Hours Of Operation:
|Tuesday||10am - 5pm|
|Wednesday||10am - 7pm|
|Thursday||10am - 7pm|
|Friday||10am - 5pm|
|Saturday||12pm - 5pm|
|Sunday||12pm - 5pm|
Jennifer Bailey is the Center Director for the SNAP Innovative Senior Center of Eastern Queens where she creates and implements varied arts programming for senior citizens. As a teaching artist, Jennifer has implemented art and therapeutic activities programming within several supportive housing facilities for formerly homeless adults, many of whom had special needs, mental illness and substance abuse issues. Much of her art making is inspired by the idea of kindness, and using art in service of others, wherein she often leaves small, handmade pieces of art around her neighborhood for someone to find and keep, should they need it. Jennifer holds a BFA in Fine Arts and Toy Design from F.I.T.
Soul Quilt Quad is a playfully messy and colorful mixture of torn paper, oil pastels and acrylics on cardboard, woven together with gold wire. A child's point of view of where we fit within this universe. It is an exploration in primitive symbols and the interconnection between the infinitesimally small and vast, from microscopic organisms to spiral galaxies.
Today we live is a fragmented world of small spaces. Whether it is the office, our cars, our homes or apartments, we rarely experience wide-open spaces. Even our mental spaces are crowded. In my work, I make space for people. I try to create the feeling of expansiveness. My intention is to make space emotionally inviting, giving people a feeling of inner sanctuary.
For me, color is my primary method of achieving an emotional response in the viewer. In these paintings the color field is the ground on which I create the space. I use images of streams of light, as well as the luminosity achieved through the tension that results from multiple tones of color, to create an illuminated color field.
The objects that appear in the space add the element of asymmetry to create the feeling of time and movement as opposed to the stillness associated with perfect symmetry. The harmonious, balanced, and yet dynamic space gently moves the viewer towards the ideal of serenity.
Anthony Buczko has been making art for over 35 years. Buczko studied painting at the Pennsylvania Academy of the Fine Arts, received his BFA in the philosophy of aesthetics from The University of the Arts (formerly the Philadelphia College of Art) and earned his M.F.A. at the University of Pennsylvania. Buczko has shared his insights with art students as a visiting critic at Brooklyn College.
Anthony Buczko has shown his paintings in numerous shows including the Manif International in South Korea and the Parrish Art Museum in Southampton, Long Island. He works at the Guggenheim Museum and lives with his wife in Queens, New York.
My work as an artist draws upon my broad background in documentary photography, filmmaking, printmaking, and theater set design. It is also enriched by my training and experience as an interior and environmental designer, and as an art historian.
After earning a B.F.A. in painting from the University of Buffalo, I was awarded a Woodrow Wilson Fellowship that enabled me to undertake a Master’s degree in art history at Columbia University. I was drawn to the art of small tribal cultures , particularly in Africa, that thrived without a written language. These richly diverse, regional societies were perfect laboratories for gaining insight into how ideas can be transmitted through a purely visual language. These studies not only deepened my understanding of symbolic form, but strengthened my passion for teaching.
When I resumed studio work, I undertook a series of lithography workshops at the Pratt Graphics Art Center and the Bob Blackburn Studios in Manhattan, and began to explore, through printmaking, ways of combining graphics with transparent layers of color and form.
My work has its source in wilderness. It travels through forests of the Northeast, I observe natural phenomena, which generates ideas for the development of paintings. Encountering and observing wilderness provides a starting point for a process of abstraction. The process eliminates extraneous detail and concentrates on the essence of what interests me about the subject. Light sources within forest spaces also influence this process.
