• Since the fall of 2010, Culturehall has shared the work of four artists every season through our New Artists Features. Each quarterly issue brings together artists working in a wide variety of disciplines selected from our open call for applications. For the first issue of the New Year I am honored to present a selection of artists who touch upon location, time and memory through painting, photography, sculpture and public interventions. Please join me in welcoming Culturehall's newest members: Erin Hunt, Patricia Voulgaris, Suzanne Torres and Devin Balara.

    Based on the Newfoundland Island of Fogo, Erin Hunt creates intimate artworks that bring together moments and details. Appearing as abstraction, her paintings are rooted in the objects and images of her surroundings. E. Gray, like many of Erin's works, functions in the space of collage while existing in paint. Arriving at the idea for a painting is an iterative process that many times flows between media. The kernel of E. Gray is a watercolor painting created by the artist's daughter in her studio, which spawned a quick drawing by Erin on paper. Only sometime later, after being observed next to another artwork by happenstance, did the idea for the painting become fully revealed.

    In her recent series Fragments, Patricia Voulgaris presents inky darkness ceding to shining forms. Often these elemental parts crystalize — presenting iconic moments between the body and an indefinite, almost tumbling environments. Each scene stems from reconstructing and dismantling personal memories for the camera. Graphic negative spaces that spark flickerings of the past are brought to life with the traditional materials of a model, paper, and lights. Through their common materiality, depictions of the paper act as an agent for the physicality of the print. Blurring the boundaries of subject and medium as the two intertwine.

    Suzanne Torres' sculptural work Gray Frame exists for the space and time it defines. Hundreds of individual forms are brought together to traverse a long span between two timber pillars of what was once an old lumber factory. Rhomboidal geometry joins floor to wall to ceiling as one. Unlike the surroundings Gray Frame engages, by nature of its construction in fragile unfired ceramic sheets, the work is imminently transitory in nature. Literally built of air-dried clay, the architecturally scaled form ultimately is recycled to create something new. The conversation between the object and its home negotiates each entity's existence by comparing a lifetime composed of days with that of years.

    The series Greening is part of an ongoing body of work by Devin Balara that considers the relationship of nature and domestication in Southern suburban spaces. Taking place over the course of a week, each image documents the installation of $1,000 worth of common household rugs in publicly accessible spaces around Greensboro, North Carolina. The carpet patchworks overtook roadway medians, blacktop parking lots, outdoor stairs and other territory around town. Once completed, the merchandise was returned, with no questions asked, to the nearby chain stores from where it was purchased. While a gesture towards nature, the green patches are ultimately a rescission, collapsing mediated landscapes into domestic interiors through the ever-growing legacy of manufacturing and commerce.

    David Andrew Frey is a New York-based artist, curator, and technologist. He founded Culturehall to connect artists with curators and their peers. Recently David launched ArtMgt, a platform for providing artists with opportunities to create income through the enjoyment of their work. David earned an MFA in Studio Art from the University of Illinois at Chicago. He has also studied at the Camberwell College of Art in London, the Hochschule der Künste in Berlin, The University of New Mexico in Albuquerque, and the Savannah College of Art and Design. He has curated exhibitions in New York of work by Culturehall artists for Ligne Roset, Cindy Rucker Gallery and the Big Screen Plaza.

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