- Following the recent announcement and new collaboration with Profiles, Bicycle Fine Art is pleased to introduce contemporary artworks to Profiles’ NYDC showroom. Profiles has served the design community for over 35 years, and for the first time, fine art is being offered. This partnership showcases the curatorial talents of Bicycle Fine Art, who features stellar and emerging artists and whose work complements the furniture lines by the trade’s most preeminent designers. More information and guest registration can be found at http://www.nydc.com/wnwn. This free event will be taking place today, September 14th, at 200LEX, and open from 1:00 to 9:00PM.
We are honored for the opportunity to curate and present this dialogue between Eric Lee’s ‘Verehrung’ and Robert Marinelli’s refined and sophisticated furniture line. Robert Marinelli’s timeless vision creates an intimate and warm space which invites one to experience Eric Lee’s prolific narrative across five panels. The common theme of subdivision and similar color palettes are reflected in both Robert Marinelli’s furniture and Eric Lee’s painting, creating a comprehensive aesthetic that marries the design elements of the space.
Oil, ignited gunpowder, ash, paper on five hardboard panels
Display Dimensions: 48 x 114 in.
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I came across this pic of my 2014 painting from an exhibition & thought I’d share.
Here’s a nice blog writeup about my recent small works. Have a look:
I’ll post video updates on the development of the third and final painting of this series. Have a look:
Here is my painting Winter on display now at this salon show in Manhattan.
A detail of a miniature from last winter. The structure at left is a combination of three different facades, and designs of my own making, but based largely on an abandoned (now demolished) high school in Detroit. At right are embedded and ignited match heads and are based on pilings. They have become shorthand for violence and appear in many of my paintings.
I often pair the painted structure with an ‘actual’ structure. This creates for me an immediacy throughout the creative process, and shifts my attention to now, responding to a real thing as opposed to a remote, imagined or remembered thing. This proximity makes the work far more urgent and direct, and removes much of what had been heretofore hazy or nostalgic. It has sharpened my focus and clarified my intent. Perhaps more importantly, this act has reoriented my perspective so that I no longer think of painting as painting, but as building, so that the painted structure is now a thing unto itself, competing for its own existence alongside the burned, wooden structure. This conceptual shift in perspective has played out on the panel in literal ways as well, as the facade sits face-forward as though in a portrait while the ‘pilings’ at right are in my mind viewed from above.