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The ease of repetition
Nicole Crowder is the founder of her own furniture and upholstery studio creating generational, one-of-a-kind pieces of bespoke furniture. Her works been featured in Architectural Digest, Elle Decor, and Martha Stewart Living.
We’re delighted to share Nicole's curation of Curina artworks and her methodical, eclectic perspective.
"I’ve been contemplating about lines & uniform patterns, and how formation provides respite to the brain. Repetition is based in ritual, and there’s a beautiful grounding in that."
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If you’ve ever seen a sunflower that’s seemed to mutate and stretch in all directions (gardeners call it fasciation), you’ll recognise that odd, abstract beauty in nature that shines in Raúl Ortiz’s paintings. Raúl’s paintings strip away sections to reveal even more colorfully patterned silhouettes. Though his earlier works took the shape of natural subjects like flowers, more indistinct shapes take center stage, playing with repetition as well as vivid color.
I started making art in my early childhood, heavily influenced by the illustration work within the surf, skate and live music scenes of the 80’s and 90’s. As a young adult, I gravitated towards fine art through my exploration of less traditional media and application. After some years of working in abstraction, I’ve re-introduced representational imagery into my work. The goal is to join the worlds of abstraction and illustration to create a space in between where my work can continue to grow.
Seema Lisa Pandya is a Brooklyn based multidisciplinary artist and accomplished sustainability consultant who explores the intersection between sustainability, art, culture, and the built-environment with an aim of connecting audiences with an experiential awareness of nature and primordial forms. Her work ranges from sculptures made from recycled materials, public art, painting, photography, wood-working, light sculptures, and kinetic interactive sculptures.
A video and book artist-turned-painter, Troy still hasn't lost the wonder of new materials like toys, molding paste, and most recently flower-patterned plastic bags. Rather than playing fixed roles in a prefabricated play, his works together explore a constellation of loosely related sentiments like serious absurdity, the ineffable scale of cosmic time, surveyor marks, and rat traps around New York. These moments when existential issues suddenly intrude into everyday life or vice versa are most pronounced in the contrast between the digital hot pink he frequents and the scratched, worn out textures like peeled subway ads that accompany it.
There is a sense of history in Shira's paintings. They are built up patiently like the hands of potters that their surfaces resemble, but left to be scratched and marked by some unknown force. Even the central objects are pressed into the thick layer of venetian plaster instead of sitting on top. In a world of polished surfaces, Shira's use of materials restores the power of time.
Joe Piscopia builds 3D shapes with 2D mediums. Informed by strongly contrasted lighting, Joe’s gradations bring every object, concept, or pattern to life in abstract forms. Shapes and colors document moments of thought and emotion in Joe’s life. Starting with a thought, a bird, or a single word, he intuitively explores from there into a realm of soft geometry.