We have been inspired to see images of artist studio spaces that have been posted in the last two weeks. Here are some images of Amos Eno Gallery artist's studio spaces while we shelter-in-place. Enjoy!
This view of my workspace shows a current artwork in process hanging on the wall. To the left of it are two artworks boxed up and ready to ship; unfortunately, this particular exhibition was postponed due to Covid-19. The packed, forelorn artworks linger in my studio. I feel as if there is more experimentation in my current artwork; it is a compilation of watercolor, hand-sewn human hair, hand-sewn thread and machine-sewn thread with collaged fabric. My canceled and postponed exhibitions provide a strange sense of freedom. Urgency to produce new work has been removed. The stay-at-home order by our governor has given me – more studio time. Unhurried time lends itself to reading books, pondering new ideas, testing out new stitching techniques. This view includes my bookshelves; I can leisurely peruse old sketchbooks, thumb through art books and re-read feminist literature.
This is my studio workspace. I used an easel for years but find a reclining table works better for me when creating a graphic layout of my work. After the initial stages in my painting process are complete I hang the work on the wall and proceed from there so that I see the painting at the angle it will be seen at going forward. My practice has been affected by Covid 19 chiefly by the challenge of finding time to focus. Time and routine is amorphous at this point and priorities are fluid: I need to make a conscious effort to put other concerns aside for the sake of creativity.
Studio view tools and the wall
Studio views Mizu sashi
Welcome to my ceramic studio, which I’ve been in for just a bit over two years. It’s a renovated part of an old horse barn in the upper Hudson Valley, occupying almost three former stalls. It’s my first heated studio, though I’ve been working in ceramics for many years. Since self isolation from the virus, my work has taken a new turn: from stacking many pieces into one work, I now look at each as a singularity. My plates, though always having a close relationship with them, have gained a new meaning in these virus times by their forms, and I’ve started a new exploration of them.
The first image of my studio is of an oil painting in progress (prior to the Crisis), while the other is of dirty brushes (during the Crisis). My “abstract landscape” vehicle to express my vision and my primary focus haven’t changed. However, my ability to focus on the spot has moved somewhere else.