Studying what’s next

Having two shows this fall (group show at 311 Gallery and a solo at Golden Belt) has been amazing and validating, and work of course- first time showing both the cubes and remixes (which was a technical challenge). It also felt like closure. So in that context I’ve felt drawn to move the paintings in a new and slightly different direction. A practice based on formal investigation and experimentation probably should, right?

Having the cubes and the remixes up and together on walls with the paintings also made me want the latter to be even more distinct. So I’ve begun working through what I’ve wanted to “push” more from the prior work and thinking more about the edges of the cubes and how I incorporate line. Some early examples below, at least 3 of which are likely to be further developed (“yes” the two in the bottom left are an example of a spot where I’m far enough along to start responding to earlier studies with newer ones).

Mavis Pusey

In 1946, eighteen-year-old Mavis Pusey moved to New York from Jamaica to study at the Traphagen School of Fashion and, later, at the Art Students League. By 1969, she had worked in London as a patternmaker for Singer for nearly a decade. She then returned to New York to work at Robert Blackburn’s printmaking workshop—an important collaborative studio where artists were encouraged to experiment and freely exchange ideas.