Creative Assistant and Brand Advocate Sydney Shoff chooses Fred Danziger for April.

The First of Autumn, Oil on canvas, 40 x 62‚Äč

True artists provoke us to see the world in a new way. I like to call this “artist eyes” – it’s the difference between looking at something and truly seeing something.

A sneakily masterful painter, Fred Danziger, has broadened my own view of nature through his paintings.

His precision, color sense, and composition elicit the viewer to look closer at his paintings – drawing you into the specificity of an enchanted natural moment.

Fred once mentioned,  “In 25 feet, I see 100 possible paintings,” while he took a walk on a nature trail. 

True artists provoke us to show up differently. The real magic happens when you step away from the art and find yourself in nature or when you pause, observing a rock or water and wonder if you can see the same amount of detail that Fred captures (but in real life). We take it in. The memory of the art urges us not just to look, but to observe deeper, allowing us to be more present in beautiful surroundings and allowing us to see with “artist's eyes” too.

The Feel of Water, Oil on canvas, 10 x 14

‚ÄčNovember Leaves and Mosses, Guache, 24 x 36

 

Learn more about Fred Danziger here.

 

 


 

 

Gallery Director Paul Cicozi chooses Carrie Seid.

Carrie's art is captivating. Ambient light, and the viewer's movement around this work, creates a seductive and evolving glow. 

The contrast between saturated interior color and synthetic structural elements is stunning, and unexpected. 

The craftmanship of the work is pristine - with an understructure of cut and formed aluminum that supports a translucent and reflective layer. Depth, light and form are elegantly at play. 

Carrie accurately compares her work to "a watercolor rendered in three dimensions". 

-Paul Cicozi

Learn more about Carrie Seid here.

 


 

James makes his pick!

Winter Hemlocks by Paul Chojnowski
Burned, Scorched and Sanded Baltic Birch Plywood
24 x 36 x 1 1/2
$3400

 
Winter Hemlocks by Paul Chojnowski is my winter selection! Although formally trained, Paul rebelled against a typical process with his use of nontraditional tools – specifically a variety of blowtorches to “draw” on paper.
 

His process captivates me because, even with an incredible amount of skill, there is a sense of volatility and risk of burning the piece to ashes. Chojnowski is not afraid.

We were familiar with Paul’s cityscapes. Then for the first time, he passionately created a landscape. Rather than burning paper, he used birch panel. The wood background adds to the natural essence – even the wood grain appears as snowdrifts in the piece. Paul uses a jewelry torch to create small details in the leaves and add dimension to trunks of trees.

Some people do not connect with winter scenes, but that is not the case for me. I am drawn in by the depth of the landscape and I feel a sense of escape.

- James Frederick

Learn more about Paul Chojnowski here.