Studio Visit: Sharbani Das Gupta
Studio VisitNew MexicoVol. 6 Rooted: Poetics of Place
Las Cruces-based artist Sharbani Das Gupta is an observer of the earth's elements and the impact of human activity on the natural world.
Studio VisitNew MexicoVol. 6 Rooted: Poetics of Place
Las Cruces-based artist Sharbani Das Gupta is an observer of the earth's elements and the impact of human activity on the natural world. By Joy Miller
Dallas-based artist Austin Uzor blends the figure and the Southwest landscape in oil paintings that blur the boundaries of figurative painting. By Laura Neal
Yu Yu Shiratori, an artist based in Tucson, creates large-scale embroidery, jewelry, and illustrations that juxtapose materials to reflect the dichotomy of her bicultural experience. By Eva-Marie Hube
The large-scale paintings of recent Salt Lake City transplant Amber Tutwiler blend figural realism with abstraction to uncover the myriad ways in which technology dislodges notions of the self. By Scotti Hill
Albuquerque artist Reyes Padilla, born with synesthesia, paints visual representations of music in works that have appeared throughout New Mexico and on Better Call Saul. By Steve Jansen
Artist Douglas Miles (San Carlos Apache, Akimel O’odham) uses visual art and skateboard culture to amplify Indigenous voices. By Lynn Trimble
New Mexico sculptor Jeremy Thomas uses inflation to create three-dimensional works of steel and canvas that explore air as a medium. By Joshua Ware
Rochelle Johnson, an artist in residence at Denver’s RedLine Contemporary Art Center, is a figurative oil painter who imbues her work with messages about women’s beauty, the Black community, and the human condition. By Deborah Ross
Salt Lake City artist Mitsu Salmon explores issues of racism, environmentalism, and sexuality. Her performance-based approach to a multi-disciplinary practice crafts an immersive experience between artist and viewer. By Scotti Hill
Galveston, Texas artist Nick Barbee uses the process of abstraction in recounting American history and personal experiences in his paintings, sculpture, and installation. By Caitlin Chávez
UMOCA’s artist-in-residence program in Salt Lake City provides studio space and exhibition opportunities for Utah artists while enriching the local arts community. By Natalie Hegert
Benjamin Timpson hand-cuts delicate pieces of ethically-sourced butterfly wings to create meticulous and moving portraits that explore trauma and healing while raising awareness about missing and murdered Indigenous women. By Lynn Trimble
The September 11 attacks and monthly visits with Agnes Martin continue to inform the gridwork of artist Pard Morrison, whose Denver installation Course comments on drought conditions in the Southwest. By Joshua Ware
Studio VisitColoradoVol. 5 Collectivity + Collaboration
Michael Gadlin, an artist and the executive director of PlatteForum in Denver, talks about the influence relationships and community have had on his creative practice. By Joshua Ware
Studio VisitTexasVol. 5 Collectivity + Collaboration
Houston-based artist and graphic designer Phillip Pyle, II upholds a tradition of collaboration in the historic Third Ward neighborhood. By Caitlin Chávez
Political organizer and artist Szu-Han Ho of Albuquerque builds coalitions and breaks down institutionalized barriers. By Kathryne Lim
Laredo, Texas native Angelica Raquel Martínez continues her familial legacy of storytelling in works on paper and textile installations. By Caitlin Chávez
Sanders, Arizona-based Jared Tso (Diné), who teaches aspiring ceramicists and makes pottery from the road, is a rising star in the world of Indigenous pottery. By Will Riding In
Albuquerque-based artist Jennifer Nehrbass paints the nature of landscapes to challenge ideas of what is real. By Nancy Zastudil
Denver artist Sammy Seung-Min Lee engages paper through unique and distinct processes in creating wall pieces, architectural installations, artist books, and performances. By Joshua Ware
Arizona artist Laura Spalding Best creates oil paintings on found objects, exploring the intersection of natural and built environments while confronting the impacts of climate change on the desert Southwest. By Lynn Trimble
A handy roundup of Southwest Contemporary's studio visits with Southwest artists in 2021. By Southwest Contemporary
In our latest studio visit, Dallas-based painter Jay Chung addresses climate change and challenges perceptions of the human figure. By Laura Neal
Colorado artist Terry Maker investigates the potential of discardable items—papers, markers, straws, even candy—by transforming them, through arduous processing, into ethereal yet witty wall reliefs and other objects. By Deborah Ross
Denver-based artist Trey Duvall explores futility and absurdity as they relate to objects through installation, video, performance, and sculpture. By Joshua Ware
Studio VisitColoradoVol. 4 Winter 2021
Denver artist Suchitra Mattai challenges Western traditions of painting through her use of culturally specific materials that are informed by the South Asian diaspora. By Joshua Ware
Studio VisitUtahVol. 4 Winter 2021
New work by Jaclyn Wright explores the contentious space of the Utah desert and how the ideology of ‘rugged individualism’ has visually manifested itself. By Natalie Hegert
