Instagram Story Save

This Saturday at @mcbride_dillman ⚡️⚡️⚡️
Sarah Alice Moran + Hannah Beerman @hannahbeerman @city_sarah
Alice invites guests to bring your animal familiars 🐕🦮🐩🐕‍🦺🦴

On “Artists At Work” Substack read about her recently opened exhibition, “Splat Daisies” at McBride Dillman

JEFF: Animals figure prominently in your work and also in your life. With your new show opening soon at McBride Dillman your recent work envisions pastoral scenes of human an animals co-existing without hierarchy in nature and architectural shrines devoted to our animal familiars. What has Pepper taught you about art and life?

SAM: Pepper, who died last October, taught me a lot about not rushing and appreciating the moment that I’m in. She also gave me her affection with complete abandon, unhindered by insecurities. These are both lessons that, of course, apply to life, but they apply to painting as well. I try to be aware and focused on each part of the painting process, responding to what is in front of me at the moment. I also try to be fearless and joyful, to let go in the painting process the way Pepper could let go with her excitement about life (and balls!).
- Artists At Work Substack

#linkinbio #artistsatwork #sarahalicemoran #splatdaisies #womenpainters

This Saturday at @mcbride_dillman ⚡️⚡️⚡️
Sarah Alice Moran + Hannah Beerman @hannahbeerman @city_sarah
Alice invites guests to bring your animal familiars 🐕🦮🐩🐕‍🦺🦴

On “Artists At Work” Substack read about her recently opened exhibition, “Splat Daisies” at McBride Dillman

JEFF: Animals figure prominently in your work and also in your life. With your new show opening soon at McBride Dillman your recent work envisions pastoral scenes of human an animals co-existing without hierarchy in nature and architectural shrines devoted to our animal familiars. What has Pepper taught you about art and life?

SAM: Pepper, who died last October, taught me a lot about not rushing and appreciating the moment that I’m in. She also gave me her affection with complete abandon, unhindered by insecurities. These are both lessons that, of course, apply to life, but they apply to painting as well. I try to be aware and focused on each part of the painting process, responding to what is in front of me at the moment. I also try to be fearless and joyful, to let go in the painting process the way Pepper could let go with her excitement about life (and balls!).
- Artists At Work Substack

#linkinbio #artistsatwork #sarahalicemoran #splatdaisies #womenpainters

This Saturday at @mcbride_dillman ⚡️⚡️⚡️
Sarah Alice Moran + Hannah Beerman @hannahbeerman @city_sarah
Alice invites guests to bring your animal familiars 🐕🦮🐩🐕‍🦺🦴

On “Artists At Work” Substack read about her recently opened exhibition, “Splat Daisies” at McBride Dillman

JEFF: Animals figure prominently in your work and also in your life. With your new show opening soon at McBride Dillman your recent work envisions pastoral scenes of human an animals co-existing without hierarchy in nature and architectural shrines devoted to our animal familiars. What has Pepper taught you about art and life?

SAM: Pepper, who died last October, taught me a lot about not rushing and appreciating the moment that I’m in. She also gave me her affection with complete abandon, unhindered by insecurities. These are both lessons that, of course, apply to life, but they apply to painting as well. I try to be aware and focused on each part of the painting process, responding to what is in front of me at the moment. I also try to be fearless and joyful, to let go in the painting process the way Pepper could let go with her excitement about life (and balls!).
- Artists At Work Substack

#linkinbio #artistsatwork #sarahalicemoran #splatdaisies #womenpainters

This Saturday at @mcbride_dillman ⚡️⚡️⚡️
Sarah Alice Moran + Hannah Beerman @hannahbeerman @city_sarah
Alice invites guests to bring your animal familiars 🐕🦮🐩🐕‍🦺🦴

On “Artists At Work” Substack read about her recently opened exhibition, “Splat Daisies” at McBride Dillman

JEFF: Animals figure prominently in your work and also in your life. With your new show opening soon at McBride Dillman your recent work envisions pastoral scenes of human an animals co-existing without hierarchy in nature and architectural shrines devoted to our animal familiars. What has Pepper taught you about art and life?

