every artist is compelled to make art. • the insecurities, pain and marginalization they are often subject to is not deterrent enough compared with the euphoria that comes with completing a work or resolving an artistic challenge. • the emotional eruption that comes through an artist is often part of the pleasure and pain. • they are reaching into the world, sometimes friendly, sometimes fiercely, a prism of all that has come through them refracting out for our contemplation. • they’re storytellers, priests even. renegades. their movements are symphonic. intuitive.
the moment in time the artwork happens—before the storm, after or in the middle—is immaterial. it’s the storm itself that’s exciting. and their art is engaging and enables us to enjoy the ethereal, the horrifying and the sublime.
there’s a little bit of frankenstein in all of us. we have to make things, parent them, punish them and then send them off into the world, sometimes abandoning them to its harshness. artists take it to a whole new level. for some it’s an emotional endeavor. for others, it’s cerebral. their names may not be in lights yet, but they’re sweating it out every day nevertheless. to celebrate their efforts, we present the 2014 pulse list of 9 in art.
*inclusion in the pulse list of 9 in art is contingent upon various factors including level of nomination, consistency of exhibition, sales and a minimum part-time residency on long island.
Christie Devereaux
The way Devereaux makes them new is by pursuing the light and the movement of the sea instead. And she renders it with her swirling, churning, burling technique that has the same energy as the waves and the wind.
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Edward Batcheller
In Edward Batcheller’s works, the nuance and the metaphor render a composition as much as the glass, light and chemicals do. It’s all about turning things upside down.
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Fulvio Massi
There are different layers of temporalities. And time is an equalizer… that’s the fascinating part of doing this.
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Ginger Balizer-Hendler
The art she creates is a world where “swimmers, crawlers and flyers all live together and it’s a dream.” That’s why she calls them dreamscapes.
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Michael Cardacino
The flatness of Michael Cardacino’s art hints at photography and his commercial art background, but the pieces are actually far more bombastic.
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Phetus
Graffiti’s out in the street. And it’s free. It’s illegal, it’s risky and it’s everything you’re not supposed to be doing. But if you got your paint paid for you and you have allocated time to be on the premises, it’s not graffiti
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Rosalind Brenner
“I’m just painting—something comes over me. Hard to say, because it’s not conceptual. I’m not trying to paint concepts or ideas for the most part. I’m exploring, playing, experimenting. That’s what I do.”
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Sarah Jaffe Turnbull
Until now, Sarah Jaffe Turnbull’s sculptures have been largely figurative, but this new direction is significant because it is literally constructive. And in this case they resonate because geometrics are the rendering of our need for order even though the shapes are disparate and assembled almost teeteringly.
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Schery Markee Sullivan
Schery Markee Sullivan’s scenes, whether a mother and child, a worry doll, cityscape or cave-like pictograph “instincts,” transcend all cloudiness and illuminate the human spirit, advocating for spiritual porousness.
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