![ANITA COOKE Groundwork II [detail], 2015](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/b3c6dec7fc081c92bbd2b179613c5db0.jpeg)
![ANITA COOKE Wallstreet II [detail], 2015](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/9499439e7d61cea1b0fd1cb57ef864f8.jpeg)
![ANITA COOKE Wallstreet III [detail], 2015](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/733313b3bbeb2764be759988722f3a41.jpeg)
![TI-ROCK MOOREPossession [detail], 2014mixed media](https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/5493565707a72c7342335013/367ea23722de16a041125fccd3b616fe.jpeg)
E2 - KLEINVELD & JULIEN
SKYLAR FEIN
Building a Flag Worthy of Elizabeth's, 2013
acrylic and ink on plaster and wood
18 x 24 x 6 inches
SKYLAR FEIN
Lincoln (Green Menu), 2013
ink and spray paint on Sundance Felt archival paper
24 x 36 x 2.5 inches
SKYLAR FEIN
Lincoln (7-Up), 2013
ink and spray paint on Sundance Felt archival paper
24 x 36 x 2.5 inches
SKYLAR FEIN
Lincoln (Car Wash), 2013
ink and spray paint on Sundance Felt archival paper
24 x 36 x 2.5 inches
ANITA COOKE
Groundwork II, 2015
paper, acrylic paint, thread, staples
40 x 30 inches
ANITA COOKE
Groundwork II [detail], 2015
paper, acrylic paint, thread, staples
40 x 30 inches
ANITA COOKE
Wallstreet II, 2015
paper, acrylic paint, thread, staples
20 x 16 inches
ANITA COOKE
Wallstreet II [detail], 2015
paper, acrylic paint, thread, staples
20 x 16 inches
ANITA COOKE
Wallstreet III, 2015
paper, acrylic paint, thread, staples
11 x 14 inches
ANITA COOKE
Wallstreet III [detail], 2015
paper, acrylic paint, thread, staples
11 x 14 inches
MICHAEL PAJON
A Dying Gaul's Appeal to Heaven, 2015
mixed media collage on antique book cover
14 x 11.25 inches
MICHAEL PAJON
She Smites Her Enemies with a Hiss and a Glance, 2015
mixed media collage on antique book cover
16.5 x 12.5 inches
MICHAEL PAJON
Offering to St. Roch, 2015
mixed media collage on antique book cover
19 x 14 inches
MICHAEL PAJON
Games of Chance and Occupation, 2014
mixed media collage on antique ledger cover
17.5 x 17.5 inches
The main design element of this piece was borrowed from a handmade Parcheesi board. There are countless beautiful variations on the board design, the only things varying being the color schemes and symbols in the center and quadrants of the game board. It’s 1853, a tough time for our heroine…this board has been modified severely handicapping her movement on the board. This is a time when (though I imagine many did not) women passed the time with menial jobs essentially ‘waiting’ to be married. The eyeteeth, a symbol of wild youth and rebellion in some cultures have been placed upon the board. Choice and pathways are laid out before her, some appearing clear with rewards placed along the path, while others off little more than closed doors and uncertainty.
MICHAEL PAJON
A Flash of Teeth a String of Pearls, 2014
mixed media collage on bookcovers
20 x 17 inches
I often have dreams that my teeth are falling out, disintegrating, or are too big for my mouth so they wobble and fall out while I speak. There are many interpretations of these types of dreams, instability in ones life, lack of control, fear of aging. I can certainly attest to experiencing the first two, but the last strikes me as incredibly vain, something that I am most certainly not. These pearly whites say a lot about us, but a chip here and there ads character. We smile at one another as a way of making connections or to appear friendly a bearing of teeth once considered a warning rendered into a greeting by thousand of years of evolution. This glowing gaze stares ever outward, across a compass rose shaped map that never points true north. What it sees is, or appears to see, is a vainglorious scene wherein one of great beauty is offered gifts of poppy and pomegranate, pearls and golden filigree. The two at the top left argue over who shall present their gift. The egg left unprotected has shattered and cracked, so much attention clouding any chance it will go noticed.
MICHAEL PAJON
Predator and Play, 2014
mixed media collage on tin target
17 x 17 inches
As humans we go through long periods of helplessness, yet we have evolved to become this apex predator, adapting to defend ourselves and loved ones from the ‘evils’ of the world. Games and game play can be a very important part of childhood development that can teach socialization, coordination, and critical thinking skills. These children appear at home this interspecies play with and among these other predators and scavengers. Smoke rises from the factory, a symbol of the industrialized world that completely uprooted our relationship with our place in the food chain. Perhaps these few will glean something of this experience and grow to be as nimble and flexible as their clawed and pawed playmates.