SAM: Pepper, who died last October, taught me a lot about not rushing and appreciating the moment that I’m in. She also gave me her affection with complete abandon, unhindered by insecurities. These are both lessons that, of course, apply to life, but they apply to painting as well. I try to be aware and focused on each part of the painting process, responding to what is in front of me at the moment. I also try to be fearless and joyful, to let go in the painting process the way Pepper could let go with her excitement about life (and balls!).
- Artists At Work Substack

#linkinbio #artistsatwork #sarahalicemoran #splatdaisies #womenpainters

New Substack Post on artist @city_sarah with a new show opening April 10 @mcbride_dillman

“Meditations on female deities, animal companions and their significance throughout history, Moran creates a sanctuary for love, loss and magic to co-exist. Roman columns, rainbows and florescence offer a shrine to our familiars and guides across time, Moran’s paintings becoming a container for the mysteries of the universe.” — more on Substack #linkinbio

SAM: My primary medium is thinned out acrylic paint on un-primed canvas, sometimes I add oil stick. I also make sculptures in ceramic, plaster or paper mache. 
I developed my technique of thinned out acrylic paint on canvas for its speed and versatility. Because acrylic paint dries so quickly I’m able to make fast decisions and the paint can keep up with my thought process. I’m also able to apply the paint in different ways, sometimes with brushes, other times I use squirt bottles to draw with the paint or pour it directly onto the canvas and push it around with other tools. — Sarah Alice Moran

#nycartists #womenartists #painters #sarahalicemoran

New Substack Post on artist @city_sarah with a new show opening April 10 @mcbride_dillman

“Meditations on female deities, animal companions and their significance throughout history, Moran creates a sanctuary for love, loss and magic to co-exist. Roman columns, rainbows and florescence offer a shrine to our familiars and guides across time, Moran’s paintings becoming a container for the mysteries of the universe.” — more on Substack #linkinbio

SAM: My primary medium is thinned out acrylic paint on un-primed canvas, sometimes I add oil stick. I also make sculptures in ceramic, plaster or paper mache. 
I developed my technique of thinned out acrylic paint on canvas for its speed and versatility. Because acrylic paint dries so quickly I’m able to make fast decisions and the paint can keep up with my thought process. I’m also able to apply the paint in different ways, sometimes with brushes, other times I use squirt bottles to draw with the paint or pour it directly onto the canvas and push it around with other tools. — Sarah Alice Moran

#nycartists #womenartists #painters #sarahalicemoran

New Substack Post on artist @city_sarah with a new show opening April 10 @mcbride_dillman

“Meditations on female deities, animal companions and their significance throughout history, Moran creates a sanctuary for love, loss and magic to co-exist. Roman columns, rainbows and florescence offer a shrine to our familiars and guides across time, Moran’s paintings becoming a container for the mysteries of the universe.” — more on Substack #linkinbio

SAM: My primary medium is thinned out acrylic paint on un-primed canvas, sometimes I add oil stick. I also make sculptures in ceramic, plaster or paper mache. 
I developed my technique of thinned out acrylic paint on canvas for its speed and versatility. Because acrylic paint dries so quickly I’m able to make fast decisions and the paint can keep up with my thought process. I’m also able to apply the paint in different ways, sometimes with brushes, other times I use squirt bottles to draw with the paint or pour it directly onto the canvas and push it around with other tools. — Sarah Alice Moran

#nycartists #womenartists #painters #sarahalicemoran

New Substack Post on artist @city_sarah with a new show opening April 10 @mcbride_dillman

“Meditations on female deities, animal companions and their significance throughout history, Moran creates a sanctuary for love, loss and magic to co-exist. Roman columns, rainbows and florescence offer a shrine to our familiars and guides across time, Moran’s paintings becoming a container for the mysteries of the universe.” — more on Substack #linkinbio

SAM: My primary medium is thinned out acrylic paint on un-primed canvas, sometimes I add oil stick. I also make sculptures in ceramic, plaster or paper mache. 
I developed my technique of thinned out acrylic paint on canvas for its speed and versatility. Because acrylic paint dries so quickly I’m able to make fast decisions and the paint can keep up with my thought process. I’m also able to apply the paint in different ways, sometimes with brushes, other times I use squirt bottles to draw with the paint or pour it directly onto the canvas and push it around with other tools. — Sarah Alice Moran

#nycartists #womenartists #painters #sarahalicemoran

New Substack Post up on Artist @city_sarah @mcbride_dillman

“An Offering: Allegory, Architecture & Animal Familiars in Sarah Alice Moran’s New Exhibition Opening At McBride Dillman April 10th, 2026” …

“Sarah Alice Moran’s Arcadian visions, gestural compositions made with washes of acrylic punctuated with oil stick paint, offer a portal between memory and prayer, body and spirit, animal and human worlds. “ — more on Substack #linkinbio #sarahalicemoran #animalfamiliars #greekarchitecture #allegory

New Substack Post up on Artist @city_sarah @mcbride_dillman

“An Offering: Allegory, Architecture & Animal Familiars in Sarah Alice Moran’s New Exhibition Opening At McBride Dillman April 10th, 2026” …

