Archive for the ‘studio views’ Category

Studio Views: Janice Jakielski

Monday, April 10th, 2017

Mixed media artist Janice Jakielski makes objects that are sometimes wearable, often interwoven with nature, and always fascinating in their exploration of ideas and materials.

Here, she shares the interplay between her work spaces and her exploratory creative process.

Janice Jakielski, AUSPICIUM (2013), silk, window screen, mixed, 10x8x8 in

Ten different studio spaces over eight years spanning two countries and seven states – this was my reality until three years ago, when a job transfer to Massachusetts brought my peripatetic lifestyle to an end. My husband and I fell in love with a mid-century modern fixer upper in Sutton, MA. A concrete and glass cube, nestled in a forest with plenty of square footage for studio space.

Janice Jakielski's studio space

I am a homebody by nature and love having a combined living and studio space. There are just enough delightful distractions to break up the day, from wrestling with the dogs, peeking into the beehives to searching for the elusive spring orchids out in the woods.

As a mixed media artist, my work spaces are divided by process. I cycle through these spaces as I cycle through my work.

Janice Jakielski's "laboratory" space

Everything starts in the ceramic laboratory where my Ceramic Engineer husband and I create and invent new materials. Here we keep our ceramic processing equipment: tape caster, roller mill, vacuum pump, kilns, etc. By mixing my own ceramic materials I have complete control over my process, and I love having the ability to step into the lab to replenish my stock or mix a new color of porcelain paper.

Detail image of Janice Jakielski's studio space

Janice Jakielski, SLOTTED TEA CUP (detail)


My “clean” studio is upstairs. Here is where I do my assembling, cutting, sewing, etc., the bulk of my time is spent in this space. Then back down to the lab for firing and finally to our small but adequate woodshop for shelf, armature or crate building.

When starting a new body of work my spaces are organized, clean: a blank slate. As I actualize my pieces I leave a trail of chaos, evidence of frenzied making. I love letting the chaos build until every surface is covered and I can’t stand it any longer. Cleaning the studio after finishing an install feels like part of the ritual of making. It gives me time to reflect upon the finished pieces, mentally deconstruct my steps and begin a process of self-critique. This reflection sets the stage for my next round of making.

Detail image of Janice Jakielski's "laboratory" space

Detail image of Janice Jakielski's tape casted porcelain work

I have recently returned to my love of ceramic chemistry and have begun collaborating with my husband to re-invent industrial ceramic materials for application in the artist studio. My latest exploration of deconstructed and quilled porcelain vessels are created using strips of extremely thin, tape casted porcelain. Tape casting is a casting process used to make ceramic sheets traditionally used in the micro-electronics industry, solid oxide fuel cells and piezoelectric devices. I am in love with the challenge of adapting these industrial processes and am blown away by the potential that these new materials bring to my studio.

Detail image of Janice Jakielski's tape casted porcelain work

Janice Jakielski, QUILLED BEE FRAME


In-progress tape-casted porcelain vase by Janice Jakielski

Janice Jakielski, JARDINER (2016), porcelain, 15x9x9 in


Janice Jakielski‘s work will be featured in the soon-to-be-released book Cast: Art and Objects Made Using Humanity’s Most Transformational Process. She has solo exhibition upcoming at the Foster Gallery in Dedham (Fall of 2017) and Gallery 5 at Emmanuel College (Winter 2018).

Images: all images courtesy of the artist.

Studio Views: Matt Brackett

Wednesday, October 5th, 2016

Matt Brackett at his studio in Hyde Park

Among the ideas Matt Brackett explores in his paintings is “the seductive suggestion of the unknown couched in familiarity.” In a previous post on ArtSake, the artist explained the power of this tension: “Suggesting wonder or menace within the confines of a naturalistically-delivered image, I try to generate a potential narrative like a machine stores potential energy.”

Matt Brackett at work

Matt Brackett, TREASURED VESSEL (2016), oil  on linen on panel, 18x24 in

Recently, he created a new body of work, titled All the Gifts. Work from this series is on exhibit at Alpha Gallery in Boston this month, opening October 7, 2016.

Painting materials in Matt Brackett's studio

The Hyde Park studio of Matt Brackett

Where his prior body of work explored mysterious narratives in the natural world, his current work features human figures. The artist explains: “The paintings have emerged from a period following an encounter with serious illness, and explore fatherhood, gratitude and hope. I believe I’ve been able to approach images in ways that haven’t been accessible to me in the past.”

