Tag Archives: artist

Trudy Benson

Sometimes you look at a painting to appreciate a scene that someone has brought to life. And sometimes you look at a painting and you’re filled with a visceral, intense energy. Such is the work of talented abstract painter Trudy Benson. While still a relatively young artist, Trudy has already begun to stake her claim in the abstract art scene, and it’s easy to see why. Her work has – both physically and intellectually – several layers to it, mesmerizing the viewer.

We were lucky enough to get a tour of Trudy’s studio with our friend Maria Brito and to talk to her about her work, what it’s like to be written about in the New York Times, and how much paint she actually uses…

On her painting style:

I’m thinking about different iterations of things – to me, a red stroke there could be almost a 3D painting of [Roy Lichtenstein's] brushstroke lithograph, which was a lithograph of a painting. So there’s different layers here. But as far as the process goes, I usually start off really simply…here, I started off with this really simple composition of the different windows…but from there, the rest of the painting is totally intuitive. It’s a slow process, so I’m not working like Jackson Pollock or anything.

I work on a lot [of pieces] at once, because I have to. There’s a lot of taping off over the oil paint. I use a hair pick, a plastic hair-pick, and once I’ve taped off a circle and filled it in with really thick oil paint, then I dragged the comb through it. And then these are squeezed out of the tube, and then I scraped them down with a squeegee.

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Michael Dotson

Our studio tours continue today with art buyer and lifestyle consultant extraordinaire Maria Brito, leading us to the saturated landscape that is Michael Dotson‘s studio…

I have to be honest, I wasn’t sure how I was going to make it into Michael’s studio when we first arrived. It involved climbing onto handmade ledges, ducking under pipes, and getting into a room that Michael himself described as “totally fine, as long as there aren’t more than five people in it at once.”

But once we stepped inside, we were transported to an entirely different world – one of magical colors, optical illusions, and familiar faces from our childhood transformed. It was so uplifting seeing such bright and cheerful pieces without a trace of irony. Michael himself was also open and generous, chatting with us about where this world comes from and what work he plans to create in the future…

 

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Carrie Moyer

Our studio tours continue with art buyer and lifestyle consultant extraordinaire Maria Brito, leading us to the fascinating and prolific Carrie Moyer

When you visit Carrie’s studio, you are struck by a wave of intense, bright colors – from paint spatters on the furniture to the bottles of paint on the shelf to the gorgeous, abstract paintings on the wall. It comes as no surprise, though, given Carrie’s colorful background – from her work in the nineties as part of the duo behind Dyke Action Machine! to her growing body of paintings where she refuses to use black, Carrie Moyer is no stranger to breaking rules and stretching boundaries.

Her work is not only full of color, but full of texture, inviting you in to ponder the abstract world she has created. In this world, we sat down to speak with her about her past work, future work, inspiration, and what she thinks about women in the art world…

How she would describe her style: 

I’m interested in making things that feel familiar but you’re not exactly sure what they are. It’s the idea that it might be a landscape, but you’re also destabilized. You don’t know where you’re standing in relationship to it. So it’s the space that I want you to be able to keep unfolding and keep opening up. And of course, that contradicts the idea of a painting anyway because it’s totally flat.

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Ivan Navarro

Our studio tours continue with art buyer and lifestyle consultant extraordinaire Maria Brito, who is a personal fan of today’s artist, Ivan Navarro

Ivan’s work has many layers to it – not only via the optical illusions of mirrors and lights, but in his intentions and the motivation behind his materials. Ivan started to use electricity for his art simply “because it was a very available material in any space, through outlets. There was this literalism, this source of power. So I started making sculptures that would depend on this source.”

Since then, his work has explored electricity in various creative and intellectual ways and has been shown around the world. We were able to walk through his multi-leveled studio and talk to him about the intention behind certain pieces, his other job as a record label owner, and the beginnings of his art with electricity…

On his series of mirror and word pieces:

I started developing this kind of idea of fictional depth in very shallow pieces, in very thin sculptures. These…are only five inches deep, but they create this very endless space, just by combining two pieces of mirror.

On making art in Chile in the 1990s:

When I lived in Chile, during the mid-nineties, the dictatorship just ended only five years before. So in those five years still there was no place for young artists to show their work. My group of friends were always discussing what will be the way to make art in this context when there aren’t any institutions to show art, and my idea was to make pieces that can be used in ordinary places like living rooms or lobbies of hotels or whatever places that weren’t fine-art spaces as furniture but at the same time understood as sculptures. So they could use a space that wasn’t officially for contemporary art.

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