“Sarah Alice Moran’s Arcadian visions, gestural compositions made with washes of acrylic punctuated with oil stick paint, offer a portal between memory and prayer, body and spirit, animal and human worlds. “ — more on Substack #linkinbio #sarahalicemoran #animalfamiliars #greekarchitecture #allegory

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Substack on @karinasharif #linkinbio @lyle.gallery @gallery_495

“Sharif has forged a distinct artistic practice from a lifelong engagement with sewing, pattern-making and fabrication honed in the fashion world early in her career. Disillusioned by an industry she felt did not value materiality or creative processes she turned away from the exhaustive consumption loop of the garment industry towards a generative practice embracing humble materials and centering knowledge, research and the power of rest as a right and privilege. ” - Artists At Work Substack

#karinasharif #artistsatwork #substack #artists

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14

Exhibition images by Pierre LeHors
Artist Portraits @willysomma

“Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “
—- Substack: https://willysomma.substack.com/p/artists-at-work?utm_medium=social

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14

Exhibition images by Pierre LeHors
Artist Portraits @willysomma

“Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “
—- Substack: https://willysomma.substack.com/p/artists-at-work?utm_medium=social

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14

Exhibition images by Pierre LeHors
Artist Portraits @willysomma

“Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “
—- Substack: https://willysomma.substack.com/p/artists-at-work?utm_medium=social

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14

Exhibition images by Pierre LeHors
Artist Portraits @willysomma

“Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “
—- Substack: https://willysomma.substack.com/p/artists-at-work?utm_medium=social

Don’t miss a walk through This Saturday March 14th at Noon by artist @alina_tenser at @septembergallery for her exhibition “Circuit Meander” curated by @olgadekalo works up through April 14

Exhibition images by Pierre LeHors
Artist Portraits @willysomma

“Moving between sculpture, video, and performance, Ukrainian-born artist ALINA TENSER’S practice foregrounds object hood and its relationship to the body. In her ongoing series entitled Sleeves, the body is absent but implied. “
—- Substack: https://willysomma.substack.com/p/artists-at-work?utm_medium=social

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️
Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork

AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️
Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork

AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️
Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork

AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️
Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork

AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Substack Post with Mexico City Artist Aurora Pellizzi @aurora.pellizzi this week ⚡️⚡️⚡️
Excerpt from our conversation below & more on Substack #linkinbio #substack #artistsatwork

AP: I’m interested in how textile materials and techniques evolve sometimes simultaneously and independently across the globe and in other cases how they quickly spread to other parts and are absorbed and embedded as ‘traditional’ in other cultures. In my research and experience, textile practices form a web of interconnectedness between people and cultures that can blur geographical and patriarchal divisions and terms.

Interview with Mexico City based Artist AURORA PELLIZZI up on ARTISTS AT WORK Substack #linkinbio to subscribe #artistsatwork
@aurora.pellizzi

Excerpt from interview below:
JEFF: The name of your exhibition at Instituto de Vision has many meanings — can you explain “petates” and “tapetes”? One is a ceremonial object, one more for domestic use ? Do you think about these contrasts when making the work?

AP: “Petates” are Pre-Hispanic palm woven mats still in wide use today. They were traditionally used as moveable bed mats, as surfaces for offerings at altars, and for burying the dead within.

“Tapetes” is the generic Spanish term for carpets. I find myself often collapsing divisions between the ritual and the quotidian because I find ceremony in the mundane and the ordinary in the sacred.

For me ritual practice blurs those divisions and elevates humble materials into contemplative and sacred objects. Labor becomes ritual and process becomes sacred and it all stems from daily materials and practices.

New Substack post up on Artist Aurora Pellizzi
@aurora.pellizzi

An Archeology of Pattern
Whatever strategy she employs—felted, woven, embroidered, assembled or sewn—artist Aurora Pellizzi mines the histories of indigenous, Renaissance and modern craft techniques creating her own distinct symbology, a self-described “archeology of pattern”. Apropos that a daughter of anthropologists raised in Mexico, New York and Italy should excavate these disparate histories—archaeological, cultural and geographical—to create expansive works that confront scale, materialize myth and ultimately, challenge the hierarchies of artistic production within the discourse of contemporary art.

