DRAWING CHALLENGE XXII
We would like to congratulate Jon Elliott, Barbara Ellmann, Nona Hershey, Tina Feingold and Ruth Marten for being the featured contestants of our Drawing Challenge XXII, which was inspired by the following words from
Joan Didion's Blue Nights, which was first published in 2011.
“Time passes. Memory fades, memory adjusts, memory conforms to what we think we remember.”
We are pleased to present a larger selection of submissions in the accompanying virtual exhibition
Time Passes. Memory Fades.
June 2 - June 30, 2021
Nona Hershey, On Alert, 2019, watercolor, graphite powder, gouache on paper, 22 1/2 x 22 1/4 inches
”It is becoming increasingly difficult to extricate ourselves from the relentless onslaught of digital imagery: the instantaneous replay of global peril permeates even the most quiet meditation of the sublime.”
- Nona Hershey, 2021
https://nonahersheywork.com/
Miriam Hitchcock, West Lake Walking, 2020, Gesso, marble dust, ink, acrylic, charcoal, spray paint and aluminum foil collage on cut out on blue BFK paper, 11 1/4 x 15 inches
Bonny Leibowitz, Dwelling in Clouds, 2021, ArtGraf and ink on Yupo, 9 x 12 x 1 inches
Jon Elliott, Happy Days, 2021, ink and acrylic on paper, 12 x 9 inches
Barbara Ellmann, LOOKING AT THE STONES, 2017, encaustic on wood panel, 24 x 24 inches
Tina Feingold, Paradiso, 2019, 40 x 36 inches
Ruth Marten, Ophelia, 2021, gouache on cabinet photo, 5 7/8 x 4 1/8 inches
Petey Brown, Memories 2, oil on linen, 24 x 24 inches
Francine Tint, Solaris, 46 x 50 inches
Sam Marroquin, Rewriting, 2021, acrylic, charcoal, graphite, tags, cardboard, image transfers and metal collage on canvas, 18 x 24 inches
Lynn Berstein, Tree, 2021, charcoal and eraser on paper. 9 x 12 inches
Marina Cappelletto, study, 2021, oil on paper, 22 1/2 x 30 inches
www.marinacappelletto.com
Tony Moore, Blue Guide I, 2020, wood-fired ceramic, 21 1/2 x 21 1/2 x 8 3/4 inches
www.TonyMooreArt.com
“My objects are places of remembrance where multiplicities of associations take place. Most recently these have been concerned with issues of the human condition. Abstracted figures are rather like surrogates, playing out a deeply psychological fiction of desperately moving toward “something”. Something hopeful, yet presently out of reach. Something eternally becoming …”
Esther Podemski, Round Midnight, 2020, oil on wood panel, 15 x 15 x 3 inches
www.estherpodemski.com
www.estherpodemski.com
Carol Radsprecher, Exciting Bed, oil on canvas, 30 x 30 inches
Jerry Gallo, Yesterday, Today and Tomorrow 321, acrylic on board, 24 x 18 inches
jerrygalloartist.com
"As the years layer on I often find the past and present interchangeable; sometimes they combine for something wholly new."
Mario M. Muller, Lexicon #5, 2018, India ink on Duralar, 11 x 14 inches
www.mariomuller.com/
Monroe Hodder, Page Five of The Book of Paintings, April, 2021, oil over watercolour on 300 lb rag paper
Mira Hecht, Change is the Constant, 2021, oil on canvas, 40 x 36 inches
mirahecht.com
Moses Hoskins, Untitled, 2021, mixed media on canvas, 48 x 48 inches
moseshoskins.net
Julie Shapiro, Give/Take, 2017, oil on canvas, 66 x 80 inches (diptych)
www.julieshapiroart.com
Deanna Sirlin, Strata (detail), 2020-21, Translucent c-print on glass, 7 x 5 feet
www.deannasirlin.com
Gerri Rachins, Untitled 0072, 2017, mixed media painting with Flashe paint on Arches paper, 12 x 9 inches
www.gerrirachins.com
Arleen Joseph, Frayed Threads of Memories, collage & mixed media on paper, 9 1/2 x 8 inches
Www.ArleenJoseph.com
Blinn Jacobs, Regeneration, 2021, casein, oil pastel on incised gatorboard, balsa wood, 6 1/4 16 1/4 inches
www.blinnjacobs.com
Barbara Grad
”Finding Myself At Home
Last March, at the beginning of the 2020 lockdown my large paintings were installed in an exhibition. The building was then closed and the exhibit never opened. The large oil paintings were returned to my studio. I decided to go out to my garden . The 100 year old mountain laurel up the driveway hadn’t been cared for in years. I began chopping out the dead branches and soon realized I saw some very interesting shapes. I was healing the plants, promoting new growth, and at the same time healing myself. I went back to the studio and began making drawings of the memory of those shapes and perhapswhat they might become.
