STUDIO VISIT: THOMAS SPOERNDLE

ALL PHOTOGRAPHS AND VIDEO TAKEN BY ARION DOERR

As some of you may know, Long Island City, NYC, houses one of the largest art hot spots in the five boroughs. Amidst the cracked sidewalks, warehouses and bodegas you’ll also find large industrial buildings brimming with artist studios. We found the painter Thomas Spoerndle in one such building, quietly snuggled in an otherwise barren street. Four flights up and four/five studios over and we were there! This is where our enlightening visit begins.

The first thing we noticed upon entering Thomas’ studio was an immediate flurry of patterning – on the walls, on cork boards and on the floor. Stepping in further, our eyes absorbed a distinct trend in color; dabbles of red, yellow, blue, black and white were everywhere. We asked Thomas how he utilized this palette in relation to his process: “I usually always start with a base layer just straight out of the tube – red, yellow and blue – and then start to build that up with the dark (black pigment) or white,” he explained.

From there, Thomas lightly brushes on more layers of acrylic paint, choosing to saturate or desaturate the colors as he goes along. This routine is repeated approximately 6 times or until Thomas finds the “spatial dynamic or quality that allows the different colors to do their own thing within the system created.”

Hearing that, Nate and I realized Thomas’ paintings obtain a sort of history; that each layer is in essence, an evolution towards a final state. As the original colors are camouflaged by their own shades, the works obtain a brilliance and complexity that are subtle yet powerful at the same time. “Because the works are so graphic, you might not [immediately] get all the richness and layering – But there’s a kind of reward for paying attention” Thomas asserted.

Take the most recent paintings above for instance. Both seem to have segments of black – but that’s really only half true. The dark sections in painting on the left are actually a deep, dark blue and on the right, a very sooty yellow. I find myself imagining the very first coat of paint, pure and vibrant, just straining to shine through the murky layers on top.

As we continued our tour, Thomas went on to explain that the patterning in his work, which is energetic and instigates visual movement, “is all about variation and repetition.” Drawing inspiration from a variety of sources, such as flags, windows, and artists Frank Stella and Sol Lewitt, Thomas strives to explore the boundaries of spatial tension, color contrast and constructed meaning.

AND NOW FOR THE GRAND FINALE…

As a special treat, we’re stoked to announce our very first ‘Art-umentary’ featuring Thomas Spoerndle in his studio! Check it out. A very special thanks to photographer Arion Doerr for putting this gem of an exclusive together and Thomas Spoerndle for allowing us to film it.

Thomas Spoerndle is an artist and 2010 MFA graduate from Hunter College, New York. Originally from Ohio, he now lives and works in New York City.

To see more of Thomas’ work, check out his website or our Artist of the Week Feature on the artist.

All photographs and video by Arion Doerr. Click here for a full slideshow.

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ARTIST OF THE WEEK: THOMAS SPOERNDLE

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Thomas Spoerndle is a painter and 2010 MFA graduate from Hunter College.

Primary colors – red, yellow and blue – aren’t called primary colors for no reason. To artists, they unlock the code to the rest of rainbow; and that’s pretty darn special. Thomas Spoerndle embraces the basic RYB color combo (along with white and black) and fragmentizes their potential in puzzle like patterns. Using acrylic paint for it’s sheer-like qualities, his works have a delicate lucidity and depth that tends to change with the light. Using windows, fences and flags as inspiration, Spoerndle’s paintings are at once optical, graphic and substantial.

CHECK BACK LATER THIS WEEK FOR AN INSIDE LOOK INTO THOMAS SPOERNDLE’S NEW YORK CITY STUDIO!

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ARTIST OF THE WEEK : ADRIAN NEGENBORN

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Adrian Negenborn is a painter and 2010 MFA graduate from the Massachusetts College of Art and Design.

Whether isolating thick swipes of paint or mingling fluid lines with chancy splices, Adrian Negenborn strives to find the significance in gesture and mark making. “My process is characterized by excavation,” says Negenborn. “Oscillating from visceral to analytic, spontaneous to meditated, I respond to the initial flurry of marks laid on the canvas. I am always trying to make something from nothing, to dig something out of the mass of gestures.”

Interested in transparency and contrast, Negenborn’s paintings can also give the illusion of exuding light or being lit from behind. His method of layering various colors or shades of colors allow his works to possess a distinctive push-pull effect. In more than one work, I almost thought that a brush stroke was floating in front of the painting itself – which of course it’s not.