Studio VisitArizonaVol. 4 Winter 2021
Raised in the borderlands, Phoenix-based artist Diana Calderón uses materials from Mexico and the U.S. to investigate her ancestral roots and immigrant experience while exploring both physical and spiritual borders. By Lynn Trimble
Oswaldo Maciá, a Santa Fe- and London-based artist, utilizes the unconventional media of smells and sound to provoke questions about coexistence, human borders, and migration. By Coco Picard
Malena Barnhart, a Tempe-based artist who uses quirky materials like children’s stickers and party favors, looks for new ways to explore the serial obsessions that drive her creative practice. By Lynn Trimble
“Let me be the conduit:” Jeffrey Wentworth Stevens, a Denver-based jack of most trades and label boss of Multidim Records, talks cassette releases and trading a Snickers for flyer design. By Sommer Browning
Artist Derrick Velasquez, who is represented by Robischon Gallery and runs Yes Ma’am and Friend of a Friend, is a key pillar in Denver's gallery and DIY scenes. By Joshua Ware
Nora Wendl applies diverse talents to equally diverse examinations of place, of being a woman moving through the world, and the “poetics of inhabiting things.” Her recent cycles of work examine the Farnsworth House in Illinois—an iconic glass and steel International-Style house. By Maggie Grimason
Lynch makes hand-built, smoke-fired vessels, some as large as five feet tall, others small enough to fit in the hand. Her color palette is minimal and plays the whiteness of the clay against the deep graphite blacks achieved by saggar firing, a process that sometimes also deposits hues of blue and brown. Her work is simple to describe but is not necessarily easy to talk about... By Sarah Bradley
Erin Mickelson’s book-based artwork plays with translation, in every sense of the word. In LIMINAL betwixt/between, her series of work displayed in form & concept’s Superscript show in 2018, text is translated to sound, sound to image, and image fed into an algorithm, chopped up, and assembled into new images. Her collaborating artists are Twitter bots and long-dead authors, and her process a visible part of the product. In everything she makes, there’s a degree of absurdity and flux: how many times can you translate something and still call it the same thing? By Robin Babb
The tone of my studio visit with Santa Fe artist Ted Larsen was set early when he declared that he would likely be both circumspect and like a blowtorch when talking about his thoughts on his studio practice, life, and work. Now fifty-five, the trained painter has been showing his art since before he graduated college. By the time he was twenty-two, he had already exhibited at the Philadelphia Museum of Art, making big strides early on in a career that has now spanned decades. By Clayton Porter
Dorielle Caimi’s paintings have been described as absurd, humorous, truthful, and empowered. Those adjectives adequately describe Dorielle the painter, too, though I would add that she is extremely funny, smart as a whip, and masterful in her execution and rendering of the female figure. Both articulate and open in speaking about her work, Dorielle effectively integrates her emotional and physical experiences into her studio practice. Balancing expressive and brutally honest portrayals of the female form with jarring pop-surrealist color, animal characters, and cartoonish elements, she offers viewers something vibrant and complex. By Kate Wood
Visiting Stuart Arends’s studio was no quick jaunt. We drove one and a half hours from Santa Fe to Willard, New Mexico, past the town, further down the highway, and just before a specified mile marker where we were to rendez-vous with the artist at an unmarked wire gate... By Clayton Porter
Paula Wilson and Mike Lagg live in Carrizozo, New Mexico, a town of about nine hundred residents, located north of White Sands. Paula, who arrived there ten years ago by way of Chicago and New York, and Mike, who settled in the area over thirty years ago, are mainstays of the art community in the region... By Angie Rizzo
Grace Rosario Perkins describes a drawing she had made years ago, taking Black Flag’s Family Man album and replacing Raymond Pettibon’s violent imagery with a repeated series of pencil drawings of women. She then filled out the liner notes with her mother’s name... By Maggie Grimason
Harmony Hammond is lying on the floor beneath one of her paintings, craning her neck within inches of the canvas. “I’m doing edges,” she tells me. I first heard of Hammond when I came across the catalogue for Out West, a 1999 show... By Jenn Shapland
the micro- and the macrocosmic. Having recently opened the show Drawing, Reading, and Counting at Arthur Roger Gallery in New Orleans (May 7 – June 18, 2016), the Texas-born, Santa […] By Clayton Porter and Lauren Tresp
"Before, I was taught to paint in a traditional, old-school style in Oklahoma. But Santa Fe wasn’t into that. There was lots of activism back then. It was the four hundred year mark of Columbus in the Americas, and there was a certain kind of American Indian Movement (AIM) echo in response. That was my first eye-opener..." By Alicia Inez Guzmán
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