SETH ALVERSON

Chair, 2012, oil on canvas, 30 x 30 in.

A. I painted it with oil paint on canvas using brushes.

A. n/a

A. I really like most of the people I know.

See this painting in Staring at the Wall: The Art of Boredom curated by Katia Zavistovski, opening Friday, November 30, 2012 at Lawndale Art Center, 4912 Main Street.

sethalverson.com

JONATHAN RYAN STORM

Untitled (Ribbon), 2012, Fabric on Canvas, 14 x 11 in.

A. Here is a fabric painting of a rugby shirt. It came from Experienced Goods, a thrift store in my old town of Brattleboro VT.

A. I saw the shirt. And I was obsessed with the three lines. As much as you can be obsessed with three lines. It wound up being a part of a series of fabric paintings based on materials collected from the area. One came from a shirt left in a free-pile by Chris Weisman. Another was from a blanket given to me by Abby Banks. They end up telling a story, I think, when they're all together. But separate, they just sit their quietly.

Untitled (Moire), 2012, Fabric on Canvas, 14 x 11 in.

A. I moved back to Houston a month and a half ago. It's really something, being closer to the equator. Texas is a loud talker. When it walks in the room you know it's there.


Jonathan Ryan Storm

MELINDA LASZCZYNSKI

Clockwise from left:
Open Range, 2012, collage on paper, 17x21in.
Between, 2012, collage on paper, film overlay, 6x8in.
Pull, 2012, collage on paper, 17x13in.
Sky Split, 2012, collage on paper, 17x21in.
Catch, 2012, collage on paper, 9x11in.
Drift, 2012, collage on paper, 8x6in.

A. This is a group of collages I’ve been working on recently for a show. They are made of cut magazines and photographs on paper. Two of them have a film overlay that obscures the image behind it when viewed from different angles. I grouped these pieces together similarly to how I work on the collages individually—I think about the space in between the images, how the forms relate to one another, and the scale of the parts to the whole. I’m interested in finding a balance between representation and abstraction, and activating the space of the paper. Some of these pieces, like Pull and Drift, are made using a single image that is cut and rearranged into a pattern. Sky Split is made of multiple source images, which results in a simultaneous depth and flatness.

Open Range, 2012, collage on paper, 17x21in. 

A. I think about travel and wanderlust a lot. I’m drawn to images of landscapes and architectural spaces and collect old photographs and National Geographics. I cut thes! into bits and pieces that hang around my studio untilthey make their way into a collage. When I first started working this way, the pieces were arranged in clusters on the paper. Now, they are spreading out across the surface, and I’m more considerate of edges and negative space. Lately I have been introducing different films and light into the work to play with distorting the image, and working directly on the wall.

A. I came to Houston from Cleveland, Ohio for an MFA at the University of Houston. One of my professors in undergrad recommended the program to me. A lot of people are surprised that I moved here for art, but the art scene in Houston is great. There are a ton of museums and galleries, and the Rothko Chapel is within walking distance from my apartment. I also hate the cold, and am excited to experience a winter with minimal snow.

Melinda Laszczynski is a first year graduate student in the Painting department at University of Houston. More here: melindalaszczynski.com