a beautiful texture and luminosity. The materials and studio setup can be tricky. You need to have the wax in a liquid state while applying it to a substrate, then gently reheat it so it adheres to all the wax layers below. This is done with a torch or heat gun and you have to have excellent ventilation.

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

LO/ The beauty of simple things. Sunsets, the way something has weathered from the ocean, there are a lot of things like that. Also, I've made some wonderful friends here.

CM/ WHERE DO YOU DO YOUR WORK?

LO/ I have a dedicated studio space with a printing press and encaustic setup that includes a hot palette for heating the colored waxes, scraping and incising tools, blow torch, a full range of brushes and a specially designed ventilation system.

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

LO/ Any day I'm making art is a good day.

PORTFOLIO OVERVIEW

BETH O'DONNELL

“O’Donnell’s floral photographs are lush and gorgeous; her mixed-media works are creative, complex, and intriguing.”
— Coco Myers

“For my encaustic works, I create textured paintings on a customized and oversized heated plate to blend abstracted imagery of the real world. The place, the feeling, or experience that I am portraying is a snapshot of my present mindfulness; the size of the work comes from the same inspirational process. I hope the resulting images, whether beach or urban scenes, challenge the viewer to look again at what passes in front of them. I attempt to offer calming, reassuring works as symbols of hope in our ever-changing world.

As a photographer who also has a love of painting, I have created what feels to me to be a natural hybrid of these two interests in my mixed media works. The process often starts with mounting photographs on birch panel. I then cover the images with layers of encaustic wax and paint using pigmented oil sticks and inks.

I also enjoy shooting florals with my macro lens, creating almost abstract portraits of flowers. I get taken away in a meditative way when shooting this way; usually still shooting them with my film camera to get what I’m looking for.” — BO

Beth O’Donnell was born in Evanston, Illinois. In the late nineties she studied photography, first at the Evanston Art Center, then at the International Center for Photography in New York City. In 2002, she spent twenty months in the slums of Nairobi, Kenya, doing photojournalistic work that was published in The London Daily Telegraph and Marie Claire.

In 2005, O’Donnell began combining photography with encaustic wax. Most recently, she has been using encaustic wax and pigmented oil sticks to add texture to an array of papers and panels in order to create ethereal geometric forms and abstract landscapes.

O’Donnell’s work has been shown in many exhibitions, including at Ashawagh Hall, Amagansett, NY; The Art Barn at Larkin Pond, folioeast, and Guild Hall, East Hampton, NY; The White Room Gallery, Bridgehampton, NY; Holly Hunt, Birnam Wood Gallery, Urban Zen, African Rainforest Conservancy, New York, NY; Heiberg Cummings Design, Oslo, Norway; and The Home Gallery, Nairobi, Kenya.

O'Donnell has also exhibited work at the United Nations in conjunction with the Istanbul +5 Conference and her photographs have been auctioned at several major philanthropic events around the United States. Her book, Angels in Africa, published by Vendome Press in 2006, was named by The Guardian (UK) as one of the top ten photography books of that year.

O’Donnell in her studio by Jaime Lopez

O’Donnell in her studio by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold photography

BETH O’DONNELL speaks to folioeast’s COCO MYERS

CM/ YOU WORK IN A VARIETY OF MEDIUMS. HOW DO YOU COMBINE THEM?

BO/ I almost always use encaustic wax and oil paint; oil sticks either to make a painting on board or to be used over photography. I melt wax in electric pans or on a large "hot box." I use a heat gun to reheat or move the wax. I also use Japanese rice paper and tissue paper as the ground for encaustic wax paintings. Recently with photography, I've been tearing the photograph, sewing it back together and then applying the clear wax before using brushes and oil paint to finish the work.

CM/ WHERE DO YOU DO MOST OF YOUR WORK?

BO/ I built a modular barn in East Hampton which is my studio. The space has a loft for an office/resting area and downstairs is the work space. I travel quite a bit and guide safaris, so I also shoot a lot in Africa.

CM/ WHAT IS YOUR FAVORITE TIME OF YEAR ON THE EAST END? IS IT ALSO A PARTICULARLY CREATIVE TIME FOR YOU?

BO/ Summer is my favorite season. I know it's crowded but I take the back roads and I'm up early. It is the most creative time for me continuing into fall. I like to open up my studio door and bring the work outside.

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

BO/ I have two Peter Beard photographs depicting Africa and I also have a large John Alexander painting.

PORTFOLIO OVERVIEW of photography

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold mixed media

BETH O'DONNELL

“O’Donnell’s floral photographs are gorgeous; her mixed-media works are creative, complex, and intriguing.”
— Coco Myers

“For my encaustic works, I create textured paintings on a customized and oversized heated plate to blend abstracted imagery of the real world. The place, the feeling, or experience that I am portraying is a snapshot of my present mindfulness; the size of the work comes from the same inspirational process. I hope the resulting images, whether beach or urban scenes, challenge the viewer to look again at what passes in front of them. I attempt to offer calming, reassuring works as symbols of hope in our ever-changing world.