New Substack post up on Artist Aurora Pellizzi
@aurora.pellizzi

An Archeology of Pattern
Whatever strategy she employs—felted, woven, embroidered, assembled or sewn—artist Aurora Pellizzi mines the histories of indigenous, Renaissance and modern craft techniques creating her own distinct symbology, a self-described “archeology of pattern”. Apropos that a daughter of anthropologists raised in Mexico, New York and Italy should excavate these disparate histories—archaeological, cultural and geographical—to create expansive works that confront scale, materialize myth and ultimately, challenge the hierarchies of artistic production within the discourse of contemporary art.

New Substack post up on Artist Aurora Pellizzi
@aurora.pellizzi

An Archeology of Pattern
Whatever strategy she employs—felted, woven, embroidered, assembled or sewn—artist Aurora Pellizzi mines the histories of indigenous, Renaissance and modern craft techniques creating her own distinct symbology, a self-described “archeology of pattern”. Apropos that a daughter of anthropologists raised in Mexico, New York and Italy should excavate these disparate histories—archaeological, cultural and geographical—to create expansive works that confront scale, materialize myth and ultimately, challenge the hierarchies of artistic production within the discourse of contemporary art.

New Substack post up on Artist Aurora Pellizzi
@aurora.pellizzi

An Archeology of Pattern
Whatever strategy she employs—felted, woven, embroidered, assembled or sewn—artist Aurora Pellizzi mines the histories of indigenous, Renaissance and modern craft techniques creating her own distinct symbology, a self-described “archeology of pattern”. Apropos that a daughter of anthropologists raised in Mexico, New York and Italy should excavate these disparate histories—archaeological, cultural and geographical—to create expansive works that confront scale, materialize myth and ultimately, challenge the hierarchies of artistic production within the discourse of contemporary art.

“Undisclosed Recipients” is the alias for the creative partnership of Victoria Bartlett and Zachary Joslow, an artistic collaboration that, if you know you know. @undisclosedrecipientsnyc

We visited with Victoria and Zac in their studio at the Chocolate Factory building in Bed-Stuy and chatted with them about materials & form. The artistic duo has commandeered the building’s rooftop gym as their workshop. They sand, paint and reconfigure wires amongst the barbells and treadmills with a view of Manhattan.

More in Substack post #linkinbio #tosubscribe #artistsatwork #artistsatworksubstack

“Undisclosed Recipients” is the alias for the creative partnership of Victoria Bartlett and Zachary Joslow, an artistic collaboration that, if you know you know. @undisclosedrecipientsnyc

We visited with Victoria and Zac in their studio at the Chocolate Factory building in Bed-Stuy and chatted with them about materials & form. The artistic duo has commandeered the building’s rooftop gym as their workshop. They sand, paint and reconfigure wires amongst the barbells and treadmills with a view of Manhattan.

More in Substack post #linkinbio #tosubscribe #artistsatwork #artistsatworksubstack

New Substack Post Up
Rescue Me: Art Designed to Save Us
Victoria Bartlett & Zachary Joslow aka UNDISCLOSED RECIPIENTS
@undisclosedrecipientsnyc

A slender curvilinear bench, a lamp made from a rock and a sieve, a stool hanger, a thoracic chair and a life jacket chaise.

Technically skilled, tenaciously formed by steam, hand saw and chisel from reclaimed wood, fabric, metal and sometimes granite, these sculptures masquerading as furniture do too hang from above and light the room, sit on the ground and cradle your softest flesh.

More in Artists At Work Substack #linkinbio
https://willysomma.substack.com/

New Substack Post Up
Rescue Me: Art Designed to Save Us
Victoria Bartlett & Zachary Joslow aka UNDISCLOSED RECIPIENTS
@undisclosedrecipientsnyc

A slender curvilinear bench, a lamp made from a rock and a sieve, a stool hanger, a thoracic chair and a life jacket chaise.

Technically skilled, tenaciously formed by steam, hand saw and chisel from reclaimed wood, fabric, metal and sometimes granite, these sculptures masquerading as furniture do too hang from above and light the room, sit on the ground and cradle your softest flesh.

More in Artists At Work Substack #linkinbio
https://willysomma.substack.com/

New Substack Post Up
Rescue Me: Art Designed to Save Us
Victoria Bartlett & Zachary Joslow aka UNDISCLOSED RECIPIENTS
@undisclosedrecipientsnyc

A slender curvilinear bench, a lamp made from a rock and a sieve, a stool hanger, a thoracic chair and a life jacket chaise.

Technically skilled, tenaciously formed by steam, hand saw and chisel from reclaimed wood, fabric, metal and sometimes granite, these sculptures masquerading as furniture do too hang from above and light the room, sit on the ground and cradle your softest flesh.

