Pillow Interior Paintings

Intimate paintings represented by unmade beds and tossed sheets, absent of any human evidence, on intentionally blank, somewhat rough backgrounds. The empty bed in these paintings represents a place for grief, isolation or healing. As such, the work speaks to our shared feeling of grief, with the understanding that while we all suffer in our individual ways, suffering is universal. Source material for this work are photographs the artist has both taken and found, and the intimate size of the paintings references the intimate nature of the subject matter. The backgrounds of the paintings are repeatedly painted and sanded, to create a frame and backdrop for the bedding that is flat, yet rough with work and time. The bedding itself is seen from different perspectives, but still indicates a scene of desolation and despair. While the series began in the fall of 2016, recent events—including the pandemic—have provided a new dimension to the work and have compelled Serpick to consider the themes in light of these events. Our forced isolation and the challenges it has brought to our physical and mental health provides an additional shared experience from which to consider grief and eventual healing. Biography Stephanie Serpick is a painter whose work explores themes of isolation, grief, and healing. Her work has been shown in various exhibitions in the U.S. and internationally, and she is a fellow at several residencies, most notably at the Florence Trust Studios in London, MASS MoCA in North Adams, Massachusetts, and the Vermont Studio Center, where she was awarded a full fellowship and stipend to attend. Recent exhibitions include solo shows at Sweet Lorraine Gallery in Brooklyn, the College of Southern Nevada, and a two-person exhibition at The Munson-Williams-Proctor Arts Institute at the Museum of Art at Pratt in Utica NY...

This work is part of our exhibition Marina Stern Luminary, the artist's first retrospective since 2007. Previously exhibited: 1) An Exhibition of Recent Paintings by Marina Stern, Forum Gallery, New York, NY, February 13 to March 6, 1982, no. 2 (label verso) (see Marina Stern, New York Times, February 19, 1982 “one turns . . . to a couple of indoor paintings, such as Interior with Cabbage, in which Miss Stern skillfully plays off a 'real' purple cabbage on a white tablecloth with a black and white drawing of one pinned up on a canvas stretcher . . . .”); 2) Marina Stern American Precisionist Painter, Santa Fe East Galleries, Santa Fe, NM, November 2 to 20, 1984, and 3) Perception and the Cultural Environment – The Paintings of Marina...

A masterful dive into pure abstract expressionism. This work is a rhythmic explosion of energy, captured through a dense and intricate web of splatters and drips. The complex layerin...

Parrhasius Jute No. 67 is a striking trompe l’oeil painting that masterfully recreates the tactile presence of bundled burlap bound with coarse rope. Executed with remarkable precisi...

Original gouache interior painting by celebrated, twentieth-century California landscape painter, Ronald Shap. Vibrant piece of a chair and footstools with bold orange and blue backg...

With vibrant acrylics and delicate pastels, I sought to capture the dynamic interplay of chaos and order. This work pulses with energy, bridging expressionism and pop art to evoke bo...

COMFORT ZONE - This interior still-life painting on canvas combines expressive brushwork with intricate details capturing a warm and inviting atmosphere. Through the use of acrylic, ...