MICHAEL PAJON
This Ghostly Dance, So Soon, Shall End, 2014
mixed media collage on antique book covers
11 x 21 inches
MICHAEL PAJON
The Man with the Gilded Face, 2014
mixed media collage on antique book cover
20 x 16.5 inches
Much of the history of modern electric tattooing owes a great debt to sailors and the traveling Circus’s and sideshows that were so popular in their day. Here is a circus relic, face covered in filigree that so lovingly adorns book covers, wrought-iron fences and fine lace. Most likely a performer as well as an artist he grew accustomed to the stares of children and the slack jawed gaze of the public. After all the pageantry of the circus was what drew him to a life on the move, a chance to travel the world. I borrowed certain design elements as nods to the tattoo machines, the fist with bolts of electricity was borrowed from a telegraph emblem…the first machines were actually modified telegraph pens a device that died quickly with the invention of the telephone. If you can glean one piece of advice from this piece, never trust a man with a pinky ring.
MICHAEL PAJON
A Beat of the Heart, A Flick of the Tongue, 2014
mixed media collage on antique book cover
18 x 15 inches
I created this piece with the intention of honoring the women in my life. I’ve been lucky to share their love as family, friends, and partners and my respect for them knows no bounds. This amalgamation of incredible women appears at peace though she is beset upon by a den of vipers and its handlers. A vulturous gaze descends upon her, rending her scalp, yet here grace in the face of such pressure becomes unnerving. She wears tattoos upon her skin like armor; each line etched into her skin a scarred link in her chainmail. The term jezebel is taken from Hebrew Book of Kings which tells the story of a princess who was executed for causing the death of an innocent landowner by slandering him. She was known for wearing fine clothing and wearing makeup and the term later became slang for ‘painted ladies’ or prostitutes. I choose to employ it here, our heroine flying it proudly as a banner for all to see, her demeanor echoing ‘bring it’. She is symbolic of the strength, beauty, poise and empathy that all women possess.
MICHAEL PAJON
A Steady Gaze, and a Matadors Nerve, 2014
mixed media collage on antique book cover
18 x 15 inches
The son of a matador, a nod to Goya's bullfighting series; we observe a man at odds with himself. He enjoys the dreamer’s pursuits of collecting butterflies, identifying constellations, and reading poetry. He would attend his father's bullfights only after much pleading from his friends. He was, however, drawn to the beauty of the women and the various flowers they sold; the simple beauty of a carnation or the thorned and guarded petals of a rose. His life is a juxtaposition of hyper-masculinity and brutality, coupled with a boy’s love for his father and his passion for the beautiful and ephemeral.
MICHAEL PAJON
Loose Knots, Rope Burn, and a Superior Marquee, 2014
mixed media collage on book cover
17 x 14.5 inches
This portrait of a theater-rigging expert, a job I once occupied but was far from an expert at. In the steady decline from ‘respectable’ theater productions to vaudeville to peep-shows, what our hero is most proud of what remains constant, the marquee. It’s gilded glow and chasing lights a spectacle of pure beauty and joy. The riggers life in a decrepit theater has its hazards, a few cracks to the skull from a light swinging free or a near miss from a sandbag come unknotted. The productions come and go, but it his heart ever remains among the catwalks, ropes and curtains that allow the stagecraft to seamlessly unfold for audience after audience.
MICHAEL PAJON
Warmth and Life, Purl and Flow, 2014
mixed media collage on book cover
18.5 x 15.5 inches
Hippocrates, an ancient Greek physician for which the Hippocratic oath is named after, is believed to be the father of medicine. He wrongly believed that the liver and spleen were the center of the body and that all blood flowed from them into the heart. His poetic descriptions of it’s movement through the arterial system are where the ‘purl and flow’ of the title are borrowed not to mention his unflinching dedication to heal his fellow man. The two central figures are describing the, now standard, image of the pulmonary arterial systems and stand as symbols of my personal support for the equal right to marriage for the LGBTQ community. There is great fanfare and salutation in this piece, as much has changed over the past decade and there is much to celebrate. There are those who will continue to argue that being gay is a ‘choice’ like a pulling a rabbit out of a hat, while others will simply fume and blow smoke until their opinion simply dies out. The Serpent of Eden attempting to cast it’s shadow upon the future, but the heart remains steadfast and its currents run fast and true to the ones we hold most dear.
MICHAEL PAJON
Sums and Summits, 2013
mixed media collage with hand drawing on cabinet card
7 x 5.75 inches
MARGARET EVANGELINE
Time Bomb 32, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 31, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 9, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 10, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 5, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 7, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 3, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 2, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 12, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 23, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 11, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 8, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 30, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 25, 2017
oil on paper
25 x 19 inches
MARGARET EVANGELINE
Time Bomb 1, 2017
oil on paper
25 x 19 inches
BONNIE MAYGARDEN
Merge II, 2015
acrylic on paper, adhered to panel
17.5 x 17.5 inches
BONNIE MAYGARDEN
Nighshade, 2015
acrylic on canvas and acrylic on paper, adhered to wooden frame
23.25 x 19.25 inches
BONNIE MAYGARDEN
Pairing, 2013
acrylic on paper, adhered to panel
diptych, 18 x 18 inches and 24 x 24 inches
BONNIE MAYGARDEN
Saturation, 2014
acrylic on paper, adhered to oak panel
25 x 27 inches
BONNIE MAYGARDEN
#rosesjustbecause, 2014
acrylic on paper, adhered to oak panel
25 x 27 inches
BONNIE MAYGARDEN
BITMAP, 2013
acrylic on paper, adhered to panel
24 x 24 inches
BONNIE MAYGARDEN
CMYK, 2013
acrylic on paper, adhered to panel
24 x 24 inches
TI-ROCK MOORE
Possession, 2014
mixed media
96 x 192 x 4 inches
quadriptych, 96 x 48 x 4 inches per panel
'Possession' is an overt criticism of the prison industrial complex in the United States. It is a depiction of the present-day treatment of black males as commodities in the American capitalist structure.
