Tag Archives: art

Art MRKT San Francisco opened the 2012 edition of their fair to an increased attendance, showing growth in the newly established art fair market in San Francisco.  Warholian’s Chief Photographer Michael Cuffe stopped by the fair during it’s Thursday night opening to capture the show as the doors opened.

We hope you enjoy this look into Art MRKT 2012!

- Warholian

artMRKT runs from May 17–20, 2012

artMRKT Productions marks the start of their 2012 modern and contemporary art fair season with the second annual artMRKT San Francisco, taking place May 17th–20th
at the Concourse Exhibition Center, a 57,000 sq. ft. refurbished railway station located in San Francisco’s South of Market (SoMA) District. Welcoming a strong selection of 70 modern and contemporary galleries to the Bay Area, co-founders Max Fishko and Jeffrey Wainhause are also pleased to announce artMRKT’s partnerships with a number of esteemed returning and new cultural organizations, including Opening Night Benefit Preview Party beneficiary the Fine Arts Museums of San Francisco, consisting of
the de Young and Legion of Honor museums, and an intriguing program with the Asian Art Museum.

Setting their sights on continuing to expand the popularity of artMRKT San Francisco throughout the greater Bay Area, Fishko and Wainhause have created multiple platforms for participating galleries, artists, cultural partners and sponsors to engage and collaborate with artMRKT in presenting a full schedule of curated programs and events throughout the duration of the fair. Curated specifically around the coinciding 75th anniversary of the Golden Gate Bridge, artMRKT San Francisco will feature an exciting and timely series of programs and presentations including a keynote artist address by award-winning photographer Richard Misrach, as well as presentations by Bay Area curators from the Asian Art Museum, the Fine Arts Museums of San Francisco, and the ZERO1 Biennial. Additional 2012 programming includes the return of the MRKTworks auction, complimentary weekend shuttle buses for ticket holders.

For more information on the fair visit: http://www.art-mrkt.com/sf

Warholian is proud to present Japanese calligraphy artist Aoi Yamaguchi, alongside composer Sebastian Plano and contemporary dancers Celine Alwyn and Emmaly Wiederholt, in her performance of “Unibirth” at ArtPadSF.  The performance starts at 7:30 pm on Saturday May 19th, 2012 and will run approximately 20 minutes.  ArtPadSF takes place at the historic Phoenix Hotel located at 601 Eddy Street in San Francisco.

Tickets to the ArtPadSF fair are $20 at the door, and $15 online at http://www.ArtPadSF.com/

The performance will take place at the end of the fair day at 7:30 sharp (20 minute performance), with doors on the fair closing at 8pm.  The fair is open all day from 12:00PM – 8:00PM and features a great lineup of galleries and other events.

Unibirth is a live performance art project which is conceptualized, directed and performed by Aoi Yamaguchi, in collaboration with Argentinian contemporary composer Sebastian Plano, contemporary dancer Celines Alwyn and Emmaly Wiederholt. Inspired by unifying concepts of “universe” and “birth”, Unibirth celebrates the reincarnation of lives that exist in nature and signifies the infinite cycle of the universe, incorporating the physical movement of calligraphy, contemporary dance, sounds and visuals. The dancer represents the spirit of humanity – the music, representing the earth’s ensemble, and the poetry, written on the bodies and garments by the artist, awaken the spirit from long hibernation. Blessed in the brush strokes and divine sounds, the newborn spirit will be sublimed into the nature’s resonance.

Warholian is a press-based arts publication situated in San Francsico, California. Warholian focuses on both emerging artists, and the communities that emerge around their particular aesthetics. The website is headed by Editor in Chief/Head Photographer Michael Cuffe and has become known as one of one of the formost names covering the world of contemporary art and culture. Warholian presents an unprecedented view of the current art scene, it’s patrons, and the inspiring figures within it.

If there’s one thing Brett Amory isn’t doing right now, it’s waiting. Debuting this month at The Outsiders gallery in Newcastle, UK, Amory’s new collection Waiting 101 explores in its subject matter the everyday quiet often lonely moments in life, through the very social medium of art and technology. Amory is best known for his Waiting series, which has spanned the last decade and delves deep into the shared psyche and simplicity of city life. But for now, he’s not waiting. He’s launching the collection in Newcastle, jetting around Europe, and putting up some seriously cool works along the way. Warholian finally caught up with him to speak with him about the exhibition.

