Tag Archives: PAINTER

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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ARTIST OF THE WEEK: EVAN deSPELDER

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Evan deSpelder is a painter and 2011 MFA graduate from the San Francisco Art Institute.

“Keep making that face and it will get stuck that way!” As a kid I often thought how terrible it would’ve been if my face actually froze forever with let’s say – stretched duck lips. Now however, Evan deSpelder’s paintings make me think otherwise…disfigurements are actually pretty awesome.

In order to achieve the smeared effect in his paintings, deSpelder first manipulates found or original photographs on the computer and then paints the distorted images as he sees them. This practice essentially bridges the gap between two worlds: that of modern technology and classical painting. It’s the “exploration of the formal and conceptual possibilities of digitally mediated painting,” says deSpelder. By often targeting recognizable images of the human form and portraiture, the artist skews our perception of reality and perfection.

For all you art buffs out there, I recommend taking a closer look at Image #3 titled Day at the Beach, 2011. Anyone recognize who these sun-soaked beach bums are? I got a kick out of it once I figured it out.

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