Tulu Bayar combines photography with divergent media such as sculpture, sound, video, performance and site-specific installation. Her work lends itself to an interpretive experience that goes beyond merely the visual. By offering historical, cultural and political references, her work is charged with symbols that open a path for the audience to participate and interpret. 

Born in Turkey, Bayar has participated in numerous solo and group exhibitions at venues in the US, Europe and Asia. She has received various artist-in-residency grants, most notably from the Camac Centre d’art funded by Tenot Foundation in France and the Center for Photography at Woodstock funded by the Andy Warhol Foundation and the New York State Council on the Arts. 

In the over twenty years that I have been painting, though my work has evolved and undergone several transformations, its direction and intent has remained constant.  Investigations within the processes and techniques of painting, paralleling an attempt to understand that which seems beyond our ability to understand, have led me to compelling core meanings. This is what I call a kind of “spiritual alchemy,” a manipulation of material and substance within the contextualization of form and space, the elemental in concert with the conceptual.  The ambiguity of the images and forms arrived at through these processes is a function of the countervailing nature of conscious and subconscious activities. The subject becomes an interplay between a psychological “gestalt” and
philosophical striving for truth, affect, and meaning.

My work is hard to characterize either stylistically or thematically as it relies, to the greater extent, upon subconscious generation of imagery. One of my major concerns is the issue of how paint, existing as both a material, and illusory image transcends to the ephemeral realm of idea, thought, and feeling. I feel that this is the essence of what it is that painting (in all it’s various manifestations) does to the human mind and imagination, and how it affects us psychologically and spiritually. Over the years I have tried to strip away the layers of intent and depiction to try to find more in the process of the work that might lead to a subject and imagery that would be richer and truer to a deeper understanding of the world and the mind/soul hiatus. Admittedly this has been a precariously lonely and uncertain path, but equally one with moments of great exhilaration and deep meditative calm. I hope that the work conveys some of this and can inspire and affect others.

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.

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.

    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. 

Alex Wixon creates small water-media and collage drawings. The materials consist of fragments of handmade paper and vintage newsprint that she has collected over time. She looks through vintage magazines and explores the back sections of paper stores for pieces that tell a story.  She is interested in the aging process and how paper is affected by exposure to the elements. Each work takes its inspiration from the materials chosen. Ms. Wixon layers patterns, textures, and line work to build a whimsical world for the viewer to explore.

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.

Mr. Richardson is a sculptor working in mild steel, Corten, iron, stainless and aluminum.  He uses industrial forms comprised of steel plate, angle iron, I beam,  H beam, bar stock and other components commonly found in heavy construction.  These materials are joined by oxy-acetylene, SMAW, TIG, MIG or Thermit welding and then drilled and tapped for assembly.  Mr. Richardson has large permanent installations of steel work at the University of North Carolina at Chapel Hill, Meredith College, the City of Raleigh Sertoma Park and elsewhere.  Mr. Richardson has also exhibited large works in national competitions juried by J. Carter Brown, Dore Ashton, Donald Kuspit, Nancy Graves and Robert Maki.  Mr. Richardson has large work in several private collections and is listed in the Smithsonian Information Database (SIRIS) for “The Square Root of Two”.  Mr. Richardson received his MFA under sculptor and painter Kenneth Campbell and his BFA under Robert Howard. As a new member of the gallery, Mr. Richardson has created several small industrial steel works.  Though not maquettes, some of these new works are suitable for enlargement for public space.

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.

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.

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.

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.

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.

My work distances itself from the actual world. It expresses what does not exist in a clear form, and presents a balanced conflict. Through lines in free motion, I hope to embody the world of unconsciousness, to convey the feeling of movement generated by laying one line on another, and to share with viewers what I have felt in the process of my work. As beings have feelings, we all want to express every complex emotion. I try to show the harmony of opposites of consciousness and unconsciousness through my paintings. Expression of opposites can be shown as freely moving lines, in which I follow the unconsciousness within me through a properly controlled form. This includes my conception of composition, regarded as an ideal by my consciousness.
I have a belief in abstraction, through which invisible things can be revealed. Subtle changes in paintings enable viewers to reach almost to the level of spiritual meditation. Layers in my painting, made by repetition of the paint application process over original lines, and then redrawn lines, plot the territory of my unconscious. I wish to explain through these layers the freedom floating through the unconscious. Images create new potential through lines and colors, which are allowed to meet freely and create unexpected forms. I believe in a logic of the painted image shown on the screen of canvas as applied to a logic of prior conception. Since I follow my unconsciousness through intuitive gestures, the result is abstract.

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. 

Historically, my work has dealt with those issues than define us as human beings: procreation, sexuality, vulnerability, religiosity, genesis, mortality. The forms have been minimally based, as severe as the issues themselves.

In my current body of work, a sequel to a previous set of concerns, I deal with another aspect of what it is to be human: play. And such an issue is congruent with a viewpoint about art making: art is adult play. Castings: of Men and Beasts is the literal thrust of my forthcoming exhibition at the Amos Eno Gallery (April 7-May 1) in regard to imagery exploited, but the show is formally rather than ideologically based. I have made molds of actual deer and replica human skulls, pulled waxes, and played, creatively, intellectually and physically. Formal issues like positive and negative space, texture, representational, abstraction are the ground for the works, as I developed them quickly and on an intuit/expressionist basis. I have sought tension and resolution with the designs of the works. The waxes were ultimately translated into bronze through the lost-wax casting process.

I then manipulate the surfaces of the castings with paint. I am not a colorist or surface designer by inclination. But I want surface design and color to be issues in this series,

As an academic exercise and as means to excite three-dimensional forms executed through a very traditional and historically significant process. As with the forms themselves, I trust myself with the painted surfaces. My conclusion: form tells the sculptor when a piece is finished. Surface is much more ambiguous, elusive. And such, perhaps, is the nature of both life and art. 

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.

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 think of my work as an abstract reflection of emotions around me. The motive of my theme started from interest in wild life. Especially insectivorous plants, its aggressive mutant like character lead me to reveal emotions as a human being: religiosity, jealousy, mortality, selfishness from my experiences in life. A spiritual experience related to the sensitivity of emotion affects my work as an instinctively strong energy.

One can, in a sense, view my installations as resembling toys. I deal with typical materials like wood and clothes used in toys or interior stuffing to speak in a universal way to both children and adults. To me, doing a sculptural-installation is a good transition to art having meaning to address the contradictory notion of relationships between the material world and art culture. I find, collect, and use different fabrics from things as mundane as secondhand clothing, and I invent personal creative forms from ordinary things. My abstract forms, as expressed by sculpture installations, symbolize my definition of humanity as arising from interactions between random images (animals, vegetables, etc.) in my mind.

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.