“This show is documenting my everyday day to day,” he tells me. “My everyday experience and how it crosses over into others’.” Focused on landscapes and people in the Bay Area, and documenting them through the immediacy of technology never too far from his fingertips, Amory captures very real and subtle moments of a city dweller’s experience.

We all find ourselves doing it, whether it’s for the train, the rain, the sun, the job, the call, the girl, the guy—or both? For the past ten years Amory has been exploring the concept of waiting, through several different techniques and building from a vast repertoire of artistic experience. The series is an evolving, living document of his daily life, following often isolated figures in shapes and shadows, making compelling use of negative space.

The artist’s progressing inspiration, from his series based on the curios anonymity of passport photos and the printing techniques of a modern copy shop, to the delicate realism of painting on wooden panels and even taking aspects of Picasso’s cubism, Amory’s evolution as an artist has turned out a unique and breathtaking perspective.

The simple but sometimes profound act of waiting has been the focus of Amory’s maturation as an artist and technology has only helped to enhance that development. “Technology is always a part of the process,” the artist, who makes use of his iPhone’s camera and the app Instagram (recently bought by FaceBook for one billion dollars) to settle on which subject matter to paint. “But the challenge is not letting technology control the painting. I’m not mimicking what a computer can do, I am using the computer as a tool available to me in the way David Hockney used a fax machine to make art.”

In fact, the process is a major role in the aesthetic of Amory’s work. From photography to Photoshop, experimentation with printing and ultimately painting, Waiting 101 is a collection that conveys deep emotion through very stylized methods. He explains that while formal art education teaches how, it cannot teach the concept behind it.

Through his decade-long experimentation with his subject matter, he admits, “I used to look at the aesthetic of a piece first, but have learned since then that there’s so much more to art. How it’s made is more important, because your viewer is forced to focus.”

In this collection, the viewer is forced to focus on a common but overlooked theme in modern society, the anticipation of the next moment. Through his career Amory has been searching to give voice to the anonymous and familiar characters whose lives intersect with his on the regular. But Waiting 101 approaches this subject matter having closely intertwined these characters with everyone’s lives. Just follow Brett Amory on Instagram to see the digital snippets of a Bay Area commute, the homeless man standing on the same corner every evening, the woman waiting wispily for the bus, and you can actually play a role in the subject matter he chooses to paint. Technology has afforded him an easy spontaneity and immediacy that can connect the emotion behind a moment to a wider audience.

Its something he himself has gone through, and most of us face at some point in our urban lives—the sense of isolation among a crowd. Over the past ten years, Amory tells me he has been, “experimenting, trying out different ways of putting together images and asking myself, ‘What am I about?’ without getting too caught up in the recognition or what people are talking about.”

But for now, the waiting is over for this internationally acclaimed artist. People are definitely talking about Waiting 101.

- written by Aimee Dewing with photos by Michael Cuffe for Warholian

For more on ‘Waiting 101′ at The Outsiders gallery visit: http://www.theoutsiders.net/

Visit Brett Amory’s official website here: http://www.BrettAmory.com

Follow Brett Amory on Facebook here: http://www.facebook.com/BrettAmory

The Luggage Store gallery can be found off just off the beaten streets of 6th and Market in the Tenderloin District of San Francisco, hidden within a stickered entrance it is cultural gem in this rough and tumble neighborhood. In their latest show entitled ‘Me and My _____’ artists Rye Purvis, Erlin Geffrard, Henry Gunderson, Chad Hasegawa, and Spencer Keeton Cunningham transformed The Luggage Store into a set of five site specific installations.

Assembled by Gallery Director and Curator Daryl Smith, ‘Me and My _____’ highlights five top emerging artists in San Francisco art scene all under one roof. The Luggage Store, also known as The 509 Cultural Center is a non profit artist run multidisciplinary organization which organizes the community through the art exhibitions, educational experiences, and programs. It has become widely known for it’s commitment to creating culture, and offering a voice to artists within the Tenderloin area.

Chad Hasegawa is well known for his bears adorning mural walls throughout the city. The artist continues to receive recognition for his work, recently participating in both shows at White Walls and 941 Geary galleries. In his unique abstract manner, Hasegawa creates animals that breath color and life – often on a extreme scale. The artist created two wonderfully beautiful works for ‘Me and My ____’, as well as a bear “cave” in which patrons were invited to enter. Inside they were greeted with 4 wooden stools and a burning fire, a obvious retreat from the gallery conditions outside.