Primarily using acrylic paint on canvas and/or paper, Negenborn’s works are at once abstract, energetic and spontaneous. “I never fully know when a painting is done until it feels right; it reaches an in between state somewhere amidst harmony and disharmony. Eventually, a glance at an experience coming into being reveals itself out of the mass of gestures.”

Beautifully put, Negenborn. We’re excited to see what ‘reveals’ itself next!

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Q & A WITH ARTIST AYŞEN ORHON

GN8PROJECT: So Ayşen, tell me a bit about your background.

AYŞEN: I studied fine arts for 4 years in Istanbul, which is where I am originally from. I moved to New England about 12 years ago, and have been occupying a great studio in an old button factory in Portsmouth, NH since 2006.

GN8P: Would you say that your move to the States was artistically driven?

AYŞEN: No it was not, unless you consider life an artistic endeavor overall.

GN8P: Do you think living and working in NH has helped shape or manipulate your artwork at all?

AYŞEN: Certainly. The moment you are born you are in a relationship with your surroundings. How you respond to what receive from your surroundings makes you who you are. And I think this also applies to your work as well.

GN8P: You said that you’ve been working in a studio located in an old button factory since 2006 – what is it about this building that keeps you happy working there?

AYŞEN: The Button Factory has a very industrial and urban feel which I can relate to. My process requires me to work alone, but I enjoy the feeling of continuous activity going on in the other art studios around me.

GN8P: Would you say you have any studio habits or quirks that help you get pumped up to make artwork (ie. music, rituals, etc.)?

AYŞEN: I cannot function without tea. PG Tips is a must have. I put the kettle on as the first thing, then I decide whether to use my clear glass or white porcelain mug, depending on the mood of the day.

GN8P: On your blog there is a video of you shuffling back and forth to tango or perhaps salsa (?) music – what made you perform this skit?

AYŞEN: It was a hot Summer day in my studio, and a playlist of my favorite tunes were shuffling in the background, when Plena For My Grundle by Garage a Trois started to play I got up and started to move back and forth with each chorus. We could say it was the composition of the song that prompted those moves.

GN8P: I’ve never heard of Garage a Trois but I’m totally going to download some tunes – really fun music! Now, moving on to your work: What would you say are your favorite mediums or materials you use the most? Why do you gravitate towards these materials?

AYŞEN: The piece or the series defines its own medium really. Though in general I like inconspicuous materials that keep the focus on visual expression rather than the material itself.

GN8P: I noticed that you tend to work with relatively muted/toned-down palette with the exception of a few bold pops of color. What interests you in this combination?

AYŞEN: Tonal dynamics. Contrast allows me to express a lot, without saying much.

GN8P: Are your most recent paintings painted on wood, canvas or aluminum?

AYŞEN: The Subtraction Series are painted on wood panels. I like how wood tolerates me.

GN8P: Which two artists would you say inspire you the most in your artistic vision and aesthetic?

AYŞEN: I am deeply moved by Francis Bacon and John Coltrane.

GN8P: What is your biggest challenge right now as an artist?

AYŞEN: We live in a time where information circulates faster then ever. The amount of verbal and audio-visual intake we receive in a day is overwhelming, which I love. Rather than isolating myself, I prefer to be fully connected. However, to be able to create something unique, one needs to hear what one’s inner voice is saying despite all this noise.

GN8P: Any goals you are trying to achieve in the near future?

AYŞEN: I do not have big goals. I like to live one day at a time. Today’s goal is to have a productive day and hopefully the outcome would be worthy.

TO VIEW MORE OF AYŞEN ORHON’S WORK CLICK HERE OR VISIT THE ARTIST’S WEBSITE

All Photographs Taken by Ayşen Orhon Unless Otherwise Noted.

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ARTIST OF THE WEEK : AYŞEN ORHON

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Ayşen Orhon is an artist living and working in Portsmouth, New Hampshire.

Subtraction is a huge motivator for Ayşen Orhon; Because as her work effectively shows, less is sometimes (always) more. Amidst what is usually a stark palette of white, Orhon reveals little pops of unpredictable color. A knotted tangerine string in a white paper bag, a strip of neon pink tape on the side of a painting, a loop of silver tinfoil around a ring of twisted fabric. Simplistic and minimal, Orhon ironically shows us that you can gain something from what is otherwise a reductive approach.

STAY TUNED FOR A Q&A INTERVIEW WITH THE ARTIST THIS WEEK!

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ROUND TOWN: BUSHWICK OPEN STUDIOS 6/1-6/3

If you live in NYC and subscribe to any Brooklyn art blogs, it’s likely your Facebook has already blown up with Bushwick open studio announcements (and if not, click on the banner above to be fully immersed in all the available listings).

