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10011STUDIO
Web Development and Design Studio
10011EDIT.
Creative and Editorial Agency
10011NYC
Contemporary Art Dealer
October 19, 2019

EFA Open Studios 2019 — a view into some studios

Studios
Event

Note: EFA Open Studios is open today. Do not miss the opportunity to go, since it is the last day of this year’s event!


10011 attended EFA Open Studios last night. Unfortunately, we only saw three floors (floors 3-9 are full of studio spaces). The artists we met were extremely friendly and eloquent. They took the time to explain their work in-depth. Amelia Paige took beautiful pictures of the art and artists. Make sure to follow Amelia on Instagram and take a look at her website.

Shift Residency (Studio 312)

Shift Residency is a year-long residency program for artists who work in the arts (as curators, admins, educators, etc.). The intention is to provide a studio space and formal studio practice for artists who spend their professional life advocating for art in New York. The 8 artists in this year’s residency are a strong group: Hernease Davis, Asha Ganpat, Guido Garaycochea, Joy Garnett, Ginny Huo, Jordan Lord, Shona Masarin, and Monika Wuhrer.


10011 had the opportunity to speak with and take photos of Davis, Ganpat, and Garaycochea.


Hernease Davis Website

Dealing with textiles and photography, Hernease Davis uses alternative photographic processes to create works that balance abstraction with subjects that are hardly visible — yet known to her. In the main work exhibited at the studio space, Davis used the cyanotype process on a textile with visible threading. The result was a gorgeous blue and black abstracted piece. The other works exhibited were made through darkroom processing. That is , treating particular parts of an image with different chemical processes, resulting in beautiful black-and-white abstractions with peering imagery that is clearly defined.



Asha Ganpat Website

Ganpat is a multimedia artist who exhibited a diverse set of her works in the Shift Residency studio space. Concerned with materials and the engagement between artist and audience, Ganpat creates atypical art-viewing scenarios. For one, her lace mask creates an imbalanced situation where the audience views her directly in the eyes without receiving any information about her particular expressions and reactions. Since people are quick to touch her work, she also created a piece that electrocutes the toucher/viewer. Ganpat also creates works from nature and in public spaces. Make sure to view her work if you get the chance.


Guido Garaycochea Website

The studio lights shone brightly on Garaycochea’s highly varnished mixed media works. In reality, the works shone on their own. They did not need the additional lighting. Garaycochea uses tropes of contemporary media and culture to rewrite the script on these figures, ideas, and tropes. He places them in the air or in unknown/darkly humorous scenarios to challenge norms about gender, masculinity, capitalism, and power dynamics.


Maria Rapicavoli (Studio 313) Website

Concerned with science and power structures, Rapicavoli shows us what is known yet constantly pushed to the side of our minds for better or worse. Rapicavoli’s work is beautiful, yet it produces a certain discomfort. Her images of Sicilian mafia trial folders, though visually appealing, carry the pain of mafia violence. Working with sculpture, photography, and film, Rapicavoli brings about site-specific tensions that remind the viewer of particular occurrences or structures — such as a WWII bombing in Sicily that led to a permanent architectural slant in the building where it was installed.  


Jeanette May (Studio 403) Website

Jeanette May works with outdated technologies to create photographic still-life in the tradition of 16th and 17th century Dutch painting. Traditional vanitas paintings symbolize the ephemerality of life. May’s work expounds on the same themes by using technological objects. Objects with varying levels of obsolescence demonstrate how quickly we move through technology (and thus life). It’s discomforting to be reminded of our own ephemerality in terms of these “junk”objects that were once new, desired, and integral parts of life.


Edgar Jerins (Studio 405) Website

Edgar Jerins exhibited early work in high contrast with his later works. The early work is traditionally beautiful, in the timeless tradition of the old masters — nudes, oil on canvas. The later works are huge works on paper. It seems that the tragic death of his brothers, alongside the advice of his dealer, pushed Jerins to develop his current style. The new body of work does not shy from the pains of middle age — death, failed careers, alcoholism, divorce, etc. Using the likeness of friends and family, Jerins composes scenes masterfully while connecting with the audience on an extremely human level. Working equally from chance and composition, Jerins photographs life naturally as studies for his large-scale drawings. His work speaks to the power of art to communicate beyond a simple scene. There is deep emotion and years of experience within each work.


Sarah Leahy (Studio 408) Website

Leahy has a very special process. She paints on clear plexiglass using black india ink. After painting and sanding down the plexiglass, the works become diffused and luminous. The works have a close proximity to the viewer, yet the transparency adds unexpected separation — adding a certain sense of consciousness about viewership onto the viewer. The largest work in the room was a typical New York scene: a walking street crowd. The completely diffused faces remind us of the anonymity of NYC life.


Sarah Dineen (Studio 410) Website

Although Sarah Dineen’s work initially appears like cement on canvas at first site, the works are actually created from a smart combination of paints and paint mixes. The cement-like patterns are made from compacted and sanded acrylics. The velvety blacks are created with gouache mixes. Dineen exhibited “Certain Dark Things: Protection from Loss of Voice,” a body of work inspired by the love poems of Pablo Neruda. The title comes from a line about how the narrator loves: “te amo como se aman ciertas cosas oscuras” — roughly translated as, “ I love you as one loves certain dark things.”  


Dannielle Tegeder (Studio 412) Website

Tegeder exhibited large-scale two-dimensional works, though she also works with sculpture, site-specific installation, sound, and animation. Partially inspired by Malevich, Tegeder creates systems of figuration and abstraction. Her works are extremely architectural in nature, sometimes utilizing highly mechanical work titles (harkening back to Duchamp’s way of naming his kinetic works).

Dannielle Tegeder's studio manager


Tamiko Kawata (Studio 413) Website

Working from the formal traditions of Bauhaus and Dada, Kawata creates small- to large-scale works in a wide range of mediums and materials. Her work thrives in the subversion of a material’s limits. In some works, she utilizes in cardboard in a serial fashion, making it appear like steel buildings.


Rosie Cutler Website

We had the pleasure of meeting Rosie Cutler in Kawata’s studio, since Cutler is Kawata’s daughter-in-law! She is also an artist so Amelia took a portrait of her. Click on the website above to see some of Cutler’s work.


Alex Gingrow (Studio 506) Website

Alex Gingrow exhibited finished works and works in progress. She spoke to us about finding her particular style while pregnant with her first child. Her current process involves looking back to certain childhood traditions and rituals. She derives her first layer, the words, from the memories. She then outlines certain subjects and colors in some of the shapes. Smudging the color creates luminous shapes. The result is significantly more abstract and beautiful than its individual parts.


Akira Ikezoe (Studio 509) Website

Akira Ikezoe utilizes his work as a tool to communicate. As he told us, his English is not great but his works are a way to effectively bridge that gap. He creates sequential stories around a particular theme using word association. One wrapped up work was about MoMA, though it would have been difficult to guess that without the artist’s explanation.




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