Erlin Geffrard has an energy to his work that not even paint seems to control. His paintings are oftentimes frantic, with imagery exploding off the walls, sometimes in simple and childlike manner. Upon closer inspection stories are revealed, and symbology takes center stage. In his site specific installation, Geffrard focused on creating a chapel that pays homage to figures from his own identity and within the rap community. His “saints” are tattooed, carry firearms, and drive lamborghinis while centered around the walls of his faux stained glass room.

Henry Gunderson continues to be an artist that is gaining recognition for his work, and many well known established artists and gallery owners mention his name regularly in conversation. Gunderson’s style is always highly conceptual, and can be best described as a visual puzzle that can be read in many ways. For ‘Me and My ____’ the artist brought in a number of his paper works and tacked them to corkboards hung within the gallery space. As if they were no more than notes on the wall, the works were allowed to simply stand on their own – a simple yet powerful concept. For his installation in the show, Gunderson covered a television with a “ramp” of dirt in which a bike can be seen embedded in the wall just over Hasegawa’s bear cave.

While continuing to build a body of mural collaborations ranging from Miami to San Francisco, Spencer Keeton Cunningham is finding acceptance in both street and fine art settings for his work. Cunningham produced an amazing painting for ‘Me and My ____’ which touches on native american aesthetics, while at the same time making it something completely new and original. Upon entering the a large wood frame box on which the painting hangs, one finds a video installation streaming clips of vintage war footage sitting next to a book with an upside down cross. Cunningham’s work continues to speak volumes about an individual’s place in society, and where culture fits within the mix of influences and emotions.

Rye Purvis blends iconography and celebrity into a mishmash of images that startle and intrique the viewer. For her installation, a cat clad in a bikini and a individual made of junk food (complete with cheeseburger head) sit on a set of swings. A painting of a woman (appearing to emerge from a floral wallpaper pattern) was hung within the pair, offering a playfulness to the commentary about what we ingest mentally and physically from our world.

‘Me and My ____’ at The Luggage Story is an impressive exhibition of talent, concepts, and styles from a set of artists that seem to be forging a clear path in the contemporary art scene. We highly recommend checking out The Luggage Store, and future exhibitions at this inspiring location.

- written and photographed by Michael Cuffe for Warholian

For more on The Luggage Store visit: http://www.luggagestoregallery.org/

For more on any of the artists in this story visit their respective sites:

Chad Hasegawa: http://chadhasegawa.com/

Erlin Geffrard: http://www.bitchipaint.com/

Henry Gunderson: http://henrygunderson.tumblr.com/

Spencer Keeton Cunningham: http://spencercunningham.com/

Rye Purvis: http://www.ryepurvis.com/

Paul Chatem is well known for his colorful, illustrative “gear” paintings in which the viewer can actually take hold of a piece of art and “turn” it into something else entirely.  His unique approach attempts to cause a physical interaction between the work and gallery goer within the exhibition.

For his most recent show “Another Man’s Hero” Chatem slowly moves away from acrylic based works, and back into oils – a switch which truly adds another level of color brilliance into his work.  Mr. Chatem has always had an illustrative hand, but it is within his paintings entitled “I Owe You One Pig, By The Way, Your Daughter’s Pregnant” and the complimentary work “I Owe You One Daughter, By The Way, Your Pig’s Pregnant” in which we are seeing another level to Chatem’s work altogether.  Symbology takes center stage in “Another Man’s Hero”, and it is by far the best body of work from Chatem thusfar.

We sat down with the artist recently to ask him about his art, past, and future…

(Warholian’s MC)  Can you tell us a little about your particular aesthetic, and the subject matter you focus on in this particular body of work?

(Artist Paul Chatem) My aesthetic is a mixture of rusty tin cans, abandoned buildings, greasy machinery and classic cartoon illustration. The subject matter in the new show is a mixture of characters that ride the fine line between right and wrong. The main idea for the show was to explore the idea of one persons perspective of themselves versus how others see them. One man’s hero is another man’s villain. 

(Warholian’s MC)  How did you first decide you wanted to become and artist?  Your background?  What formal or informal training have you received?

(Artist Paul Chatem)  I always sketched as a kid. Mostly copying cartoon characters from the newspaper and comic books. As an early teen, a friend of mine showed me  E.C. comics, underground comics of the 60′s, and contemporary alternative comic artists such as Daniel Clowes and Jim Woodring. This really sparked my imagination and broadened my view of the world. After seeing the Helter Skelter show in 1992 at the MOCA in Los Angeles, which included Robert Williams and Raymond Pettibon, it was all over, my mind was corrupted and I had no choice but to make art.