Our recommendation? Head over to The Active Space (566 John­son Ave.
Brook­lyn) tonight, 7-9pm where our January 30th Artist of the Week, Jessica Sanders, will be showing in the exhibition Invisible Furnace along artists Ryan Estep and Jason Mones. Here’s a rundown of the show:

Jason Mones’ raised fists and clenched hammers coalesce with Ryan Estep’s soap and cymbals and objects-come-drawings, to meet Jessica Sanders’ shoots and sheets, fur and beeswax. The works radiate totemic powers, creating modern mythology born from the simultaneously shocking and mundane.

Can’t make it Friday? No worries. Sanders will also be exhibiting in Feather Weight, a group show opening on Saturday, 7-10pm, at 35 Meadow St., Brooklyn. Curated by Sanders herself along with fellow Bronx Museum AIM Artist, Allison Wall, Feather Weight features 8 artists that showcase “Bushwick’s tenacity” in what can be described as “harnessed energy – inertia after an initial catalyst – through sculpture, video, paintings actions and materials to create an action of works that present space using ideas of language, mine, touch, ritual and removal.”

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AND WE’RE BACK!

Hello GN8PROJECTers,

As our so-called “one month” hiatus has now turned into two months, we decided that’s it’s time to quit the hold-up and start the typing. Don’t get me wrong, we’re still working on our grand re-opening (which will hopefully be in June!) but in the meantime, things are too good round town to miss – and we miss sharing them with you.

So no more excuses, and no more waiting. We’re back with a flurry of exciting posts, studio visits, events and artists starting….NOW. Hope that you dig them too, with or without our brand-new look.

Thanks for hangin’ in there guys!

- G + N8

Dear GN8PROJECT Followers and Enthusiasts,

This note is extremely belated (sorry!), however as you may have noticed GN8PROJECT has been eerily quiet this past month. While it may seem that we’re currently at a standstill, we can assure you that a lot of exciting (yet time-consuming) things are going on behind the scenes – AND that we’re hoping to get you guys back in the loop in the next week or so!

May is going to be a big month for GN8PROJECT – and although we can’t give anything away right now, I can definitely tell you that you’re going to like what you see :) .

So get ready for some brand-new artists, studio visits and events because they’re a comin’ – and they’re going to be good.

Talk to you soon!

G + N8

ARTIST OF THE WEEK: JAMES R. SOUTHARD

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James R. Southard is a photographer, videographer and 2011 MFA graduate from Carnegie Mellon University.

My eyes were visually seduced for over two hours whilst pouring over James Southard’s photographs. Forget film, these works put the cliched phrase “lights, camera, action!” to shame. Going high contrast and high drama in his series Tooth and Nail, 2011 (images #1-4 above), Southard created epic scene sets which seemingly depict historical events al la Caravaggio or Delacroix. A second glance however reveals bizarrely out of place objects: a ukelele used as a spear, a bike used as a horse, taped paper hats in place of metal helmets, oh, and LOTS of crepe streamers. Awesome. It’s like your first grade class went to war…except these guys are actually sneaker laden adults.

As for the second series, titled The Inherent Pull, (images #5-8), Southard fabricated dramatic, film-noir-like environments with simple materials such as construction paper and plastic. Don’t see it? Take a look at his process in the video below:

The final series shown, Neither Here Nor There, is a step-by-step documentation of people in movement and how their paths intersect and overlap over brief periods of time.

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ARTIST OF THE WEEK: CYLE METZGER

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Cyle Metzger is an artist and a 2010 grad from the Maryland Institute College of Art.

For me, Cyle Metzger’s work somehow simulates Alice in Wonderland in a minimalistic dimension. With every work you’re given the sense of being too tall, too small, permitted and yet restrained from entering his otherwise impossible spaces. Using simple geometric shapes and muted color palettes, Metzger is able to imply a generic interior without actually making one. “The reoccurring theme of simplicity is intentional and speaks to my interest in exploring how much a composition can be stripped down before it moves from subtle to meaningless” says Metzger.

In some of the works, the artist uses opaque panes of glass (commonly used for shower doors and bathroom windows) to obstruct the view of his sculpture’s interiors (Images #11 & #12). This is to ultimately make you “feel like a voyeur and question whether [you're] allowed to be looking into them or not.” Like Alice, I think I’ll allow my curiosity to get the best of me and peek into as many of Metzger’s little realms as possible.

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