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Poogy Bjerklie, The Hudson Review by Karen Wilkin

May 19, 2016 - Karen Wilkin

Poogy Bjerklie’s debut exhibition at Sears-Peyton Gallery, Chelsea, titled “Inland,” reminded us of what happens when observation is internalized and used freely.  Bjerklie’s mysterious, intimate landscapes appear to be about places she knows well-probably in her native Maine-filtered through memory. 

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Bittersweet at Sears-Peyton Gallery

May 4, 2016 - Art Out

"Bittersweet" featured in Musee Magazine.

Time and Place: Kathryn Lynch's interview with Artsy

March 1, 2016 - Amy Rahn

Over her more than 25 years painting and exhibiting her work in New York and elsewhere, Kathryn Lynch has established herself as a painter whose works harness the lush materiality of paint to gesture towards subjects seemingly beyond the frame—relationships, change, the passing of time. On the occasion of Kathryn Lynch’s two-part exhibition, A View of One’s Own at Sears-Peyton Gallery, I sat down with the painter to talk about her life, paintings, and the curiously dictatorial tendencies of her shapes.

Contemporary Watercolor Artists You Should Follow

February 18, 2016 - Angie Kordic

Widewalls Magazine names Top 10 Contemporary Watercolor Artists to Follow including Lourdes Sanchez

Deborah Dancy: Between Abstraction and Representation - ARTPULSE

December 16, 2015 - Jeff Edwards

Although her art is thoroughly abstract, Deborah Dancy’s paintings, drawings, and works in other mediums are intimately bound to the world of concrete objects and the ephemeral perceptions and feelings of everyday life. On her website (deborahdancy.com), she comments on her fascination with “the poetic terrain of the incomplete, the fragment, the ruin and residue of ‘almost was,’ and ‘might become’” that she’s encountered in the zone between abstraction and representation. In the following interview, Dancy talks about how this notion has influenced her artmaking; the wide and ever-expanding array of thoughts, impressions, and situations that have shaped her artistic practice over time; the interaction of different mediums in her creative process; and ways in which the commonplace and the near-at-hand have often had a profound influence on her most abstract work.

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Jigsaw Puzzle With an Integrating Thread - The East Hampton Star

December 16, 2015 - Mark Segal

“I’m very uninterested in subject matter,” Eugene Brodsky told a recent visitor to his East Hampton studio, although he has also said that “the sources for my work start from images I come across.” In his artworks, things are what they seem, and yet there’s more than meets the eye.

Elizabeth Gilbert collaborates with artist Lourdes Sanchez on hand-painted copies of Big Magic -- exclusive

November 9, 2015 - Isabella Biedenharn

If you still haven’t picked up your copy of Elizabeth Gilbert’s No. 1 New York Times best-seller Big Magic (or if your copy has gotten so dog-eared and loved that you need another), you’re in luck: Riverhead, Gilbert’s publisher, is teaming up with New York artist Lourdes Sanchez to create 250 one-of-a-kind, limited edition copies, EW can announce exclusively.

Burnaway.org Review, In Poetic Works, Maysey Craddock Transports Gulf Coast to New York

October 1, 2015 - Jean Dykstra

Art Review: In Poetic Works, Maysey Craddock Transports Gulf Coast to New York

Maysey Craddock took the title of her show, “Langsam Sea,” from a poem by Anne Michaels, which reads, in part: “In time, night after night, we’ll begin to dream of a langsam sea, waves in slow motion, thickening to sand.” A German term, often used in musical notation to direct the musicians to play slowly, “langsam” also describes the gradual but inexorable pace of change along the Gulf coastline.

With Silk as Her Canvas, Lourdes Sanchez Finds the Rhythm of Paint

June 5, 2015 - K. Sundberg

In “entonces” at Sears-Peyton Gallery in Chelsea, Cuban-born and Brooklyn-based Lourdes Sanchez presents a vibrant grouping of formal explorations that hover between abstraction and representation. Working in ink on silk, the artist accesses a playful space between control and acquiescence, understanding her materials to the extent where she creates limits and then sets them free, allowing natural seepage and absorption to determine the form they take.

Kathryn Lynch, An Artist at the Mercy of Her Subjects - The East Hampton Star

June 1, 2015 - Mark Segal

It’s a good thing Kathryn Lynch is a committed walker, since she doesn’t like to drive, and the subway stop nearest her Red Hook studio is more than a mile away. But there is a more important reason for her perambulations. “I make sure that every day I have to walk everywhere,” she said recently at her studio, a relatively small but high-ceilinged space in an industrial building. “As I’m walking, it tells me what I’m painting next. I never look for it. But once it grabs you, you have to paint it. For me, the motion of walking leads to ideas.”

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