(Warholian’s MC)  How has your process and subject matter evolved over time?  

(Artist Paul Chatem)  My process is always changing. I started out with the focus on ink drawings, learned how to paint in oils in art school and was taught faux finish techniques and carpentry in the movie business. Now I jump around mixing everything I’ve learned over the years to get the desired effect I’m looking for on that particular day.

(Warholian’s MC)  Who/what are some of your major influences?

(Warholian’s MC)  What’s next for you?  Any exciting projects or opportunities?  

(Artist Paul Chatem)  I’ve got a show coming up this summer in Germany at the Feinkunst Krueger Gallery, then in 2014 I’ll be in Italy at the Dorothy Circus Gallery. Other than that I’ll just be grinding away as always doing the best I can do with the time, money and energy I have to produce the work that I want.

Another Man’s Hero runs from April 14th – May 5th 2012 at White Walls gallery in the Tenderloin District of San Francisco.

- interview and photos by Michael Cuffe of Warholian

For more on the show, and available works visit:  http://www.shootinggallerysf.com/another-mans-hero

To find out more about Michael Page visit:  http://www.whitewallssf.com/

Michael Page is no stranger to color.  He has some of the most bold, and profound dream imagery circling contemporary art circles today.

“Vital force, evolution, and the development of organisms is what Michael Page, San Francisco-based artist, has based this latest body of work on,” states White Walls.  ”With a healthy interest in new life, spirituality, and the infinite variations of consciousness, Michael paints dreamscapes of alternative realities.”

The strength of Page’s work is in both scale and color palet.  In ‘Élan Vital’ many of the works art 5′ foot or bigger, while his contrasting tones and hues bring a warmth and depth to each piece.  His imagery and figures blend the borders of reality, and captivate the view within their surrealistic aspects.

Page creates his work by “tapping into” his own consciousness and trusting where it takes him – giving life to a body of work that travels from subject to subject – much the same was as an actual thought does.

We recently had the chance to ask Page a few questions about ’Élan Vital’ and where he’s headed with his career…

(Warholian’s MC)  Can you tell us a little about your particular aesthetic, and the subject matter you focus on in this particular body of work?

(Artist Michael Page)  I started creating this show at the same time my wife and I found out she was pregnant with our first child. Through that mind set, I began to create work reflecting the personal journal of life that we all go through. Essentially looking to create Pneuma, the life force, the spirit in us all.

(Warholian’s MC)  How did you first decide you wanted to become and artist?  Your background?  What formal or informal training have you received?

(Artist Michael Page)  The love to create art goes back as far as I can remember.  As a child it really was the one thing that I could turn to in times of confusion and conflict. It was always mine and no one could take that away from me. As I got older all the lines just started to connect. Meeting my wife and her inspiration really helped me find that artist again, the artist I was as a child. In the beginning, I had to work a full time job and paint only at nights and the weekends. At one point early on I was really into fashion and decided to go to school for it, in particular I wanted to design skateboard shoes. So I went to school part time and then somehow found myself in Florence, Italy, for six months taking art classes. While I was there I had a studio to work in twenty four hours a day seven days a week and sort of just taught myself how to paint. That experience was incredibly liberating, really making me feel like that kid again making art. During those months I decided that painting was the only thing that I wanted to do. I pretty much was obsessed with it and did not look back. The structured format of school was very unappealing, with how they would teach a student the “correct way” to paint, so I dropped out and moved to San Francisco. Overall, I cannot step away from my art; it flows in my blood creating an obsession impossible to overcome.

(Warholian’s MC)  How has your process and subject matter evolved over time?  

(Artist Michael Page)  The process has definitely evolved over the years. When I first started out, I was interested in creating little narrative stories similar to page layouts of books. Now each piece is more conclusive and tells the story in its entirety. Basically, I started to feel I was getting pinned down to one specific genre of work and I couldn’t stand it. I have seen artist that I admired when I first started out continue with what they do and to this day they do the same thing they were doing ten years ago. I respect that of them but I knew that was not me. I could not just sit back and be comfortable with doing the same thing day in and day out for the rest of my life..it was becoming like a boring 9-5 job. So I broke free from it all. Interests from other galleries and artist were lost who were not into or understanding why I was changing. I would get a lot of “you look like this or that” without them knowing that I was exploring myself and my work and at times without any conscious meaning my work would cross paths of other artists..non intentional at all it’s just the way the process is. Such as the light bulb was invented by two separate people at the same time across two separate continents. It’s the way the wave of consciousness works, for we are all painting into the aether. I never cared what anyone said and still do not. I have kept evolving and kept searching and still do search and will always search using abstract forms and shapes to create my spirit and what calls to me.

