Ready for some new art? We've been busy uploading fresh art onto Fiercely Curious. Just in time for the holidays! If you're in NYC most of this work is still available for purchase in time for Christmas... Just saying....
"The colors that I'm working with now are basically the colors that I'm left with after avoiding having my color choices look like any other painter that has come before me. It's almost as if I don't have to choose because I'm just basing my palette on whatever's left over. This idea plays the largest role in choice of palette for me. There are ways that I technically avoid the dilemma of having my palette look like other painters. I mix colors that don't go together. I tend to tint all of my cobalt and "truer" colors with different blacks or burnt umber, or I tint with any color that I feel can disturb the trueness of another color. Beyond that I use a combination of unconventional mediums and ratios of quality to cheap paint. If anything, I'd like my palette to reflect the haphazard, the institutional, and the random pedestrian sense of the urban landscape. I look at a lot of faded graffiti." - Lucas Moran
Browse Lucas' work here
"The North Coast of Scotland, known as the Highlands, is full of clashing visions. The frigid North sea pounds on the mossy rocks which are littered with sheep grazing calmly on seaweed. When the clouds move north the sky bursts with sunlight revealing astonishing tropical colors that retreat into flatness as soon as the next front whips across. The natural environment here calls all the shots and the people who live here, who live much the same as their ancestors have for centuries, are astonishingly adept at managing nature’s uncompromising intensity." - Micaela Walker
Browse Micaela's work here
"Without intending to, the journey of having my own child has led me back into my past. Long forgotten memories surface and I begin to think on old things differently. These old visions found their way into my work this year, without my invitation, but nonetheless here we are. I have brought old childhood stomping grounds and bedrooms back to life and remembered some of the tender, sad or strange moments of my early life. This backwards journey has been occurred alongside an inner journey as I return also to meditation and re-reading Carl Jung. The result? Paintings who are just dreaming." - Cecelia Rembert
Browse Cecelia's work here
"I like things that are jarring, beautiful and intricate all at the same time. I’m obsessed with creating patterns. A lot of my visual ideas come from nature. I take photos as I walk on the streets or wherever and use them for my work. Also it’s about textures, monochromatic, negative and positive spaces.
My current paintings, there are generally two processes intended to represent spontaneity and intentionality, respectively. I work with ink and water a lot. When I drop it on my canvas it breaks loose and find it’s way to settle. I cannot really control how it moves. Then I start drawing details on the same surface and that’s the part that I better control and with precision in the second process. I like those two aspects together." - Ai Campbell
Browse Ai's Work Here
"In my childhood room there was a wooden moose head that hung near my bed. It sat flush to the wall and had several pegs that stuck out of the antlers, so I could have a place to hang my favorite red baseball hat, my blue bath robe and of course my authentic raccoon skin cap.
This series of wooden moose is reminiscent of a simpler time, a time when I often dreamed of adventures in far off forests and the wild creatures that inhabited them. I'd like them to exist as a reminder that imagination is not something reserved for those young in age. This group of work was put together using wood that was being discarded and some old saws that had found me over the years. There are always some moose out there, waiting to be found!" - Peter Treiber Jr.
Browse Peter's Work Here
"With the variety and amount of people here, there is no shortage of witnessing unique happenings with the array of characters and their fashion styles. The objects and where people leave them on the streets are great finds. Plus the graffiti and the street art is extraordinary.
People today are far more guarded and reluctant to be photographed by a stranger. Almost everyone is aware of the presence of cameras being used everywhere, be they cell phone or actual ones. In the 80s the people that I captured were more curious or flattered when they noticed that a stranger with a camera was taking their photo. As a result, today I often shoot people without full facial recognition and often from behind. I feel their character or energy still gets represented in the shot." -Gun Roze
Browse Gun's Work Here
"I usually begin by making a mess to find out what is going to be revealed to me. I’m constantly working on the floor, sprawled out, all my materials within an arm’s reach. A lot of the work begins through, and is informed by, mono-printing: when paint and media is applied on one surface and then pressed against another, a pseudo-mirrored image is revealed. Lately I’ve been going back into some older works and tearing up other works, focusing a little more energy on collage and mixed media. I like the idea of “graffiti-ing my own work”, how marks and images and intentions can always change. Ultimately, the studio is a space where I make my own games and challenges." -Will Hutnick
Browse Will's Work Here
Don't forget - if you want to come and see any of the art in person just get in touch and we can set up a studio visit!
Erin & Tom
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