The Gowanus Open Studios aka GOS is an amazing art exhibit and so much more. It is an important opportunity for the Gowanus community to rally around the artists and creativity and energy that makes this area so vibrant.
Over the past 20 years, the GOS event has grown to over 300 artists with studios from Bergen Street to 18th Street, and from Court Street to 5th Avenue.
STATE OF THE ARTS NYC FEATURED ARTISTS
Medium: Drawing and Painting
98 4th Street
Studio # 304
183 Lorraine Street
Studio # 3rd floor -#99Phone: 347-451-2020
B.F.A. University of Texas at Austin 1986Skowhegan School of Painting & Sculpture 1987
540 President Street
Studio # 14
Phone: 347-986-9172Website:: www.rachelselekman.com
In my sculptures and works on paper, reference to the human body, the use of everyday objects, fine craftsmanship, and the dynamism of elements that literally, in the sculptures, or figuratively, in the collages, reach out to the viewer are paramount. The sculptures from 2009 and 2010 explore the dynamics of relationships, of intimacy–how people engage and interact. “The Conversation” and “The Lovers” show two “figures” in this dynamic, whereas “Mouth Wide Open,” as a single figure/object, implicates the viewer in the pas de deux. In “The Listener” the action suggested is “taking things in”–reception and synthesis—as the title suggests. These scenarios take form in mixed-media sculptures that have watering can bases and/or watering can remnants, stand-ins for the human body and skin, respectively.
Wall sculptures sans watering cans, “Reveal (Taking Stock 1)” and “Burst 4 (Taking Stock 2)” are departures from earlier pieces and indicative of the direction of my forthcoming 3D pieces. Deciding to start incorporating all the materials I have left over from other pieces into new work, “Reveal,” for example, includes almost all the beads, buttons, and sew-ons from my stockpile, as well as leftover fabric. “Burst 4” used up most of my leftover velvet flowers and some of the watering can scraps I’ve saved, and in both pieces, “taking stock” in the title references this approach.
This self-imposed directive came to be for two reasons: a milestone birthday and the accompanying reflections and my day-to-day life as an avid recycler, composter, and upcycler. With these practices in mind, I thought, why let all these beautiful materials lay fallow in my closet? So moving forward, I will use my stockpile to make visually complex and engaging sculptures.
In my collages, I strive to create a sense of movement and energy. Content is derived from personal experience and also from images found in jewelry and watch auction catalogues. The collages employ a lexicon of images–flowers, watch faces, and hourglasses, among others. Some pieces reference the woman’s body, grounding them in female experience, while others explore human relationships through more suggestive imagery. In “Double Spray,” two sprays (figures) “meet,” then collide and ricochet, exploring how couples engage. In “Double Jewelled Bouquet” and “Double Jewelled Wreath,” inspiration came from the flower jewelry in the catalogues. Embroidery and ornamentation provide texture, sparkle, complexity, and pay homage to the rich history of women’s work.
98 4th Street
Studio # 56Email: email@example.com
He has lived and worked in New York City since 1993.
i n b e t w e e n t h e p a i n t i n g s
Disenchantment precedes a time change in the artist’s creativity.
Always trying to do what I do not know how to do: to master the painting.
Virtuosity is a pretext.
Anxious nights thinking about the next day’s painting. Every morning I open the door of the studio and see yesterday’s work. Disillusionment.
Dying every morning to find a new beginning.
How difficult it is to show what I do! There is no parallelism between creativity and exhibitions.
It does not count to be in the vanguard in one’s twenties. It’s more of a challenge later. Then, being silent is worthy. But I really don’t know.
I love the gleam of the sea in winter, being possessed by it.
What if the moment of our dying could be chosen?
What endures over my life used to be often what I esteem less, what I pay less attention.
Each painting has its own time. Impatience works against me.
I have to learn to be steady.