(Warholian’s MC)  Who/what are some of your major influences?

(Warholian’s MC)  What’s next for you?  Any exciting projects or opportunities?  

(Artist Michael Page)  They only thing I have planned right now is to work on the commission paintings I have been promising for sometime and to hang out with my little boy. I’m waiting for other opportunities to arise without jumping into anything too quick and waiting for the right challenge to come.

Élan Vital’ runs from April 14th – May 5th 2012 at White Walls in the Tenderloin District of San Francisco.

- interview and photos by Michael Cuffe of Warholian

For more on available works visit: http://www.whitewallssf.com/

To visit Michael Page’s official website:http://michaelpageart.com/

Meryl Pataky is an artist unlike so many we know.  She strives in concept and technical form, with a wide range of skills that encompass working in neon, copperplate, and paper making.  Her work is often introspective, and most definitely bold.

In her latest show ‘Future Sailor’ at Lebasse Projects in Chinatown (Los Angeles) she takes us on a trip through both the internal and external cosmos.  Pataky’s work is on a museum contemporary level, while utilizing materials and ideas that have yet to be explored fully in the world of art and culture.

We sat down with the Pataky to discuss her work further…

1).  Can you tell us a little about your particular aesthetic, and the subject matter you focus on in this particular body of work?

In terms of aesthetic, I normally go for an aged look.  I patina/oxidize everything metal, even my hardware.  I dislike shiny store-bought hardware in installation.  I think attention to those details is very important.  For this show, I tried to harness a very large subject matter: the universe and the nature of existence.  I’m focusing on the elements in my work and specifically chose my materials so that they would reflect the elements that are made from the universe and stars.  I pride myself in working with many of those elements including all of the noble gases in my neon work.

2).  How did you first decide you wanted to become and artist?  Your background?  What formal or informal training have you received?

I knew I wanted to make things from a young age – I was pretty handy with Erector Sets.  I had a dream I had a robot as my best friend, like in the Iron Giant, and I woke up sad realizing it was just a dream and I immediately went to my Erector Set to re-create him.  I was about 8 or so.  I have formal training in the form of a BFA.  This is where I learned the importance of choosing materials and the attention to installation detail I mentioned.  It pushed my process further and the way I think about making art. 

3). How has your process and subject matter evolved over time?

I suppose my work, it’s process and subject matter has matured as I have over time.  I have always been interested in the human condition and what makes us tick and that curiosity has turned into a thesis that I base my work around.  I’ve done more research in an attempt to answer my own questions and that search has inspired me and helped my work to evolve.

4).  Who/what are some of your major influences?

Joseph Beuys, Patrick Stoner (my man and amazing artist), Eva Hess,  Cornelia Parker, my mother and father, Stephen Hawking, Neil deGrassi Tyson, Plato and the big thinkers, Anselm Kiefer and his lead plane and probably a lot more.

5).  What’s next for you?  Any exciting projects or opportunities?

I will be selling my jewelry at the Haight Street fair for RVCA this summer and taking work to ArtMRKT in San Francisco in May with LeBasse Projects.  Other than that, I’m taking it easy the rest of the year and taking the time to build out my studio a bit more.

More on Future Sailor Via Lebasse Projects…

Warholian’s own Michael Cuffe caught up with Pataky at her home, just as she was finalizing details on her show.  We hope you enjoy this glimpse into the artist’s style and aesthetic.

- written and photographed by Michael Cuffe for Warholian

For more on ‘Future Sailor’ visit Lebasse Projects here:  http://www.lebasseprojects.com/?page_id=4812

For more on the work of Meryl Pataky visit: http://merylpataky.com/

Erin M. Riley  just premiered her latest body of work “Forgotten in a File” juxtaposed alongside artist Hilary Pecis’ “Consensus”.

Riley focuses on finding found digital photos that were shared on the internet, taken for private eyes only.  The body of work plays upon the internal voyeur, paired with exceptional looming techniques from the artist.  Riley’s use of the loom to create a visual discussion on modern day digital relationships in tapestry creates an interesting blend of new and old world interactions.

