Leslie Lewis Sigler

The Time Traveler

2020

My paintings begin with a serious sense of play, both in the staging and the creating of the compositions. It is at this beginning stage that I operate under the Dadaist dictate that...

Represented by George Billis' Gallery in NYC. Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been alter...

My paintings begin with a serious sense of play, both in the staging and the creating of the compositions. It is at this beginning stage that I operate under the Dadaist dictate that “anything can be art”, and at the same time I seek out a balanced and harmonious composition by way of line, shape, and color. I work according to my whimsy, sometimes seeking to assert some form of narrative however personal or ambiguous, and other times I am simply satisfied with the hint of a human presence. Once I have my compositions the paintings then very quickly become about work, a very labor intensive work that forces me to focus my mind and slow things down (which I feel is relevant especially in this day and age of high-speed everything). A great amount of effort is spent on trying to get to the highest level of finish that is possible according to my current skill level. For inspiration I have drawn from the past four centuries of object specific paintings, from the ontbijtjes (laid tables) of the 17th Century Dutch masters such as Willem Kalf, Jan Davidsz de Heem, Abraham van Beijeren...

In my work I explore family objects as “families” of objects—individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual f...

Warm rose burnished orange, gold with green floral oil painting. 'Restoration' from Stephanie Peek, who makes her home in San Francisco, California, is beautifully rendered with a sense of depth, intellect, timelessness and mystery. An elegant floral wonder, reflecting the anxiety of abundance. Peek has floated tulips, roses and other flowers from 17th century still life paintings through the dark smoky atmosphere of her paintings of night...

My work with Fractals takes the literal definition - ‘the self-repeating properties found within a single object of nature’ – and broadens the principles to how nature repeats itself...

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, and Sarah Peters...