Matt Brackett and his daughter, in front of the painting MOONSTONE (2015), oil on linen on aluminum panel, 46x34.5 in

One of the paintings from the Alpha Gallery exhibition, Moonstone (seen in the photo above), was one of 35 works out of over 2,400 applicants to receive a Certificate of Excellence in the Portrait Society of America’s International Portrait Competition last spring.

Matt Brackett, ATLAS (2016), oil on aluminum panel, 40x48 in

Matt Brackett, ALL THE GIFTS (2016), oil on aluminum panel, 40x30 in

Matt Brackett‘s solo show at Alpha Gallery exhibits Oct 7-Nov 2, opening reception Friday, October 7, 2016, 6-8 PM.

Images: all images courtesy of the artist and Alpha Gallery, including (third image from top) Matt Brackett, TREASURED VESSEL (2016), oil on linen on panel, 18×24 in; (sixth from top) MOONSTONE (2015), oil on linen on aluminum panel, 46×34.5 in; (seventh from top) ATLAS (2016), oil on aluminum panel, 40×48 in; (eighth from top) ALL THE GIFTS (2016), oil on aluminum panel, 40×30 in.

Studio Views: Isa Leshko

Monday, January 12th, 2015

Isa Leshko has created a series of beautifully executed documentary photographs called “Elderly Animals” in which she confronts issues of aging and mortality. The inspiration for the project was her own mother’s diagnosis with Alzheimer’s disease.

Still 1 from Elderly Animals: Photographs by Isa Leshko

Elderly Animals Project
I am traveling to sanctuaries across the country to photograph geriatric animals. I began this series shortly after I had spent a year helping my sister care for our mom who had Alzheimer’s disease. The experience had a profound impact on me and forced me to confront my own mortality.

Handsome One, Thoroughbred Horse, Age 33
Handsome One, Thoroughbred Horse, Age 33

Many of the animals who were photographed for this project were reared on factory farms before they were rescued and placed into sanctuaries. Others were beloved pets who were well cared for since an early age. Some of the animals in these images appear to be quite frail; others seem youthful despite their advanced ages.
Rooster, Age Unknown
Rooster, Age Unknown

In order to achieve a sense of intimacy in these portraits, I spend several hours with the animals I photograph and I try to visit them multiple times. Depending on the animal, I may spend an hour or so simply lying on the ground next to the creature before I take a single image. This approach helps the animal acclimate to my presence and it allows me to observe the animal without being focused on picture taking.
Blue, Australian Kelpie, Age 19, I
Blue, Australian Kelpie, Age 19, I

I am creating these photographs in order to take an unflinching look at aging. Both my maternal grandmother and mom died from complications relating to dementia. I am scared of developing Alzheimer’s disease and I get nervous whenever I lose my keys or forget a person’s name. Photographing geriatric animals enables me to immerse myself in my fear of growing old. I have come to realize that these images are self-portraits. Or at the very least, they are manifestations of my fears and hopes about what I will be like when I am old.
Ash, Domestic White Turkey, Age 8 II
Ash, Domestic White Turkey, Age 8, II

I also want my images to inspire greater empathy toward animals, particularly farm animals. It is very rare for a farm animal to actually live its full natural lifespan given that most of these animals experience brutality and death early in their lives. By depicting the beauty and dignity of these creatures in their later years, I want to encourage people to question and challenge the way farm animals are currently treated.
Teresa, Yorkshire Pig, Age 13
Teresa, Yorkshire Pig, Age 13

Houston Center for Photography Fellowship Exhibit Installation. Photo courtesy of Laura Corley Burlton.

Isa Leshko with her dealer Richard Levy at the Miami Project Art Fair in 2013. Image courtesy of the Richard Levy Gallery.

Isa Leshko signing prints with Paul Sneyd (master printer and owner of Panopticon Imaging) at Panopticon Imaging. Photo courtesy of Panopticon Imaging.

For more on Isa’s work, see this short film courtesy of Walley Films.

Image credit: Unless otherwise stated, images are Copyright Isa Leshko. All Rights Reserved.

Studio Views: Judith Klausner

Friday, August 22nd, 2014

Judith Klausner work revels in the minutia of the world. She has recently taken a great artistic and personal risk with her new series Coming Out of the Medicine Cabinet.  Here she graciously offers us a peek into her studio.

