Gawker Artists
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painting
Myke Amend
My goal is to create calm, beautiful, and sometimes depressing scenes, atop an undercurrent of confusion, rage, terror, fascination, love, wonder, and even jest - all based upon a random combination of obvious themes, and obscured meanings - for others to interpret, or project, as they will. -
painting
Vanessa Prager
My first inclination towards drawing came in my high school years. I later progressed into oil painting when I started to teach myself from any cheesy (or not) how-to book I could get my hands on. I love color, and am forever inclined to paint people in realistic, but slightly forced, distressing situations. -
painting
deedee9:14
One of the things people always say about me is that my handwriting is too neat. The other thing they say is that I'm probably an obsessive compulsive. I cannot disagree. As a kid I always colored inside the lines. Never going beyond the lines, over it, or banging into it; just touching up against it softly and neatly. These days my condition, my compulsion towards simplicity and perfection serves me well. The lines you see in my paintings are not masked. They are all done free-hand, painstakingly and lovingly. I paint because I am obsessed with the idea of simplifying. -
Dawn Dudek
My work is titled Filmscapes and is based on deconstructed film stills that evoke personal memories.
Dawn Dudek
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painting
Tabitha Bianca Brown
Art does not need to be deep. If I like a subject, I paint it. If I like a color, I use it. -
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digital
Robin Riedlinger
Everyone needs a symbol, a stamp, an identifying image which is undeniably theirs. This is me, this symbol is me, and it is The Face. The reason for The Face is to be seen. The Face is unmistakably mine, and The Face will be there looking at you long after I'm gone. The Face is how I present myself to the world. I encourage you to take a face from the site, and take it everywhere. May my face bring you as much comfort as you need as it has given me much more than I deserve. -
painting
Sarah Spitler
Chaos manifests itself alongside form in my work. Chaos is powerful in that it is beyond human control; specifically, it interests me in depiction as catastrophe - as the uncontrollable and random force of natural cataclysms. I enjoy the emergence of fragments of imagery in relation to a destructive force - they become reduced and ephemeral, they are representative of the momentary and transient. However, according to the scientific study of chaos, it is the minute and transient that manifest as larger factors, further down in the equation, in the study of matter. -
painting
Steven Morrell
I love to paint dogs. I love painting their fur, their wet noses, capturing their spirit on canvas. It doesn't get much more complicated or philsophical than that. I've been painting my whole life, with little formal training, and the finished product is more a result of my intuition and instincts than of any specific method or process. My paintings have the rich look perfected by the masters, but have a distinctly contemporary feel. -
painting
Adam Stennett
Adam Stennett was born in Kotzebue, Alaska in 1972 and grew up in Oregon. He received his Bachelor of Art in English and Studio Art at Willamette University in 1994 and moved to Brooklyn to pursue painting. His third one person exhibition in four years, at 31GRAND, New York, depicted girls poised precariously near turbulent water and various medicinal products put to queasy, off-label uses. Stennett's work has been exhibited at the Chelsea Art Museum and The National Arts Club in New York, Irvine Contemporary in Washington D.C., Centro de la Imagen in Mexico City, Central House of Artists in Moscow, Scope in London and 21C Museum Hotel in Louisville, Kentucky. Adam Stennett lives and works in Brooklyn and is represented by 31GRAND, New York. -
painting
Emily Rapport
My paintings are related to those of American artists such as Reginald Marsh, Isobel Bishop, George Luks, and George Bellows in that they deal with a distinctly American subject and life. Living in Chicago, I became interested in the time we spend waiting and the isolation of living in a large city. From 2003 – 2006 I painted many scenes of Chicago's El tracks. My most recent work has focused on neighborhoods and houses; less dramatic but still full of portent.
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