art on paper miami

Kathryn Markel Fine Arts at

Edo on My Mind, 2015 Mixed media on Arches paper

45 x 44 in (detail)

Kathryn Markel Fine Arts New York City/Bridgehampton

Booth #K4

D e c e m b e r 1 - 6 , 2 0 1 5

M i a m i B e a c h

Th e D e a u v i l l e R e s o r t

6 7 0 1 C o l l i n s Av e n u e

c l i c k H E R E f o r f a i r d a t e s a n d h o u r s

Ky Anderson Ky Anderson’s paintings on paper express her very personal, idiosycratic view of the world, and form an abstract narrative. She explores the tension between crudeness, and refinement, abstraction, and representation, spontaneity and forethought,

intuition and logic.

“The imagery leads to a subconscious terrain, where elemental forces offer insight to the struggles and joys of an earthly

existence.” – Ky Anderson

Two Over Four, 2014 acrylic and ink on

paper 20 x 22 in

Piling in Front #2, 2015 acrylic and ink on paper

41 x 38 in

Sarah Irvin Sarah Irvin's work is concerned with explorations of autobiography, family history, genetic heritage, and

memory. In this series of works, she writes cursive text on a smooth surface with ink and then uses a squeegee to

destroy the word or phrase. The resulting marks are the remnant of a written word, but the meaning has been

confused and hidden. She is exploring a visual representation of thought while contemplating the limits

of words as signifiers. The hidden text represents memory, the abilities and limitations of the mind and the

simultaneous power and shortcomings of language. Watchful Bliss, 2014

ink on yupo 26 x 40 in

Ignition, 2014 ink on yupo

26 x 40 in

Jill Lear Jill Lear’s work investigates the way in which we process the world around us. She focuses on both the specific- measurement, proportion, negative space, and positive

forms- to the general: light, space, sound, the idea of the object. She subtracts these elements until what she puts

down on paper is the pure experience; all that remains is significance of being.

28° 39’ 58.3” N 97° 23’ 30.9” W Cart War Oak I, 2014

mixed media on paper 30 x 22 in

28°09'08.9'N 96°58'35.9'W Goose Island Attendant Oak I,

2014 mixed media on paper

30 x 22 in

Marcelyn McNeil Marcelyn McNeil’s works on paper stem from a trial and error

process of developing a few simple forms and studying their abilities to interact with each other in order to create a dynamic

relationship. She’s regards the idea of “flatness” as playing a major role in her work, as it leads her to think about mass and form from a sculptural perspective. She wants her forms to be

abstracted, yet familiar, possessing both independence and charisma, and to have a bodily connection to the viewer.

Stormy Weather, 2015 pigment on cut paper

22 x 22 in

Crowned, 2015 pigment on cut paper

28 x 25 in

Gudrun Mertes-Frady German painter Mertes-Frady uses metallic pigments paired

with an underlying principle of geometry to explore the physical fact and psychic affect of color and form. She is drawn to symmetry and quasi symmetry, toward the moment when the work finds its own center and logic, both physically and

intellectually.

Random Moves #10-11-26, 2012 water-based and metallic

media on mylar 29 x 24 in

Feeling White 1, 2012 water-based and metallic

media on mylar 19 x 24 in

Martina Nehrling Martina Nehrling continually explores the cacophony of day-

to-day life. She uses an array of highly saturated colors in distinctive, staccato brushstrokes in order to heighten color’s

capricious language.

“In patterns akin to currents and eddies, taking notes, or making lists, I muse and rant in lush celebration, high-pitched lament,

and raucous rebellion.” –Martina Nehrling

Cars Hiss By My Window, 2014 acrylic on Stonehenge paper

26 x 41 in

Bawdy Bungalow, 2014 acrylic on Stonehenge paper

17 x 16 in

Marilla Palmer Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments, like sequins, glitter, thread and beads. 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.  Look close and the work reveals details of intense study that are faithfully copied but made to be, as Palmer says,

"more gorgeous, more exciting."  It is what Mother Nature would create if she were casting a play.  Marilla Palmer guilds

the lily of nature in its perfection; delicate and ethereal, sensual and seditious, it is nature accompanied by flare.

Grass with Blue Dots, 2013 ink, watercolor, silk, mylar, and

pressed foliage on Arches paper 22 x 15 in

Edo on My Mind, 2015 Mixed media on Arches paper

45 x 44 in

Yolanda Sanchez Yolanda Sanchez’s two newest series, To any happy Flower and All in the Waiting, are visual poetic responses to waka poetry written by women poets from the Heian period in Japan. Consisting of five sections of 5-7-5-7-7 syllables, waka are usually based on an

image from nature that evokes a human emotion. It was the language of love, colored by dreams and the seasons. The Heian

period was a flourishing time for women poets, who introduced a special sensibility, bringing greater passion, intimacy, and emotional and philosophical depth to the art form. Their

exploration of the human heart and spirit, of the transient nature of time, and of the relations between men and women, is still

relevant today, a thousand years later, and infuses my work with meaning.

To any happy FLower, 2015 monotype 22 x 30 in

All in the Waiting I-VII, 2015 monotype 22 x 30 in

Rocío Rodrigruez Rocio Rodriguez’s works on paper have an ethereal,

shimmering quality to them. Her deconstructionist method, using stacked fragments of color and shape, leads her to create images that are both present and fleeting. She creates a space where abstraction and representation meet to form a whole

built out of its deconstructed parts.

October 26, 2014, 2014 pastel, oil pastel, and

charcoal on paper 18 x 24 in

November, 21, 2014, 2014 pastel, oil pastel, and

charcoal on paper 18 x 24 in

Josette Urso Urso paints spontaneously and intuitively to capture the

movement of life around her.  Her lush, staccato brush strokes are the visual journey of that process.  From the palette to the

energy they exude, Urso's paintings bring a slice of sweet giddiness to the indoors.

Canada Violet Sea, 2009 oil on paper,

paper size 15 x 12 in 14 x 11in

Warm Birch Rain, 2009 oil on paper,

paper size 15 x 12 in 14 x 11in

Ana Zanic Ana Zanic explores watercolors’ soft and fluid forms’

interaction with the dynamic, rhythmic energy of ink and drawing. The emphasis of her work is the mark that is made,

and how through this abstracted form, it relates to question of memory, past, and origin. Through her gestural, spontaneous

process, she ties her work closely to language and symbolic communication, in how it can be both controlled and

accidental, to reveal the duality of life.

Flow (W-2015-6-1), 2015 watercolor and ink on paper,

18 x 24 in

Flow (W-2015-6-4), 2015 watercolor and ink on paper,

18 x 24 in

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Bridgehampton, NY 11932!