Lorazepam (view 1); 2.75″×1.5″×1.5″; prescription pill bottle, Swarovski crystals;

I have not naturally been an organized person with my space, but over the last year I’ve really been trying to turn that around. After nearly 3 years of my “studio” mostly consisting of taking over the dining room table, I finally did an overhaul of the space intended to be my studio since I moved into this apartment 3 years ago. It’s a small but beautiful nook full of natural light; I’m very lucky to have two skylights and a big window overlooking the neighborhood.

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The windows help particularly on days when I’m working nonstop and never make it out of the house; I don’t feel like I’ve missed it quite as much when I can see the sky and feel the breeze.

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I took a page from my partner’s book (and borrowed his label-maker), and sorted all of my supplies into labeled plastic bins (visitors are often amused by the sometimes bizarre labels my odd materials have produced). A customizable Ikea shelving unit provided the perfect storage framework while not taking up too much of my limited footprint, and I was even able to include a little display case. The case has been especially helpful with the new series I’ve been working on, Coming Out of the Medicine Cabinet.

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The work tackles issues of taboo around medication use and chronic medical conditions, using the visual vocabulary of jewelry to transform medical ephemera from objects often hidden away and viewed with shame into glittering showpieces meant to be seen. Because of the materials I’m using (Swarovski crystals and gold leaf, among others) having the lighted case helps me view the pieces in an appropriate context.

Red Albuterol Inhaler (view 1); 2.5″×1.25″×1.75″; albuterol inhaler, Swarovski crystals; 2013

Because I tend to work with many media within a series (with my previous series From Scratch, it included all different types of food, while current materials include crystals, resin, clay, and leafing), my worktable does get a bit incoherent looking. One thing all of my work processes seem to have in common is obsessive detail (and neck pain). Right now my windowsill is lined with prescription pill bottles, I have what looks like a tiny clothesline across the back of the table with resin-dipped pills on pins hanging from it, and periodically bits of the floor sparkle with renegade rhinestones.

bottles on desk

While my workspace can look like a bit of a glitzfest, this series is actually the most personal work I’ve done. Because I’m publicly displaying my own health conditions (including chronic pain and psychiatric conditions), I’m making myself vulnerable with my art in a way I never have before. It’s both terrifying and exhilarating in a way I feel speaks to the root of what it means to me to be an artist.

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Image credits: Images of studio courtesy of Judith Klausner. Photograph of Red Albuterol Inhaler (view 1); 2.5″×1.25″×1.75″; albuterol inhaler, Swarovski crystals; 2013, by Steve Pomeroy. Photograph of Lorazepam (view 1); 2.75″×1.5″×1.5″; prescription pill bottle, Swarovski crystals; 2014, by Steve Pomeroy.

Studio Views: Elizabeth Alexander

Wednesday, September 4th, 2013

Elizabeth Alexander (Sculpture/Installation Fellow ’11) creates installations, dazzling in complexity and beauty, that draw from lineages in fine art, craft, design, and conceptual art.

Here, she offers views into her studio as she prepares work for the group show Pedigree at the New Art Center in Newton, MA (9/16-10/14).

My studio is located in the newly renovated Western Ave Lofts in Lowell, MA, where I have lived and worked since June 2012. We have two studios adjacent to our living space, my sculpture studio and my fiancé’s sound studio, which are kept separate by a large glass door. It is a massive advantage to have my studio at home because my work is so time consuming; I am able to work long hours without worrying about things like taking the dog out. It is also nice because I can do menial tasks that would typically keep me home all day, like laundry or baking bread, while I put in a 12+ hour day.

The studio is an L-shaped space that runs around a sound proofed cube that we built for Todd (my fiancé) to play and record. When we have the opportunity to collaborate (sound and image) it helps that he has access to my work so he can do field recordings and have a dialogue with me about where the work is going. The odd shape of my space enables me to divide my workstations so I can work on several things and keep them separated; I can block out and rearrange large works on the walls and floor, test new ideas before I take them to a public space, and still have room for day-to-day production.

I work in mixed media installation, photography, drawing, collage, and self-contained sculptural objects, so my studio is always shifting roles. Sometimes the woodshop takes over and I have frames or architectural details and armatures everywhere, other times I have paper pinned all over the walls and covering every surface. All of my work is an accumulation of many parts so my space gets quite chaotic when I am in the midst of a large project. After installing a show I generally have to take a few days to get things back in order before I can get started on the next thing.

