These paintings are from a series where I explore using clay heads to correspond to the first ten Sophie Germaine prime numbers.  The painting ‘Feeling unstable… ’ is the last one in the series and contains 89 clay heads.  Repetition, patterns, the clay faces are all a means of seeking something out.  Searching for a vocabulary, a break-through to what’s in front, what’s behind, what it is.  Seeking a new vocabulary, a complex business whose symbols are arcane, obscure, playful even.  I paint to discover something inside of me that I don’t know exists — a separate language, an honesty.  I paint to shape what is me into colors and forms, to dig deeply into my own state of being human in hope that others will feel the same.

Deborah Freedman lives and works in New York City and Kerhonkson, N.Y. She attended New York University studying with Knox Martin, James Wines, Irving Sandler and Robert Blackburn.
Her work has been exhibited in numerous galleries and museums throughout the country and is included in major public and private collections including, The Metropolitan Museum of Art, The New York Public Library, Prudential, NASA, CITI and IBM. Her paintings for fashion and editorial photography are widely seen in periodicals such as The New York Times, Elle, American Vogue, Harpers Bazaar, and The New Yorker, She is also co-owner with Marjorie VanDyke of VanDeb Editions, publishers of etchings and monoprints.

Stephen Crone uses the sculptural and gestural aspects of opera to create his video landscapes.  His new work, Fields of Oblivion is a requiem piece where the dead exists as radiations filled with emotion.

Alex Wixon creates small water-media and collage drawings. She layers patterns, textures, and line work to build a whimsical world for the viewer to explore.

Monica Bauer‘s latest work examines the allegorical figure of painting, La Pittura, on large-scale canvases using traditional methods of representation, including chiaroscuro and atmospheric perspective. Through cropping and the addition of geometrical forms, these paintings explore possibilities of relating the art of painting and modernist forms with   images of women, idealized and naturalistic.

Monica Bauer earned a MFA degree in painting; her work has been exhibited in New York, Toronto, Sydney, Hamburg, Bremen and Beijing. She has received numerous residencies, including Ox-Bow, Jentel, and the Vermont Studio School. Her work appears in university collections, and private collections including the actor George Lopez.

The primary focus of my work has been the particular quality of airspace and how it can be translated into paint. While drawing the elements from above, I am aware of the loss of level and the right angle. I use these losses to explore space, scale, and time. The AVE is a fast train that runs through southern Spain. With this group of paintings, I move away from the aerial sense of perspective, but remain above the view, watching the air contain itself within the pre-defined parameters of space. When I am moving fast, the elements have a sense of urgency (to catch up) within the vast stillness of the airspace. In this sense, I come completely to terms with my environment to create a space structured by light and a surface marked by the rhythm of the moving air.

“I had been working for several years in a strict geometric manner in a conventional tradition of paint on canvas; very flat, sharp edged, very linear. Then, as chance would have it, I saw a show in which some works by Robert Rauschenberg were made from torn corrugated cardboard. The inspiration for me was almost instantaneous. Tearing off the paper that covers the corrugations gave me the perfect vehicle for transferring my interests at the time into a totally different medium. The eight works shown here are examples among many others that I made over the months to follow. “Corrugated Fields” became a perfect culmination of the geometric painting I had been pursuing in the late ‘80’s and ‘90’s. and which I exhibited at Amos Eno in 2004.”

    The world is a network of connected beings and experiences, and Marina Reiter’s paintings offer to make sense of the patterns, impasses and opportunities we pull from our past and cast into the future. In her crowded, expertly choreographed abstractions, globular forms move into and out of one another’s orbit, marking brief encounters in some places and becoming completely intertwined elsewhere. These trajectories are informed by Reiter’s own experiences, growing up between her hometown of Moscow, New York City and Beijing, moving to Washington D.C., and now finally settling in Brooklyn. This life trajectory of moves and readjustments every few years has left Reiter especially attuned to the hardships and strengths of lives started, packed up and restarted elsewhere. 

    Indeed, her colorful, immersive paintings speak to contemporary experiences of a world in which people are more connected than ever, and simultaneously more vulnerable to feelings of alienation than at any preceding epoch. Her gentle, curvilinear shapes evoke human forms, atomic particles and the very make-up of social fabric. Each is carefully shaded and rendered with soft, meticulous brush strokes, evoking strong impressions of depth, lighting and texture. And yet Reiter resists anthropomorphizing these forms, instead casting them into a surreal void, spinning, floating, colliding and bouncing amidst small black lines and shapes, each painting unfolding against soft, blurred backdrops. 

Born in Buenos Aires, Argentina, Jose-Ricardo Presman has had numerous one-man shows at the Amos Eno Gallery, of which he is a charter member, and has exhibited in group shows around the U.S. and Canada.

For the past 35 years, Presman has been creating conceptually based installations which move the viewer to re-examine contemporary notions of history and pre-history, as well as to challenge
contemporary speculation of what our future holds. He achieves this by presenting the research and findings of esoteric science, through cognition described as supersensible. His work is meant to psychologically affect and expand the viewer’s viewpoint of the world beyond the gallery experience.

Charleen Kavleski is a multi-media artist who synthesizes both systemic and random, palpable conceptual art with her family history of mason work and quilt making. Her work has been in 13 solo shows in New York City and in more than 160 group and prestigious juried shows in galleries and museums throughout the United States. She has been an exhibiting member of NAWA since 1994. Her work has received both recognition and awards. 

Theresa Gooby‘s Drawings of Trees in Winter is a series of mixed media on wood panels. Taking motivation from the naked beauty of nature in winter, they are inspired by progression of life becoming art.

Begun as photographs shot in daylight of one water tower reflected in one glass building in Times Square.  Jane McClintock edits the photographic image. a grid like pattern of the panes of glass further distorting the image.  The panes appear as isolated abstractions, yet the grid work is the undistorted element of the image.  McClintock uses the transparency and luminosity of watercolor in rendering these paintings.

Making art Is, for me, not as much a way of expressing myself as it is a way of understanding.

    My experience tells me that seeing—- perception—- is a form of cognition; we observe, we are aware of ourselves observing, we strive to understand, and we react to what we see.  We read meaning into what we see, whether it is an object, a place, a painting, a photograph or anything else.  The seen thing becomes a kind of significant fact—- although its significance can often be mysterious, speaking to us In a visual language that is nuanced and multi-layered.

    While I am interested in many things, there is nothing that interest me ore than this process.

    One of the most critical questions I ask myself, in my working process, is what significance an image has to me, what it is that I am really making an image of.

I was born in Germany and received a B.A. in art at the Klosterschule, Hamburg. I studied philosophy and medieval languages at the University of Hamburg. In 1965, I immigrated to New York City. Twenty years later, in the early 1980’s, I permanently moved to Maine.

My only guided training in art took place during the last three years of school while working towards my B.A. Since then, my education consisted of studying the work of other artists.

Rilke once said in his letters to a young poet that the most profound things take place in a realm beyond words.

It is the process of painting that I find most important. Painting is the means by which I work through all those things I cannot address with reason or rationale. At the same time, it is always a celebration in and of color.

I have exhibited my work in New York and Maine for more than 30 years, and my paintings are in several prestigious collections. I have been a member of the Amos Eno Gallery in New York since 1996, where my work is exhibited every two years.

Virginia Maksymowicz directed Amos Eno Gallery from 1983 to 1986. For the past ten years, she has been juxtaposing the female body with architecture in ways that becomes visual metaphors for the societal roles women play.