Small works on paper are a way of thinking and memory is a response to my personal experience.”
Stephanie Franks, Mughal Dreams, 2020-2021, Mixed Media Collage, 10 x 6 1/4 inches
https://stephaniefranks.net
John McDevitt King, Can't Remember Can't Forget, 2009, graphite on paper, 22 x 18 inches
www.johnmcdevittking.com
Elisa D'Arrigo, La Carta (9), paper, thread, acrylic paints and mediums, marble dust, 10 x 7 inches
Maggie Nowinsky, Untitled Specimen (partially remembered III), 2020, 17 x 13 inches, pen, ink, gouache on heavyweight Fabriano
www.maggienowinski.org
Lorraine Tady, Axiom of Memory, 2020, Casein, Polychromos pastel and Conté crayon on Coventry Rag paper, 44 x 35 inches
lorrainetady.com
Susan Moss, Earthslide 504, 2019, oil crayon on paper, 60 x 42 inches
www.susanhmoss.com
Matthew Bliss, [preliminary sketch] celestial vault, watercolor, pencil, scraping out, hot press paper, cold press matte
Manju Shandler, Fin, 2021, charcoal and acrylic paint on canvas, 40 x 30 inches
www.ManjuShandler.com
Jeanne Wilkinson
”I photographed a pair of old wooden chairs in my back yard one bright spring morning. They reminded me of old friends sitting together in the sunlight, sharing memories. I then “blended” the photo with my abstract artwork using various apps, which made the image seem to come alive with floating memories, as described in Joan Didion’s words.”
Francine Perlman, Wash Day, 2000, mixed mediums on paper, 17 1/2 x 23 1/2
francineperlman.com
Dee Shapiro, Prosody, 2012, ink on paper, 24 x 26 inches
Yvette Cohen, Circle #2, 2015, graphite and oil paint on Arches oil paper, 18 x 26 inches
www.yvettecohen.com
Emilia Dubicki, Assembly of Recollections, oil on panel
22 x 24 1/2 inches
www.emiliadubicki.com
Kathleen Migliore Newton
Urbanpaintings.com
”It is part of a series of people on the subway. This woman was on the subway during the day, dressed, it seemed, for an evening celebration. I imagine she is dreaming, remembering her previous experience. Her body created a beautiful silhouette I wished to reproduce.”
Lisa Hess Hesselgrave, Waiting Woman / Sentry, 2012, pastel on board, 8 x 8 inches
www.lisahesselgrave.com
Mark Younkle
@younkle_mark
”I have looked forward to those evenings in early summer that Didion so evocatively describes in "Blue Nights" since I read her book one summer many years ago. My charcoal drawing "Evening" is composed primarily of minute strokes of razor sharpened charcoal to create a textural or ticked effect. Like memory, the effect can be heavy and freighed or, conversely, transparent through the scrim. Also, like memory, the effect is one that both ripples and flattens between foreground and background, between what's close to us and what we remember from a distance.”
Karen Schiff, Untitled (Whispers), 2014, graphite and charcoal on paper, 28 x 22 inches
www.karen-schiff.com
Dane Goodman, a recalling, 2021, ink, color pencil, china marker/paper, 7 x 5 inches
www.estradafineart.com/
Deanna Sirlin, Strata 1, 2020, C-print transparency on glass, 12 x 5 feet
www.deannasirlin.com
Theresa DeSalvio, Mystery, 2021, oil paint on Arches paper, 20 x 13 inches
www.theresadesalvio.com
Karen Shaw, Untitled, 2021, C-print, 16 x 20 inches
Jamie Ballay, Portrait of Cat / @newyorkcat, 2021, gouache on toned paper, 8 1/2 by 11 inches
jamieballay.com