Though I manage many media, I am most often working with cut paper, both with found paper items like books and wallpaper, and art paper, which is generally used for drawings and laser cut installation pieces. Everything I do is a process of disassembling and reassembling an object, image, or material. I often have to wear magnifying glasses and a brace on my wrist so I can work comfortably while I burn through hundreds of x-acto blades. This immense amount of labor that I endure plays a transformative roll on the materials I work with. When I come to the end of my process, no matter what material or narrative I begin with, everything looks like it is dissolving or decaying and growing at the same time; it is like the whole life cycle is condensed into a moment. Somehow this same result has a unique effect on each space, object, image, or material I work with.

For the installation in Pedigree I have taken the parts from Keeping Up Appearances, an installation made entirely out of the positives and negatives of wallpaper and have reconfigured them into a site-specific work that is an entirely new constructed space both aesthetically and psychologically. Every time I get a new space to work in I spend a lot of time drawing, collaging photos, and customizing the parts into a new arrangement, each time elaborating on what is already available from previous works. Sometimes the space calls for a more minimal and isolating feel and other times I need to make it more intimate and detailed; each time the work evolves, but within the same narrative, so I have yet to change the title. Nearly everything gets gutted and rebuilt. I like to see how the installation shifts so much from space to space, partly because of the choices I make, and partly because of the characteristics of every location, it is amazing how the same materials can feel so different. The space I have been given at the New Art Center is one half of the stage, which will give the work a higher vantage point, and allow the material to spill over the edge of the stage. This will be the first time the viewer cannot walk through the work, making it seem more like a set or show room. However, it is hard to know exactly how the work will feel before it is installed, as it is still in hundreds of pieces in my studio.

Pedigree, curated by Elizabeth Devlin of FLUX.Boston, is at the Main Gallery at New Art Center in Newton, MA (9/16-10/14, reception 9/20, 6-8:30 PM).

Images: all images courtesy of the artist, Elizabeth Alexander.

Studio Views: Hannah Verlin

Thursday, August 29th, 2013

With a searching mind, a love of cursive handwriting, and the frenzied energy of repetition, Hannah Verlin‘s (Sculpture/Installation Fellow ’11) latest work depicts the mythic sagas of American history from vital records of pre-Revolutionary Boston to shipping manifests of 19th century New Bedford whaling fleet. In her upcoming show at Boston Sculptors Gallery, Hannah’s work gives us another interpretation of American history.

Hannah Verlin in her studio. Photo Credit: Alex Fok.

In December 2012, I moved into a new studio at the Brickbottom Artists Building; a small space, called a “Writer’s Room.” The name suits. Handwritten text features prominently in my art as both repetitive texture and content. Some writing is original, but most is transcribed from historic records, letters, collected data, songs etc.

View of Hannah Verlin’s studio.

I have spent the months since then preparing for my exhibition Fates & Furies: America (Boston Sculptors Gallery, 9/4-10/6), exploring the mythic sagas of American history. Handwritten text is almost the sole feature of the exhibition.

“When She Saw What She Had Done” (detail). Ink on paper, wooden cover (2013). Text: “Lizzie Borden” Traditional rope-skipping rhyme, circ. 1892.

Although, the writing is nearly illegible, I feel that it imbues the art with the significance of the source material and the compulsive energy of the writing process. As I transcribe a text (perhaps a traditional song or a historic list of names) the material goes in and out of focus, sometimes becoming meaningless sounds and sometimes filled with an excruciatingly clear meaning.

Researching texts to be used in my artwork as a Scholar in Residence at the New Bedford Whaling Museum (February 2013).

At times the process becomes an endurance test—as my hands begin to cramp and my mind becomes blurry. My handwriting absorbs all these experiences so that the very act of writing transforms words into a kind of prayer and remembrance.

Working on an artist book, Fates, during the lockdown of the Boston area in April.

Unable to focus on anything else, I pulled out this piece. Before that day, it had been about fate as a general idea. With my work as unchanging as the news on the radio, time seemed to stand still. As I worked the skulls became piles of death, sorrow, and time. I saw the skulls as individuals and not just a mass.

Hannah Verlin’s “Fates” (detail). Ink on paper, wooden cover (2013). Photo Credit: Andy Pickering Photography.

Detail of paper boat for “Let Loose Upon the Seas.”

“Let Loose Upon the Seas” (detail). Ink on paper, antique bottles, string (2013). Text: Names ships built in Medford, MA during the 19th Century. Photo Credit: Andy Pickering Photography.

Book covers.

“Afflicted, Pined, Consumed, Wasted & Tormented.” Ink on paper, wooden cover (2013). Text: Court documents of the Salem Witch Trials, 1692-1693.

