The permanent exhibit is a series of provocative paintings and sculptures for sale, created by rising local and international artists adorning all walls and rooms.
Stephen Sarre Reynold
Reynolds combines an immediate technique of painting (en plein air) with the far slower and more contemplative sculpting - using concrete as a recurring medium and icon. “In a digital age - give me concrete!” quipped one.
Some have said Reynolds paints like a sculptor and sculpts like a painter. What is certain is that the liquidity of unset concrete, and the density hewn of oil paint, are central to his practice. The properties of both; and quiet, unfolding themes are at once avenues and destinations for the artist and viewer. An antiquity from our time; a moment in a snowflakes’ descent - both equally transient and important. If follows that Reynolds remains conscious of the decay of steel and concrete - of all materials, thoughts, memories, truths and ideas. The shake of a fist in the face of endlessness, a recognition of the precipitous importance of this moment. Revered, buried and perhaps unearthed.
"My work all has a heaviness to it that definitely suggests a burden, a task or something less physical that weighs on the girls. Even the positioning of the elements, like you mentioned, tend to close in on the figure. These elements act on her, she is not often acting on them. Like we discussed yesterday, the paintings have a lot to do with how actions and words are carried from one generation to the next, like a residue of history. In my paintings I use the birds and their songs to signify that voice that looms from the past. This is the burden. I specifically am thinking of my personal history of originating from a very poor, closed-minded, undereducated, community ( red state belief systems) and what that sort of thinking means for the world. I am also thinking about the task of achieving more than my community has, given the privilege I have earned through a college education and being able to leave the place I am from. These are themes that are in the back of my mind with all of my work, even if they are not specified in the iconography of the work. I guess a lot of these negatives are disguised as beautiful things, even thought they act viciously with real consequences. I feel like a lot of the negatives in our world are disguised and then blend in as just a viewpoint until they have real and lasting consequences( I'm thinking of things in politics and hegemonic social pressures). The paintings are also about a journey, maybe away from this thinking, and there are a lot of positive elements to these parts of the painting. The elephant and horse are symbols associated with this transcendent movement towards a positive future or life path".
Sarah Chuldenko has had solo exhibits in New York, Los Angeles, and Melbourne, Australia. Her work is in the drawing collection at the Boston Contemporary Museum as well as many private collections.
Her MFA is from the New York Academy of Art.
Website : http://linuscoraggio.com
LINUS CORAGGIO began drawing at age 1 and sculpting intricate cardboard and wood sculptures at age 8. He designed and built his first piece of furniture at age 12. A NYC native,he attended Music and Art High School in New York City where he met and collaborated with other local artists. Coraggio first began showing his sculpture in group exhibits in NYC, (some of which he curated at spaces like ABC NO RIO) while still studying for his BFA at SUNY Purchase. It was during this time that he invented a genre of street art called 3-D graffiti, (welded, graffitied constructions bolted onto No-parking signposts in several major cities).
After graduation Coraggio very actively participated in the blossoming East Village art scene. He formed and galvanized a sculpture group known as the "Rivington School" that created massive junk sculpture installations on the Lower East Side from 1985 to 1997,(including the infamous Gas Station/Space 2B-his sprawling scrap metal studio of 10 years in a former gas station on 2cnd St. and Ave B). Linus attended the Whitney Museum Studio Program in 1986 .Coraggio has also received travel grants to Helsinki Finland, Rotterdam Holland,Lintz Austria and Japan to do sponsored public sculptures. He still currently works and lives in NYC doing commissions and creating new welded abstract and figurative sculpture as well as 1 of a kind metal furniture. Ringo Starr is among his collectors.
"Having had 2 creative parents (my mother was a metal sculptress) made making art compelling and normal from an early age.I began drawing at age one,carving linolium cuts at age 7 and embarking on creating hundreds of intricate wood,cardboard and plastic sculptures from age 8.
As a NYC native I met many inspirational fellow artists at the
specialized public high school I attended, Music and Art. But it was
not until Art College At SUNY Purchase I found my main medium, welding. Since 1980 the focus of my work has been welded sculpture and sculptural furniture although I continue to paint, draw and pull my own prints. I'm inspired by the great American abstract sculptors of the 20th century such a David Smith, Mark Desuvero, Issac Whitkin, Beverly Pepper and Simon Rhodia. My motivational flow abounds from intellectual desire and curiosity to see what new compositional dynamics present or manifest in the latest piece.
Ideally I like my audience to experience my 3-d work outdoors,in a public urban site or a nature setting. My work can also seek to express socio/political concepts or a narrative idea within each abstract or realistic piece. I enjoy working in all scales from tabletop minitures to public plaza sizes. To keep things diverse I create work in varied genres from freestanding sculpture to mobiles as well as all types of sculptural furniture and ecoutriments for the home and garden. In my work I strive to create compositions of unique spatial relationships,dramatic varient volumes and negative space without forgetting to imbue a startling rhythmic proportional sequence throughout each piece. I choose recycled material and objects primarily because the quirky historical continueim and patina of used things intrigues me.
Since the mid-1980's I have maintained outdoor welding studios in NYC and Brooklyn where I continuosly drag provocative material to that I've acquired in order to cut bend and weld it into the next sculpture or furniture piece."