Born and raised in Queens. His artwork has been exhibited nationally and internationally in museums and galleries such as Artists Space, The Drawing Center, Sotheby’s, Islip Art Museum, and the Nassau County Museum and published in books entitled On the Wall, Tattooed Walls and Stone Canoe. He is the recipient of a Fulbright a NYFA fellowship and the Marie Walsh Sharpe Art Foundation. Other accomplishments include fellowships and residencies to the Skowhegan School; Fundacion Valparaiso, Spain; the Millay Colony; the Constance Saltonstall Foundation; Ucross Foundation and this past August at the Blue Mountain Center. Some of his public commissions include the Carnegie Mellon Museum; The Royal Stock Exchange, London; and the NYC Mayor’s Office. Farinacci is an Assistant Professor at Hofstra University and an Art Specialist at the Shaw School.
Born in New York City, Juan received his BFA from Parsons School of Design in 2002. His work has appeared in multiple group exhibitions throughout New York City.
This recent photographic body of work is an extension of my primary painting practice, which over the years, has been concerned with urban and ecological upheaval as a result of social unrest. Taken with a camera phone, the images act as a topographic survey of my daily travels. The images are of incidental, painterly marks or found naturally formed compositions I encounter. The photographs mark a place in time, which may cease to exist due to rapid urban development.
Additionally, there is a series of small paintings I’ve completed that use the street photography as an image source. I paint directly from the photograph; the resulting painting accounts for the textures and colors as filtered through the digital camera.
My color photographs result from an ongoing process of exploration, discovery and selection within complex urban environments. I focus on street level details to which people typically pay little attention. This holds true whether I am photographing in the streets of Manhattan, western Queens and Brooklyn, or those of a great foreign city like London, Istanbul or Berlin.
I make use of found, often striking color; close observation of patterns, textures and visual rhythms; and the unexpected juxtaposition of ordinary objects. By trying to capture something of the beauty, meaning and mystery of a city’s streets, I hope to create personal work that is unexpected, even challenging.
Leonora holds a Master’s Degree in Architecture from Syracuse University’s program in Florence, Italy. As a printmaker Leonora’s work reflect images from fortune telling observed in greek coffee cups. Her monoprints embody the imagery reflecting the precisely defined forms. She presently lives and works in New York City and has exhibited her work throughout the United States.
The painting “Water Flowing” reveals water reflections “bridging the gap” between surrounding elements of nature: tree branches, sky, and clouds which create abstract patterns upon water’s surface. Water “bridges the gap between” the four dimensions: above, below, within, and upon its surface as observed by MC Escher. By emphasizing the beauty and drama of natural forms, and interpreting environments unfolding at a moment in time, I seek to incorporate awareness of nature into everyday environments to alarm us to water’s importance to our environment.
Soller's expressionist acrylic paintings, focuses on an intimate view of nature emphasizing abstract qualities of color, shape, and patterns of light in a style that combines expressionism, realism and abstraction. I paint spontaneously to become one with nature as the composition unfolds much as Kandinsky describes in Point and Line to Plane. Numerous influences inform my work from Monet’s expressionist work to Homer, Porter, O’Keefe, David Park and Alex Katz.
My artwork is about mysterious, chalkboard, poetry stories. I erase, inscribe, trace, incise, collage and transfer the resultant markings and images into mixed media surfaces to create a sense of place.
JooYeon Judy Yang
My works evoke a variety of emotional states based on a full gamut of sources ranging from beauty and joy to the grotesque. They are evidence of my merging of visual traditions wrought from my Eastern lineage and Western experience. They are weighty and twisted with interwoven foliage and I have distorted the natural into absurdity, ugliness, or caricature. Formally the size plays an important role as it represents a huge compression of time. Through using different mediums with different technical challenges, each acts as a link in the big and endless puzzle. Overall, they are united with ominous emotions and a subdued fascination with form under a narrative that expresses own mistreatment of life.
As an interdisciplinary artist, I perform in many of my photo and video works. My process involves superimposing my drawings over the photographs and videos. I am interested in exploring the relationships between individuals and their environments.
I grew up in South Korea and moved to the US as a teenager. I lived in many different cities in the east coast and the south. I have lived in large fast paced urban cities as well as in quiet small towns where cows roamed around. My work is the result of the observations that I made in these different social and physical settings while I was building a new identity by adapting and conforming to these new place.