“Steel Driving Man: Transcontinental Railroad” (detail). Ink on paper (2013) Text: “Ballad of John Henry,” American Traditional, circ. 19th century. Photo Credit: Andy Pickering Photography.

Hannah Verlin
Fates & Furies: America
Boston Sculptors Gallery
September 4 – October 6, 2013
First Friday Receptions: September 6, 5 – 8pm and October 4, 5 – 8pm
Gallery Hours: Wednesday – Sunday, 12-6pm (or by appointment)

Studio Views: Kayla Mohammadi

Monday, August 12th, 2013

With influences ranging from Helsinki to Maine, the award-winning artist Kayla Mohammadi‘s abstract paintings will be exhibited in a solo show at the Caldbeck Gallery in Rockland, Maine, from August 14 – September 14, 2013. The alluring forms and patterns in her paintings reflect the varied influences in her mind. Originally from Northern California, as well as having lived in Seattle and Chicago, Kayla currently resides in Boston, MA and South Bristol, Maine. We caught up with Kayla to find out a little bit more about her work.

For the last two years, I have had a studio at Fenway Studios. It’s a beautiful space in the city to be able to work, and just a few blocks from Fenway Park.

Kayla in her Fenway Studio with her dog.

My paintings start with an idea and is painted using acrylic paint. I work in acrylic until I feel that I have the composition and structure I desire, and then I use oil paints.

Last summer I traveled to Finland, inspired there by Helsinki’s design district and museums. I came home to my studio and the Maine landscape and sought, in my new paintings, to describe a space defined by color and overlap of shapes.

The images below show a painting before and after. I had initially thought the piece was completed, but then I added an overlap of a shape that for me makes the painting visually interesting.

 Argentina, 3’x 4′, acrylic and oil on canvas, 2013

Additional images of recent paintings that will be in my upcoming show at Caldbeck Gallery in Rockland, Maine. These images show my interest in color. However, I have also enjoyed other painting techniques, which include thick versus thin paint and soft versus hard edges.

Kayla Mohammadi
Caldbeck Gallery
Rockland, Maine
August 14 – September 14, 2013

Image credit: All images courtesy of Kayla Mohammadi.


Studio Views: Susan J. Champeny

Wednesday, July 17th, 2013

Artist Susan J. Champeny is busy preparing her ReinCARnation Hubcap Lily Pads public art installation for the Art in the Park in Elm Park, Worcester MA, July 25-October 13.

We asked Susan to participate in a “Studio Views” post – recognizing that the “studio” for a work of public art can be decidedly exterior. Here, she shares a journal of the making of the original version of this project (re-published with permission from the artist’s web site).

ReinCARnation had a maiden voyage as part of the Art on the Beltline exhibit in Atlanta GA last fall. It used 63 recycled hubcaps, the maximum that fit in my car for the 1200-mile drive. Half of the hubcaps did not survive the journey, but for a good reason! I gave them to generous folks willing to give Gas Grants to cover the cost of transporting the sculpture to/from Atlanta.

Aug 25: Setting out from Worcester MA. In my Honda fit: Sue, Chris, 63 hubcaps, floatation, canoe, first aid kit, anchors, waders, guitar.

Aug 29: The crew assembled at 8 AM in the Publix Supermarket parking lot. Elan and Jenny, both Beltline employees, cleared the 6 foot high brush with machetes.

I laid out tarps and zip-tied the hubcap lily pads together. Then I climbed in my canoe to receive the artwork.

Jenny, Yvonne, and Chantelle (Light Parade artist) dragged the tarps full of hubcaps down the 10 foot embankment into the water.

I towed the lily pads into place and tied off the anchors. Getting the weights (laundry bottles full of 40 lbs of sand) out of the canoe without tipping over was a challenge! The entire thing, including brush clearing, took 4.5 hours to complete.

Aug 31: while photographing the lily pads, I zoomed in on an annoying leaf – only to discover it was a FROG! The Hubcap Lily Pads are now successfully occupied by wildlife.

Now I am re-building the sculpture for Elm Park — bigger and better. I am feverishly working to prepare the sculpture to go into the water for the Thursday July 25th installation: washing over 100 recycled hubcaps, painting them bright orange and hot pink, and adding pool noodles underneath for flotation. This new edition will sport 20 hubcaps from the original installation and another 60-80 foraged from the streets of Worcester last winter.

ReinCARnation Hubcap Lily Pads will be on exhibit July 25-October 13, 2013 at Elm Park as part of Art in the Park Worcester. You can watch the installation Thursday July 25 9AM-12PM. Opening is Saturday July 27, 5-8 PM. There will be an Artist Talk Thursday, August 1, 2013, 5:30-6:30 PM.