As a photographer who also has a love of painting, I have created what feels to me to be a natural hybrid of these two interests in my mixed media works. The process often starts with mounting photographs on birch panel. I then cover the images with layers of encaustic wax and paint using pigmented oil sticks and inks.

I also enjoy shooting florals with my macro lens, creating almost abstract portraits of flowers. I get taken away in a meditative way when shooting this way; usually still shooting them with my film camera to get what I’m looking for.” — BO

Beth O’Donnell was born in Evanston, Illinois. In the late nineties she studied photography, first at the Evanston Art Center, then at the International Center for Photography in New York City. In 2002, she spent twenty months in the slums of Nairobi, Kenya, doing photojournalistic work that was published in The London Daily Telegraph and Marie Claire.

In 2005, O’Donnell began combining photography with encaustic wax. Most recently, she has been using encaustic wax and pigmented oil sticks to add texture to an array of papers and panels in order to create ethereal geometric forms and abstract landscapes.

O’Donnell’s work has been shown in many exhibitions, including at Ashawagh Hall, Amagansett, NY; The Art Barn at Larkin Pond, folioeast, and Guild Hall, East Hampton, NY; The White Room Gallery, Bridgehampton, NY; Holly Hunt, Birnam Wood Gallery, Urban Zen, African Rainforest Conservancy, New York, NY; Heiberg Cummings Design, Oslo, Norway; and The Home Gallery, Nairobi, Kenya.

O'Donnell has also exhibited work at the United Nations in conjunction with the Istanbul +5 Conference and her photographs have been auctioned at several major philanthropic events around the United States. Her book, Angels in Africa, published by Vendome Press in 2006, was named by The Guardian (UK) as one of the top ten photography books of that year.

O’Donnell in her studio by Jaime Lopez

O’Donnell in her studio by Jaime Lopez

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold mixed media

BETH O’DONNELL speaks to folioeast’s COCO MYERS

CM/ YOU WORK IN A VARIETY OF MEDIUMS. HOW DO YOU COMBINE THEM?

BO/ I almost always use encaustic wax and oil paint; oil sticks either to make a painting on board or to be used over photography. I melt wax in electric pans or on a large "hot box." I use a heat gun to reheat or move the wax. I also use Japanese rice paper and tissue paper as the ground for encaustic wax paintings. Recently with photography, I've been tearing the photograph, sewing it back together and then applying the clear wax before using brushes and oil paint to finish the work.

CM/ WHERE DO YOU DO MOST OF YOUR WORK?

BO/ I built a modular barn in East Hampton which is my studio. The space has a loft for an office/resting area and downstairs is the work space. I travel quite a bit and guide safaris, so I also shoot a lot in Africa.

CM/ WHAT IS YOUR FAVORITE TIME OF YEAR ON THE EAST END? IS IT ALSO A PARTICULARLY CREATIVE TIME FOR YOU?

BO/ Summer is my favorite season. I know it's crowded but I take the back roads and I'm up early. It is the most creative time for me continuing into fall. I like to open up my studio door and bring the work outside.

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

BO/ I have two Peter Beard photographs depicting Africa and I also have a large John Alexander painting.

PORTFOLIO OVERVIEW of mixed media

ARTIST’S CAROUSEL

rotating exhibit of current & recently sold photography

PAUL PAVIA

“Pavia sculpted highly original pieces—from metal, stone and wood—that have an appealingly visceral aesthetic.”
— Coco Myers

1971-2023

“The central aim of my abstract sculpture is to examine the relationship of the individual to the external world. I pattern my work after the enormous sculptures and symbols of the past: Stonehenge, the heads of the Olmecs, and the Polynesians of Easter Island—all of which seem to be simply conceived, but carry powerful, emotional undertones.

As a philosophy major in college, I became fascinated with the mind’s sense of self and its relationship with the fleeting, beguiling material world. Philosophical writings often describe this state of mind as isolating in a daunting world. I myself have dealt with these feelings at one time or another, and while I was in college I began to illustrate them in my sculpture and continue to do so.

On the surface, I want my sculpture to be poetically serene and tranquil but to also have an underlying, disconcerting subject matter. To convey this ambiguity, I use space, volume and a deceptive sense of scale. The existential feel I want communicated comes from establishing a vast, enigmatic space that expands from the sculpture. This space gives the simple geometrical monoliths that are often in my work the illusion of being alone and alive amid a surreal, elegant backdrop.” — PP

Paul Pavia was born in 1971 in New York City, where he grew up immersed in the art world. His grandfather was a painter, his father, Philip Pavia, was a sculptor in the Abstract Expressionist movement, and his mother, Natalie Edgar, formerly an art critic for Art News, is a painter. Pavia passed away in 2023.

