Kathryn Markel Fine Arts

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(On cover) Suzanne Laura Kammin Slingshot, 2014 Oil on panel, 16 x 20 in.

Kathryn Markel Fine Arts

New York City + Bridgehampton

Booth #205

July 9-11, 2015

Fairview Farm at Mecox, Bridgehampton, ny

Marilla Palmer

Marilla Palmer’s faux botanical studies 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 the perception of who or what one is.

Marilla Palmer Iris, Ixora and Flame, 2015

Watercolor, silk, and pressed foliage on Arches Paper,

66 x 66 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 Crowned, 2015

Pigment on paper 28 x 25 in.

Marcelyn McNeil Stormy Weather, 2015 Pigment on paper 22 x 22 in.

   

Yolanda Sanchez Yolanda gathers her awareness of being and experiences of moving with and living among other beings, places and things. It is her desire to become a more “finely tuned observer” and to live more in the moment. Yolanda Sanchez's expressionist paintings engage us with color as an experience. They allude to gardens, natural forms and joyful movements that act as references for enchantment and joie de vivre.

Yolanda Sanchez The Flower of a Thousand and One Nights, 2015

Oil on canvas 60 x 72 in.

Don Martiny The focus of Martiny’s inquiry as a painter is in the gesture. The interest lies in freeing the gesture from the traditional rectangular shaped support and exploring its potential. The goal is to create work that encourages a dialogue within the architectural space where it resides. The energy in his work is not directed inward but outward.

Don Martiny Alsea, 2014

Polymer and pigment, 42 x 27 in.

Eric Blum Eric Blum’s paintings on stretched silk with alternating layers of ink or watercolor and wax combine to make the most exquisite surfaces. The refinement of silk adds a sheen and seamlessness to the transitions; the inky black, blue-black and grey paints sink and pool on the surface; and the encaustic layers add an actual depth to the deep space of the imagery.

Eric Blum Untitled No. 718, 2014

Ink, beeswax and silk on panel 43 x 22 in.

Eric Blum Untitled No. 721, 2014 Ink, beeswax and silk on panel 29 x 25 in.

Arthur May May’s paintings deal with reality at a studied distance. The work is involved in primary relationships and in the content of shape, impacted by color, edge condition, linear detail, and surface. They seek to exploit the intersection of accidental and residual aspects of process with more purposeful decisions, which is to say that they exploit both divergent and convergent strategies.

Arthur May Untitled 4, 2014

Oil on canvas attached to board 24 x 24 in.  

 

Arthur May Untitled 8, 2014 Oil on panel 24 x 24 in.

Sydney Licht Sydney is interested in updating the conventions of still life by picturing things that reflect the way we currently live. Remnants of our consumer culture continue to find their way into her work. She is interested in modern domestic culture, and hyper focusing on how food packaging and interior spaces consume our lives. Through a continued focus on shape, pattern and color, she hopes to translate what she sees around her into works that articulate this aspect of our visual culture.

Sydney Licht Still Life with Sugar Packets, 2015 Oil on linen 12 x 12 in

Sydney Licht Still Life with Flowers, 2015 Oil on linen 12 x 12 in

Sara MacCulloch Landscape has always been important to MacCulloch. She spent days of her childhood alone wandering the fields, woods and shorelines, developing a very strong attachment to them. She wants to make permanent and solid works that capture the fleeting feeling of connection, particularly that specific place. The challenge for her is not only to capture what a place looks like but to also to have a relationship with the painting as she makes it. “All I know is what I want it to feel like- and I never really know how that will come about.”    

Sara MacCulloch Beach on Cloudy Day, 2015 Oil on canvas 36 x 36 in

Sara MacCulloch Fields and Trees, 2015 Oil on canvas 24 x 24 in

Sara MacCulloch Green Fields, Summer, 2015 Oil on canvas 20 x 20 in

Joanne Freeman

Freeman’s oil paintings combine gesture and geometry. The scale and proportions relate directly to her body proportions and her own arm’s reach. As

the scale of the paintings increase, the basic qualities of color, line and shape become amplified. The physical force of the painting now relates to both the

personal and surrounding architectural space.    

Joanne Freeman Three Graces (a), 2014 Oil on canvas 48 x 54 in.

Suzanna Laura Kammin  In her paintings, Kammin uses the vernacular of 1970’s era design and electronica to explore ideas of home, belonging, and connectedness. Using a variety of processes, she juxtaposes hard edges with more gestural passages, creating works that are both sleek and forgiving. A mixture of the humane and technological, these abstract paintings can be read as the blueprints of a longed-for utopian future.  

Suzanne Laura Kammin Wishful Thinking, 2014 Oil on panel 14 x 14 in

529 W. 20th St, 6W New York, NY 10011

2418 Montauk Hwy Bridgehampton, NY 11932