Hilary Pecis meanwhile dives right into the digital domain of the internet, utilizing search engines at times in the creation of a particular image.  This is provides the viewer with an opportunity to take a more in depth look into the use of the internet in art, and shows how artists and technology are creating a new genre for themselves.  Pecis’ work also touches on our human relationships both in and outside of electronic domains, and how much visual information we’re actually consuming.

We sat down with the artists recently, to discuss their work and process…

Warholian’s Michael Cuffe:  Can you tell us a little about your particular aesthetic, and the subject matter you focus on in this particular body of work?

Artist Hilary Pecis:  The digital collages were compiled from images I found through search engines.  For the most part the pieces were created by using a single word or phrase to find collections of images.  I then took those images and put together a piece by using different methods.  I enjoy the democratic inclusion of images from Internet users.  It gives a general consensus for the word or phrase.

Artist Erin M. Riley:  This body of work uses images that depict intimate moments that are shared one on one and then online to many. I am interested in seeing images that represent women in different states of control and vulnerability. In this show I also included self portraits and still life pieces using personal objects.

Warholian’s Michael Cuffe:  How did you first decide you wanted to become and artist?  Your background?  What formal or informal training have you received?

Artist Hilary Pecis:  I don’t remember a time that I didn’t feel like an artist. My mom used to let us watch The Secret City with Commander Mark on PBS.  He taught kids how to draw spaceships and cities with dimension.  Later on I ended up in community college taking art classes which eventually led me toward art school.  I have both my BFA and MFA from California College of the Arts in San Francisco.

Artist Erin M. Riley:  I took art classes throughout high school and applied and went to an art college at Massachusetts college of art and design in boston MA and directly into graduate school at Tyler school of art in Philadelphia, pa. I have always been interested in being an artist but college and grad school helped to make it more of a reality.

Warholian’s Michael Cuffe:   How has your process and subject matter evolved over time?

Artist Hilary Pecis:  It has  evolved significantly over the last few years.  I had been making collages from pieces of magazine pages. I like the hands on cutting and pasting but there were several problems with that method of collage making.  First off, the images available in magazines can be a bit limiting.  There are really only so many images I could count on being in any given magazine. This resulted in many artworks that looked similar or being made with the same shapes and images.  Secondly, the materials are not exactly archival.  I used a few different mediums and binders to slow the deterioration process, but inevitably the pieces will have a short life span.  Both of these issues would not necessarily be a problem, if that was what the work was about, but it wasn’t and therefore I decided to switch it up and make work that felt more contemporary,employing more archival materials.  Using a digital word search turns up both expected and surprise images for my work.  The surprises are what makes it the most fun.

Artist Erin M. Riley:  I have always been a tapestry weaver but used to combine collage or mixed media into my tapestries or as a side project. My main focus now is handwoven wool tapestry and I am working constantly to improve my technique. My subject matter has changed gradually from using family photographs to found images online and now using found images and also using images I have taken or composed.

Warholian’s Michael Cuffe:  Who/what are some of your major influences?

Artist Hilary Pecis:  Rob Pruitt is one of my favorites.   His work is easy to relate to as a viewer.  It is clever and indicative of contemporary culture and it is aesthetically pleasing.  There are a slew of new photographers that I think are amazing.  Both Michelle Abelas and Sam Falls are two photographers who I admire.  Their practices are exciting, employing fresh means to achieve the finished pieces.

Artist Erin M. Riley:  I am completely inspired by day to day life and experiences. I  am constantly looking at images on blogs, Facebook, google image and all over. Television, current events, ect. I always look to Helena Hernmarck, a tapestry weaver, as an example of what is really possible in tapestry weaving.

Warholian’s Michael Cuffe:  What’s next for you?  Any exciting projects or opportunities?

Artist Hilary Pecis:  I have a solo show coming up at Halsey McKay Gallery, located in East Hampton which opens on June 21st.  Other than that just a couple group shows for now.

Artist Erin M. Riley: I am currently figuring out what’s next. I spent the last seven months traveling and going to residencies so I need to find an apartment and a job first. Lots of art to make this summer and I hope to get to work on new tapestries in may.

- written and photographed by Michael Cuffe for Warholian

For more on the shows, visit Guerrero Gallery at:  http://guerrerogallery.com/ 

Visit Erin M. Riley at her official site here: http://erinmriley.com/

Check out Hilary Pecis at her artist site: http://www.hilarypecis.com/