From 1986 to 1998, Pavia spent the summers studying the classical techniques in stone carving and bronze casting in Pietrasanta, Italy, a center for sculpture in Europe. He majored in Philosophy and Studio Art at Binghamton University, after which he concentrated on sculpture full time and had his first one-man show of work in welded steel at the Millennium Gallery in East Hampton, New York.

Several years later Pavia began welding in bronze, as well as incorporating other materials into his work: primarily marble, wood and stainless steel.

Pavia’s work has been exhibited widely, including at Ashawagh Hall, Amagansett, NY; Butler Fine Arts, the Millennium Gallery, folioeast, and Solar, East Hampton, NY; the Sculpture Center, the American Academy, The Annex, 2nd Street Gallery, Phoenix Gallery, White Box Gallery and Side Show Gallery in New York, NY; and the St. Agostino Museum, Pietrasanta, Italy.,

Paul Pavia in his studio by Jaime Lopez

Paul Pavia in his studio by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

From an interview with the Paul Pavia by Mark Segal in The East Hampton Star, January 2017

“I became fascinated with the mind’s sense of self and its relationship to the fleeting, material world. Philosophical writings often describe this state of mind as isolating amid a daunting world. I personally have dealt with these feelings at one time or another, and my sculpture has reflected them, from college to the present. I want it to express mystery and uncertainty.”

PORTFOLIO OVERVIEW

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

VIVIAN POLAK

“There’s a poetic air to the shadows and patterns of a Polak piece, with its unusual angles and unexpected elements of mixed media.”
— Coco Myers

“With photography, ink and paint, I explore the physical locations and inner places I’ve lived in and visited, each as an external and internal landscape. I seek to find the feeling of each space in time and to understand how a space remembers the people who have been there, even long after they have moved through.

I build each work with layers, each one representing a different experience of time and place. Working with moving shadows and shifting patterns, I look to capture moments as we move towards them and as they move past us.

I often start with a photograph that sets a reality on one plane, at one point in time. I then add my own notions of what might have come before and what might come after—in each case seeking to weaken the bind with the “real” reference of the photograph, moving closer to inner the compositions that we all experience.” — VP

Born in New York City, Vivian Polak grew up on Long Island and the coast of Belgium—two places where the combination of water and flat land make for extraordinary light. After many years of working with photography, she now explores how to extend her vision by adding drawing and painting (primarily with inks and watercolors) to her photographs.

She studied at the Art Students League, the International Center of Photography, the New York Studio School and in workshops and studio classes at the Art Barge in Napeague.

Her works are part of numerous private collections and have been shown at The Cheryl Hazan Gallery in NYC; at Clic Gallery, folioeast, and Ashawagh Hall in East Hampton, and at Sylvester & Co at Home in Amagansett.

Vivian Polak by Jaime Lopez

Vivian Polak by Jaime Lopez

ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

VIVIAN POLAK speaks to folioeast’s COCO MYERS

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

VP/ I use my own photographs (archival prints), watercolors, ink washes, and etching/intaglio prints and monotypes made with oil-based inks. I find that the surprises and happenstances inherent in working with watercolor, ink, etching and monotypes often upend the certainty found in photographic images—in much the same way that the surprises in life play with the things we think are stable.

CM/ WHAT DEFINES YOUR PARTICULAR STYLE OR METHOD OF WORKING?

VP/ I toss away, or totally mix together, traditional processes and techniques.

CM/ HOW DOES THIS AREA INFLUENCE YOUR WORK?

VP/ The East End light permeates my work. The broad horizons (both ocean and land), as well as the telephone poles and wires, often form the key lines in my pieces. And the large skies of the East End often form the basis for the fields of color.

CM/ WHAT IS YOUR FAVORITE TIME OF YEAR?

VP/ I was about to say that late spring is my favorite, as the shoes go in the closet and the shorts come out; but then I thought of early fall when the ocean waves take on hurricane dramatics; but then I thought of winter when I'm captivated by the shadow patterns on the snow.

CM/ DO YOU HAVE ANY FAVORITE SPOTS ON THE EAST END WHERE YOU FEEL MOST INSPIRED?

VP/ Napeague Bay is one of my favorites—the views of ocean and bay, the horizon lines, the phone poles, the grasses. The walks along Fosters Path and Northwest Path often clear my head and open up trails I can follow in my mind for different approaches in the studio.

CM/ DO YOU DRAW INSPIRATION FROM ARTISTS ON THE EAST END?

VP/ Yes. I'm in love with the work of Louisa Chase. And Ross Bleckner.

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

VP/ I've got several pieces by Michele D'Ermo, which totally capture the moods and colors of the East End. In my next life, I would love to have Louisa Chase's painting called "Wave" to look at every day.

PORTFOLIO OVERVIEW