Susan Champeny ( graduated from the Massachusetts College of Art in Fine Arts, with a major in Printmaking. She quickly found employment as a graphic designer, and worked in the field of commercial art for 20 years. While working in the corporate world, she continued to paint and create fine art. In 2006, she changed careers and is now a Fine Artist, painting full-time. Her business plan is based on three principles: have fun, create, and travel.

Images: all images courtesy of Susan J. Champeny, photos by D. Christine Benders.

Studio Views: Stephen Golding

Friday, February 1st, 2013

Photographer Stephen Golding (MCC Photography Fellow 1993 and Finalist 1997) has seamlessly incorporated three dimensional imaging into his longstanding photomontage process in order to create an alluring body of work. He has an upcoming exhibition in June 2013 at The Gallery at Flannels, Leeds, UK.

Here, he offers a peak into his studio (and process) through the years.

I’ve never set artificial boundaries in the pursuit of creating a picture. I don’t believe in the purity of one process, or material, over another. Over the years I’ve made a concerted effort to push my own technological-comfort-zone in an effort to increase my range of expression. Art has been a way for me to look at certain human behaviors and ask one question, why?

Years ago my studio required a large space to accommodate a wet darkroom, a “digital darkroom”, and miscellaneous other facilities. Here’s my digital imaging area in the mid nineties.

Here’s how it appears today. Though my studio is now smaller, it’s large enough to accommodate my needs.

Using a large format printer has greatly reduced my need for space, but of course there’s never enough! While many aspects of my studio look the same as it did almost twenty years ago, overall there have been many intrinsic changes to my process.

For example, it’s been many years since I’ve used film in any capacity. In fact, in recent years, photography even in digital form has played only a supporting role in my process. Rather I’ve constructed a process that breaks down the essential components of photography, objects interacting with light, into a digital milieu. At the same time I’ve endeavored to maintain the sensibility and aesthetic found in traditional photography. This is achieved primarily by working with applications that allow for digitally created figures to react “naturally” in an artificial environment.

A: The Environment. With the right software a figure moved into a digital environment is essentially like posing person in front of a camera.

B: The Figure

C: Figure in the Environment This is akin to working in a studio environment where the photographer can control the lighting and subject, but without any of the analog constraints.

D: The Result The environment, lighting, and even subjects, are literally unlimited.

This woman is from the project I’m currently working on. While photographic in nature, this image owes little to traditional photography. I think it would be fair to say that photography is in its “DNA”, but largely “she” is a creation. I feel the way I’m working stretches photography’s defined boundaries, while at the same time remains true to its spiritual roots.

From the series: Temptations in Paradise 2012

Image credit: All images courtesy Stephen Golding.

Studio Views: Sophia Ainslie

Friday, January 25th, 2013

Sophia Ainslie has a solo show, “in person,” at Kingston Gallery in Boston (Jan. 30-Feb. 24, 2013). Here, she lets us peek into her studio (and gallery) process as she creates her vibrant paint and ink artworks.

My studio is 3 miles from my home. It’s in an active factory building with lots of other artists. It’s spacious, has no windows, but lots of wall space. I chose it for that reason and also because I don’t like to be reminded of time passing. This way, I have no clue of what time of day it is, and no distractions. I get totally absorbed in my work. Once I’m in the studio, I stay there until it’s time to leave, never popping out for lunch or coffee.

In 2012, I had opportunities to work directly on various gallery walls, which allowed me to explore my work on a much larger scale, and interact with architecture. The gallery became my studio. For most of these projects, I had assistants working with me. I came up with the concept and they would help with the production. It’s been a really interesting experience inviting other hands in.

Currently I am working toward my solo show at the Kingston Gallery, which opens on the 29th of January (reception 2/1 from 5-7.30pm). Combined with works on paper, I’ll be installing a 36′ x 10′ drawing directly on the gallery wall with a team of assistants. The audience is invited to view the process of installation as well as the product. The gallery will have extended hours from 1/29 – 2/1, 10-6pm each day.

Sophia Ainslie’s “in person” is at Main Gallery of Kingston Gallery, January 30 – February 24, 2013, OPENING RECEPTION Friday, February 1, 5:00-7:30 PM. In the Center Gallery, concurrent with Sophia’s show, is “All of It,” featuring work by Stacey Alickman and Lynda Schlosberg.

Images: all images courtesy of Sophia Ainslie.