Perspective Live Artist Discussion
Emily Carrig studied at the New York Academy of Art where she received her M.F.A. in Painting in 2018. She also holds a B.F.A. in Art History and a B.F.A. in English from College of Charleston.
Emily's body of work combines figures and portraits with a painterly sensibility suggestive of landscape painting. Her recent work portrays idealized, passive female subjects, exploring the feeling of being the object of the gaze. Inspired by static representations of women from art history, Emily’s work deals with the depiction, perception, and value of female bodies as well as themes of dissociation and self-worth. She is interested in interpreting bold color and the potential of dissolved shapes into lyrical scenes.
Her work finds a kinship in Expressionist painters such as Edvard Munch and Ellen Thesleff, as well as painters such as Gwen John, Mary Cassatt, Berthe Morisot, and Joan Mitchell.
Emily's paintings are in private collections in New York City, Mexico, and Charleston, South Carolina.
My work combines figures, portraits, and landscapes painted from observation. I am interested in interpreting color and the potential of dissolved shapes into lyrical scenes. Often choosing women as subjects, I project my experience onto the canvas. More than photographic representation, I would like my paintings to appear like apparitions.
Liza Sokolovskaya is a Brooklyn based painter and printmaker. She was born on a hot summer day in Tashkent only to end up in cold and snowy Montreal almost a decade later. Nowadays you can find her in her shared studio in Sunset Park, making a mess while her studio mate isn’t looking.
She received her BFA from Concordia University and her MFA from the New York Academy of Art.
She works with oil, watercolor, pastels, acrylic and has taken up weaving in order to satisfy her curiosity and love for materials. Her interest in understanding these materials guide her art making which is full of trial and error.
My practice revolves around questions of the self. In my mind the world and people around me have defined roles, forms, qualities. I, on the other hand, feel amorphous and undefined. Nothing seems to be set in stone with me, not my moods, not my desires, not my feelings, not even my face and body. They change by the minute. I feel like the shaky line of an old school animation, like the blurry shape behind a matte window.
Making art allows me to freeze a moment in time, focus on it. Suddenly I gain definition, and my edges become sharp. This is one mood, that is one feeling, there is one need.
The limitations of painting make me anxious. How can an all encompassing creature be translated in one medium. Within me lives a multitude of other beings, bacteria, viruses, mites, thoughts of my mother, moods of my father, little Liza and old Liza. They make me but neither are the current me. They all need a different medium to live outside this body, be seen outside this body.
I weave my flesh, embroider my skin, paint my moods, draw my faces. All that to extract the facets that are inside and have them visible. Speaking in their mother tongue of string, beads, pastels and acrylic skins.