TI-ROCK MOORE
Possession [detail], 2014
mixed media
96 x 192 x 4 inches
quadriptych, 96 x 48 x 4 inches per panel
'Possession' is an overt criticism of the prison industrial complex in the United States. It is a depiction of the present-day treatment of black males as commodities in the American capitalist structure.
TI-ROCK MOORE
Cracka House II, 2016
mixed media
48 x 24 x 24 inches
This series is an extension of Moore’s initial 6-foot tall mix media piece “Cracka House.” The series investigates the patterns of gentrification, which often begin with unassuming young whites looking for affordable housing in urban communities of color on the brink of a transition. Moore further implies that the subsequent “revitalization” of a once troubled community is only accelerated when the demographic shifts toward whiteness. This domino effect ironically mirrors the migratory chains of immigrant communities, however, structural and even aesthetic improvements that follow this demographic shift clearly point to a gap in living standards between races and therefore racial inequality. Additionally, the displacement of residents of color due to drastic rent increases,exemplify what Moore considers to be modern-day colonization.
ADAM MYSOCK
Foreseeing Nothing, 2016
acrylic on panel
6.5 x 8 inches
after: Henry Fawcett; Dame Millicent Garrett Fawcett by Ford Made Brown, 1872
ADAM MYSOCK
On a Snowy Night, 2016
acrylic on panel
6 x 9.25 inches
after: Nighthawks (1942) by Edward Hopper
ADAM MYSOCK
The Problem with Conspiracy Theories is in the Delivery, 2016
acrylic on panel
6.75 x 9.625 inches
ADAM MYSOCK
Choosing a Clouded Vision, 2016
acrylic on panel
6.75 x 8.95 inches
ANASTASIA PELIAS
Amy, 2016
oil stick on Arches paper
61.5 x 51.5 inches
ANASTASIA PELIAS
Stevie, 2016
oil stick on Arches paper
61 x 57 inches
ANASTASIA PELIAS
Chilli, T-Boz, Left-Eye (TLC), 2016
oil stick on Arches paper
61 x 57.25 inches
ANASTASIA PELIAS
Sade, 2016
oil stick on Arches paper
59.5 x 57 inches
NIKKI ROSATO
Untitled (Merged) IV, 2015
hand cut road map
62 x 62 inches
MARNA SHOPOFF
Fallen, 2015
pan pastel, ink, acrylic, gouache on paper
21 x 30 inches
MARNA SHOPOFF
Along Cache Avenue, 2015
pan pastel, ink, acrylic, gouache on paper
15 x 10 inches
MARNA SHOPOFF
For Josie, 2015
pan pastel, ink, acrylic on paper
30 x 21 inches
MARNA SHOPOFF
Snow King, 2015
pan pastel, ink, acrylic on paper
10 x 6.5 inches
MARNA SHOPOFF
Where They Fall, 2015
pan pastel, ink, acrylic, gouache on paper
9 x 6.5 inches
MARNA SHOPOFF
When I Look Out My Window, 2015
pan pastel, ink, acrylic on paper
30 x 10 inches
MARNA SHOPOFF
The Turnaround, 2015
pan pastel, ink, acrylic on paper
15 x 9 inches
MARNA SHOPOFF
Northern Sky, 2015
pan pastel, ink, acrylic on paper
14 x 9 inches
CARMON COLANGELO
Precarious World, 2016
print assemblage: monotype, digital and relief print
72 x 74 inches
CARMON COLANGELO
Spies, 2016
monotype relief print
47 x 35 inches
CARMON COLANGELO
Recycler, 2016
monotype relief print
47 x 35 inches
CARMON COLANGELO
Mauve Sensing Green, 2016
monotype relief print
47 x 35 inches
LAURA TANNER GRAHAM
The Bountiful Lady, 2015
mixed media on mylar
30 x 40 x 6 inches
LAURA TANNER GRAHAM
The Bountiful Lady [detail], 2015
mixed media on mylar
30 x 40 x 6 inches
LAURA TANNER GRAHAM
Decoys and Honey, 2015
mixed media on mylar
30 x 40 x 6 inches
LAURA TANNER GRAHAM
Decoys and Honey [detail], 2015
mixed media on mylar
30 x 40 x 6 inches
