Metro Show NYC 2014

Metro Show 2014 Kathryn Markel Fine Arts

Wednesday, January 22 - Sunday, January 26,2014 Vip preview: wednesday, 6-9 pm 125 West 18th Street (btw 6th and 7th Avenues) New York City

Booth # 111 Kathryn markel fine arts nyc / bridgehampton

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.

Rocío Rodriguez, May 23, 2012, 2012 Oil pastel, pastel, and pencil on paper, 24 x 18 inCHes.

RocĂ­o Rodriguez, December 10, 2012, 2012 Oil pastel, pastel, and pencil on paper, 24 x 18 inCHes. Â

Ana Zanic

Ana Zanic’s abstract paintings are executed in media of watercolor and acrylic.

Watercolors are built with layers of washes, intermixed with dynamic lines, scribbles and marks of ink drawing.

There is often a quiet tension between the watercolor's fluidity, softness and calm, vs. the dynamic, rhythm and energy of drawing.

Ana Zanic Trail to Arcadia (W-2013-9-2), 2013, Watercolor and ink on paper, 18 x 24 inChes.

Ana Zanic Origin, Cloud (W-2012-2-29) 2012, Watercolor and ink on paper, 18 x 24 inches.

Lisa Breslow

Lisa Breslow's monotypes 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 nature merging hard and soft, metal and sky.

Lisa Breslow Summer light, 2010 Oil and pencil on panel 9 x 12 inches.

Lisa Breslow, Twilight 3, 2013, Monotype paper size 18 x 28 inches, Image size10 x 20 inches.

Gudrun Mertes-Frady As a timeless organizing principle, geometry is the underlying matrix or architecture of Gudrun Mertes-Frady’s work. She is drawn to its symmetry and quasi-symmetry and to the limitless potential to create her own world.

Her work is about clarity and structure, pared down to essential forms. She uses metallic pigments, like aluminum and graphite. She also uses mica particles mixed with colors to affect a kinetic quality of illusory motion depending from which angle the work is seen.

Gudrun Mertes-Frady Skylight #6, 2013 Ink and watercolor on layered mylar, 19 x 24 inches.

Gudrun Mertes-Frady, Skylight #7, 2013 Ink and watercolor on layered mylar, 19 x 24 inches.

Svetlana Rabey Painting for svetlana Rabey is a hypnotic internal process of chaos and choreography. Arc like shapes are repeated and layered, leaving behind a plastic continuity of movement and memory.

Tension lies in the controlled, silhouetted line of the painting gesture against the impact of gravity on the materials.

Svetlana Rabey, Untitled 13, Watercolor on paper, 40 x 60 inches.

Josette Urso

Josette Urso paints directly and urgently from life.

Urso’s paintings are “moment-to-moment” extrapolations. In them, she taps a kind of “hyper” or “trippy” vision, while simultaneously looking in all directions and while zooming in and out of focus.

Urso works in her studio and outside, always courting the notion of immediacy and always striving to discover and engage the known as well as the unknown in unforeseen ways.

Josette Urso, Sea Tree, 2009, Oil on paper, 14 x 11 inches.

Paper size 15 x 12 inches.

Debra Smith  Debra Smith feels that her use of vintage textiles as a 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 thru her, she feels the end result is similar to a drawing or poetry.

Debra Smith, Making Visible #5, 2012 Pieced vintage silk, 25 x 19 inches.

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Debra Smith, Making Visible #3, 2012, Pieced vintage silk, 25 x 19 inches.

Marilla Palmer Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments; sequins, glitter and beads are all decadent components used to make nature her Soubrette.

Palmer’s works on paper and sculptures reflect her overall interest in combining natural elements with fabricated materials.

Palmer's faux botanical studies are derived directly from fallen shadows of handheld twigs and branches, and incorporate mushroom spores with thread, pressed leaves with holographic paper, and glitter with watercolor.

Marilla Palmer, Sweet pea and blue persimmon tree, 2013 Mixed media on paper, 45 x 44 inches.

Marilla Palmer, Paradise Leaf, 2011 (detail) Mixed media on paper, 15 x 11 inches.

Martina Nehrling Compelled by the pulsation of the beautiful and horrific relentlessly clashing, 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, Lost and Found, 2014 Acrylic on Montval paper, 23 x 30 inches.

Martina Nehrling, Spew, 2014 Acrylic on Montval paper, 16 x 12 inches.

Janet Lage Janet Lage combine’s a disciplined formal painting process with the raw spontaneity of chance, outcome, and intuition. She approach's each piece with an understanding of a physical image and allow internal forces of perception and chance to collide.

Each painting experience is an adventure woven by experiment and intent. The objective is to emphasize the possibility of paint medium with gritty, tactile quality.

Lage leaves traces of the application and text in each piece to energize the painted form. Her goal is to momentarily harness logic, instinct and guesswork.

Janet Lage, Trashed (You are Loved) Oil, oil pastel, and graphite on rag paper, 16 x 14 inches.

Frame size, 20 x 16 inches

Janet Lage, Hoser, 2012 Oil, oilbar, graphite on masonite, 16 x 20 inches.

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Jeri Eisenberg Jeri Eisenberg photographs the common, wooded world around her house, and through her use of an oversized pinhole, or a radically defocused lens, she captures images of an ordinary world not often seen. Images are firmly grounded in a specific place, season and time but by obscuring detail, only the strongest visual elements of nature emerge.

She prints her photographs on a handmade Japanese Kozo paper and infuses it with encaustic medium, which encaustic also leads to full translucency and a slight surface texture and reflectivity. This adds further visual softness.

Jeri Eisenberg, Japanese Maple, 2009 Archival pigment ink on Japanese paper infused with encaustic, 36 x 22 inches. diptych, Ed. 1/12

Jeri Eisenberg, Star Magnolia No. 8, 2012 Archival pigment ink on Japanese paper infused with encaustic, 36 x 34 inches. triptych Ed. 1/12

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