Cindy Rizza

Night Stand II

2020

Represented by George Billis Gallery. ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel secure. Examining the identities of heirloom textil...

Represented by George Billis Gallery. ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel secure. Examining the identities of heirloom textil...

ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel secure. Examining the identities of heirloom textiles and childhood nostalgia summons conf...

These small works HOME SWEET HOME are painted on vintage wallpaper in oil and acrylic. ARTIST STATEMENT: My work delicately renders familiar domestic comforts that we use to feel se...

In this quiet, contemporary still life painting in oil on panel, a single lamp with a yellowed lamp shade stands atop a dark brown mahogany wooden desk with gray metal handles on the...

Shelf II is a work that reveals the intimacy of a personal space through the representation of a fragment of a bookshelf in the artist's studio. With a vertical format this oil on board captures the essence of family and personal history through the careful arrangement of everyday objects. The composition of the painting follows a pyramidal design that guides the viewer's gaze to the apex, where a solitary wooden pipe stands as a symbol of culmination. On the three shelves, one finds a variety of items that tell stories. An antique radio evokes times past, while a light bulb suggests the light of thought and inspiration. An antique cardboard box...

Allison Gildersleeve, born in Connecticut in 1970, earned her B.A. from the College of William and Mary and her M.F.A. from Bard College. Gildersleeve lives and works in Brooklyn, Ne...

Calvert’s current paintings investigate the relationship between digital media and the reception and perception of images, and utilizes diverse technologies such as fresco, 3D modeling, AI and data manipulation through code. She is especially interested in the evolution of pictorial space. Today we view our screens and the world they occupy as a shallowly layered space of overlapping desktop windows. The picture plane has tilted up again from the flatbed to float in front of our eyes. Calvert’s paintings in turn depict an intermediate space, where the verticality of the still life paintings cohabitate with these digital panes. Dutch floral still life paintings encapsulate multiple concerns. Their subjects were botanical fantasies, emblems of an economic mirage that has contemporary corollaries. Most important to Calvert’s pictorial concerns, they depict ephemeral things in shallow and diagrammatic space - they are all foreground. They contain an abundance of visual information in overwhelming density, creating an allover resolution; a visual field that is equivalent to digital noise. By making painterly interventions into reproductions, Calvert attempts to dissolve the layer between the resolution of the source image and abstraction of the painted mark. ⎯⎯⎯⎯⎯ Tiffany Calvert has exhibited her work in the US and abroad including Lawrimore Project in Seattle, E.TAY Gallery in New York, the Speed Museum in Louisville and Cadogan Contemporary in London. Residencies include the Djerassi Resident Artists Program, I-Park, and ArtOmi International Arts Center where she received a Geraldine R. Dodge Fellowship. Calvert has received grants from the Great Meadows Foundation and the Pollock-Krasner Foundation. Her work was recently profiled by critic John Yau in the online journal Hyperallergic. Her curatorial projects include “Some Abstraction Occurs” at 65GRAND Gallery in Chicago and “Magic” at Mercer College (featuring work by Chris Martin, Karla Knight...