Metro Curates 2015

Kathryn Markel Fine Arts at

Metro Curates 2015

On cover: Marcelyn McNeil Crudely Drawn Mimic, 2013 Oil on canvas 60 x 60 in.

Kathryn Markel Fine Arts New York City/Bridgehampton Booth # 111

Mary Didoardo Mary Didoardo aims to process experiences into forms that make them intellectually and viscerally interesting. She coaxes ambiguities, avoids the literal, opting for a state of mind. The gesture in her works evoke heightened emotions and elements of time; her textures create space and psychological atmosphere. These paintings, drawings and sculptures are strenuously worked, heavily layered and evolve in their own time. It’s a balancing act performed through the sensuality of material.

Mary Didoardo (clockwise from top left) Puzzle, Orange Loop, Air Head, Pin Wheel, Shadow, and Yellow Streak, 2014 Oil on panel 8 x 8 in.

Rocío Rodriguez

Rocío Rodriguez's paintings and drawings consist of opposing and divergent forces. She examines the process of painting by taking apart her visual language and then reconstructing it anew from its various parts. In her work she questions the boundaries of abstract and illusionistic space. Her compositions express open narratives that metaphorically suggest a world where nothing is fixed, differences are celebrated, and all is in the process of change.

Rocio Rodriguez Two Columns, 2014 Oil on canvas 25 x 32 in.

Rocío Rodriguez, September 23, 2013, 2013 Acrylic on wood 16 x 20 inches

Â

Lisa Breslow

Lisa Breslow's paintings of Central Park and the streets of New York combine an urban energy with the contemplative light and air of the landscape. Her work displays the tension between the built geometry of the city and the atmosphere of nature, as architectural masses rise mysteriously out of the landscape, merging hard and soft, metal and sky. She employs this same emotive dichotomy in her window sill still lifes.

Lisa Breslow First Snow, 2014 Oil and pencil on panel 24 x 24 in.

Lisa Breslow Cactus, 2014 Oil and pencil on panel 16 x 16 in.

Sara MacCulloch

The airy landscape of Nova Scotia’s Basin are captured in Sara MacCulloch’s paintings. She begins her process with the feeling she wants to convey and allows herself to get lost in process of revealing it. Each work is painted almost entirely in one sitting in order to focus on the most important elements of place and mood. The instant a painting is overworked or does not come together in a day, MacCulloch scrapes it away to start anew, ensuring a sense of immediacy in her finished work. The results are gestural, yet resolved compositions that give us just enough information to understand the beauty of the place and emphasize being present in a fleeting moment. They are serene, subtle and still direct and honest.

Sara MacCulloch Marsh, 2014 Oil on canvas 48 x 48 in.

Sara MacCulloch Fields and Basin, 2014 Oil on canvas 16 x 16 in.

Marilla are derived directly from shadows of handheld twigs and branches, and incorporate mushroom spores, pressed leaves and natural elements with theatrical embellishments made of sequins, glitter, holographic paper and beads. Her works on paper reflect her overall interest in combining natural elements with fabricated materials. Her mixed media collages humanize her subjects in a way that questions how what one puts on can shift the perception of who or what one is.

Marilla Palmer Palmer’s faux botanical studies

Marilla Palmer What I Found On My Walk, 2014 Mixed media on Arches paper 70 x 85 in.

Stephanie London Inspired by the histories of her subject matterobjects culled from flea markets and second hand stores, Stephanie London paints intimate pictures of vases, birds, and florals that masquerade as still lifes. Emphasizing color, light, reflection, and shadow she expresses a narrative that mirrors each object's personal story-real or fabricated-and engages the viewer to imagine their own. Her landscapes involve water, weather an ocean view or a wet, reflective strip of road. She rises to the challenge of allowing something else to appear, something intangible, mysterious, perhaps also suggestive of a personal narrative. She employs a certain quality of paint in pursuit of capturing an ever elusive feeling.

Stephanie London Shipwrecked No. 2, 2012 Oil on canvas 16 x 20 in.

Stephanie London The Box, 2013 Oil on canvas 9 x 12 in.

Debra Smith Debra Smith uses silk textiles from vintage kimonos, using both the linings and main components. This medium brings a history, a weight, a poetry to the work before she even begin to cut, sew, and piece the work back together. Allowing the work to intuitively flow through her, she feels the end result is similar to a drawing or poetry. The outcome of her process is more related to painting in its lines and forms than it is to traditional textile techniques.

Restructured, Series #1, #2, & #3, 2014 Pieced vintage kimono silks & men’s suit lining 18.5 x 26.5 in.

Martina Nehrling Compelled by the pulsation of the up and downs of the human experience, Martina Nehrling creates visual rhythms in compositions of accumulation. She uses multiple distinct brushstrokes for their staccato quality and graphic directness, but highly saturated chroma in order to heighten the effect of color’s mercurial language. Utterly seduced by the formal complexity of color, Nehrling revels in its emotive slipperiness and enjoys mining its controversial decorativeness. The inextricability of these aspects unique to color, continually spurs her engagement.

Martina Nehrling Following, 2014 Acrylic on Montval paper 20 x 16 in.

Martina Nehrling Crux, 2008 Acrylic on canvas 25 x 29 in.

Marcelyn McNeil Marcelyn McNeil starts her work by developing two or three simple forms based on their ability to engage one another and make for a dynamic relationship. Most often these forms are animated, leaning slightly towards the peculiar. Considering a sense of “flatness” plays a major role in her painting, though her compositions create space and volume. She synergizes dissonant elements of rigid lines and soft shapes, neutral tones and bright colors to make a bold, yet quietly confident statement. Her animated combinations of elements encourage a connection to the viewer and welcome a personal interpretation.

Marcelyn McNeil Crudely Drawn Mimic, 2013 Oil on canvas 60 x 60 in.

MARKEL@MARKELFINEARTS.COM WWW.MARKELFINEARTS.COM