More in Artists At Work Substack #linkinbio
https://willysomma.substack.com/

New Substack Post Up
Rescue Me: Art Designed to Save Us
Victoria Bartlett & Zachary Joslow aka UNDISCLOSED RECIPIENTS
@undisclosedrecipientsnyc

A slender curvilinear bench, a lamp made from a rock and a sieve, a stool hanger, a thoracic chair and a life jacket chaise.

Technically skilled, tenaciously formed by steam, hand saw and chisel from reclaimed wood, fabric, metal and sometimes granite, these sculptures masquerading as furniture do too hang from above and light the room, sit on the ground and cradle your softest flesh.

More in Artists At Work Substack #linkinbio
https://willysomma.substack.com/

Aurora Pellizzi “Tapetates” @institutodevision NYC Show up for this week - last week to 👀 these stunning textile works in person ⚡️⚡️⚡️⚡️

Aurora Pellizzi “Tapetates” @institutodevision NYC Show up for this week - last week to 👀 these stunning textile works in person ⚡️⚡️⚡️⚡️

Aurora Pellizzi “Tapetates” @institutodevision NYC Show up for this week - last week to 👀 these stunning textile works in person ⚡️⚡️⚡️⚡️

Aurora Pellizzi “Tapetates” @institutodevision NYC Show up for this week - last week to 👀 these stunning textile works in person ⚡️⚡️⚡️⚡️

New Post Up on Substack with @sarah_bedford_
Link in bio to subscribe - we chatted with Sarah about disappearing species, being a DJ at Berghain and windowless rooms, excerpt from interview below …

JEFF: How long have you had a studio practice?
SB: Between weird jobs, raising children and various galleries opening and closing, I’ve been able to keep my painting practice going for three decades in semi windowless, leaking “development sites” from Manhattan to Brooklyn. I’ve been lucky enough to have about eight studios since the 1990’s. The first had spectacular windows facing south but was in a dirty, ratty building above a dollar store and very popular mosque for cab and livery drivers down on Warren Street. Aside from climbing out the top of the freight elevator through the ceiling trap door when it was stuck in between floors, there were other challenges, like getting in before 11 a.m. because women weren’t allowed into the stairwell during mosque prayers and I was the only woman in the building. Several hundred men overflowed into the unlit stairwells daily. Years later, around 2014, I had been working my day job (doing flowers for a real estate developer client) and I witnessed my same studio transform into a palatial four bedroom, modernist loft. The contrast was shocking and it felt weird installing Christmas decorations…

New Post Up on Substack with @sarah_bedford_
Link in bio to subscribe - we chatted with Sarah about disappearing species, being a DJ at Berghain and windowless rooms, excerpt from interview below …

JEFF: How long have you had a studio practice?
SB: Between weird jobs, raising children and various galleries opening and closing, I’ve been able to keep my painting practice going for three decades in semi windowless, leaking “development sites” from Manhattan to Brooklyn. I’ve been lucky enough to have about eight studios since the 1990’s. The first had spectacular windows facing south but was in a dirty, ratty building above a dollar store and very popular mosque for cab and livery drivers down on Warren Street. Aside from climbing out the top of the freight elevator through the ceiling trap door when it was stuck in between floors, there were other challenges, like getting in before 11 a.m. because women weren’t allowed into the stairwell during mosque prayers and I was the only woman in the building. Several hundred men overflowed into the unlit stairwells daily. Years later, around 2014, I had been working my day job (doing flowers for a real estate developer client) and I witnessed my same studio transform into a palatial four bedroom, modernist loft. The contrast was shocking and it felt weird installing Christmas decorations…

New Post Up on Substack with @sarah_bedford_
Link in bio to subscribe - we chatted with Sarah about disappearing species, being a DJ at Berghain and windowless rooms, excerpt from interview below …

JEFF: How long have you had a studio practice?
SB: Between weird jobs, raising children and various galleries opening and closing, I’ve been able to keep my painting practice going for three decades in semi windowless, leaking “development sites” from Manhattan to Brooklyn. I’ve been lucky enough to have about eight studios since the 1990’s. The first had spectacular windows facing south but was in a dirty, ratty building above a dollar store and very popular mosque for cab and livery drivers down on Warren Street. Aside from climbing out the top of the freight elevator through the ceiling trap door when it was stuck in between floors, there were other challenges, like getting in before 11 a.m. because women weren’t allowed into the stairwell during mosque prayers and I was the only woman in the building. Several hundred men overflowed into the unlit stairwells daily. Years later, around 2014, I had been working my day job (doing flowers for a real estate developer client) and I witnessed my same studio transform into a palatial four bedroom, modernist loft. The contrast was shocking and it felt weird installing Christmas decorations…