Tag: landscapes


PHOTOS: Coffee, Chocolate & Art at WNWN 2016


On Thursday, September 22nd transFORM and their Media Sponsor, Aspire NY Metro, participated in the New York Design Center’s 8th Annual “What’s New, What’s Next” event at 200 Lexington Ave.

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The celebration included over 80 participating showrooms featuring product introductions, informative lectures, book signings and soirees. The building wide event drew in over 7,000 people, giving them the opportunity to view new ideas, designs, materials and products. This year also marked the New York Design Centers 90th Anniversary. From Thom Filicia and Jamie Drake to Wendy Goodman and Amy Astley, the building was filled with the industry’s top designers and editors – there was even a special visit from Hillary and Donald!

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With so many exciting activities, guests were fiending for an energy boost. transFORM happily welcomed visitors into their showroom for a refreshing afternoon of chocolate, coffee and art.

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Sarah Endline and her company Sweet Riot, makes all natural healthy chocolate treats and snacks in a socially responsible way. Among the assortment was Sweet Riot’s Kickin’ Coconut  & Crunchy Quirky Quinoa dark chocolate bars as well as lightly roasted Cacao nibs. transFORM supplied Grounds For Change coffee, a Washington State coffee roaster specializing in 100% Fair Trade. This delicious and sustainable combination allowed guests to refuel and recharge as they continued on through the New York Design Center’s building wide events.

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In the early evening, transFORM Gallery hosted an informal artist talk with International Photographer Jean-Luc Mege. The discussion was centered around his high-end, premium composite acrylic glass photographs, which were on display throughout the gallery. Jean-Luc Mege covers, illustrates and immortalizes scenes from around the world. He has a rare ability to tell a story through his photographs. The force of the narrative comes from a unique path: Jean-Luc’s eye is imbued with great empathy, an unprecedented tenderness and an innate sense of composition.

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Artists Rachelle Krieger, Catherine Latson and KellyAnn Monaghan also had the opportunity to speak about their exhibiting work.

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Rachelle’s paintings are part of numerous private and corporate collections and can been seen in public spaces throughout the United States including at the Westin Hotel in New Orleans, the Ritz Carlton in DC, the Marriott Marquis in DC, and the Texas State Bank in Dallas. Rachelle’s work reflects the nature preserves, seascapes and woods near her home in Port Washington, NY. More recently she has taken and exciting directional turn into bold and dynamic abstractions of nature and nature’s forces.

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Catherine Latson’s “Garment Series” offers an unconventional take on the art and engineering of self-decoration. Using exclusively organic and repurposed materials, the language of clothing is explored. Garment forms are reimagined in tapioca root, magnolia leaves, moss, birch, sea urchin shells, amaranths, hydrangea petals, peacock quills, and more. While the forms are recognizably human, they are fragmented, weathered, and curious.

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KellyAnn Monaghan uses landscapes and urban landscapes as a journey and stage for the drama of light, air and movement. She attempts to see past the structured architecture into the otherworldly qualities of the landscape. There is emptiness and solitude in the spaces she paints; yet they have a quality of human presence through the atmosphere and illumination.

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While enjoying coffee and sweet treats, the attentive audience asked interesting questions and added to the commentary.

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transFORM Gallery was especially excited over the sale of Jean-Luc’s first class print, “Grand Central Terminal”.

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Unlike the traditional art gallery format, where art is presented on blank white walls, our artwork is hung in home-like settings, making it easier for the client to visualize it in their own environments. – a quality that’s highly regarded in the design industry. Interior design and decorating have a need for the energy, mood and life that is brought into a space by original artwork.

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Throughout the day transFORM Gallery provided industry partners, tastemakers and more an opportunity to discover a variety of mediums from painting and sculpture to mixed media and photography.

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Our NYC designers were also available throughout the event to provide interested guests with one-on-one tours of the showroom.

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In honor of “What’s New, What’s Next”, transFORM introduced their Multifunctional Men’s Apartment, which included a horizontal wall bed, custom wardrobe & dual-purpose desk.

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Featured in Desert Oak and Dusk Frake from Shinnoki and finished with Red Port High Gloss and Black Leather accents, transFORM’s newest installation features an array of custom cabinetry for added storage.

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After a brief introduction from Andreas Mesis (Co Owner) and Donovan Malloy (Marketing Director), transFORM’s Design Research & Product Development Director Daniel Steps, began his presentation on smart living in small urban spaces. “Tackling the Trend – Living Large in Tiny Homes and Micro-Apartments” explained how new advanced hardware and materials can create exciting designs that maximize space and function in compact apartments.

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transFORM enjoyed being introduced to and getting to know new members of our design community.

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Thank you to all that came to the event – we look forward to seeing you there again next year!

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John Greene


Fencepost A-F

Fencepost A-F

Oil and Encaustic on Fencepost
3.5" on each side
SOLD

Fencepost G-L

Fencepost G-L

Oil and Encaustic on Fencepost
3.5" on each side
$500 per cube

Untitled Silver #1

Untitled Silver #1

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #2

Untitled Silver #2

Oil and Encaustic on Panel
30" x 30"
$4,000

Untitled Silver #3

Untitled Silver #3

Oil and Encaustic on Panel
30" x 30"
$4,000

Untitled Silver #4

Untitled Silver #4

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #5

Untitled Silver #5

Oil and Encaustic on Panel
12" x 12"
$1,500

Untitled Silver #6

Untitled Silver #6

Oil and Encaustic on Panel
24" x 24"
$3,000

Untitled White with Colored Paint Chips

Untitled White with Colored Paint Chips

Oil and Encaustic on Panel with Cooper & Mixed Media
12" x 12"
$1,500

 Untitled Nail #1

Untitled Nail #1

Oil and Encaustic on Panel with Mixed Media
19.5" x 43"
$9,000

 Untitled Nail #2

Untitled Nail #2

Oil and Encaustic on Panel with Copper & Mixed Media
24" x 24"
$5,000

 Untitled Nail #3

Untitled Nail #3

Oil and Encaustic on Panel with Lead & Mixed Media
24" x 24"
$5,000

 Untitled Nail #4

Untitled Nail #4

Double Sided - Standing Piece
Oil and Encaustic on Panel with Mixed Media
12" x 8" x 1.5"
$2,500

Untitled Figurative #1

Untitled Figurative #1

Oil and Encaustic on Panel
30" x 24"
$6,000

 Untitled Landscape #1

Untitled Landscape #1

Oil and Encaustic on Panel with Copper
48" x 48"
$17,000

Untitled Landscape #2

Untitled Landscape #2

Oil and Encaustic on Panel with Cooper
15" x 15"
$2,000

Untitled Feathers #1

Untitled Feathers #1

Oil and Encaustic on Panel with Mixed Media
9.75" x 9.75"
$800

Untitled Feathers #2

Untitled Feathers #2

Oil and Encaustic on Panel with Mixed Media
9.75" x 9.75"
$800

Untitled Wall Piece #1

Untitled Wall Piece #1

Double Sided
Oil and Encaustic on Panel
13" x 12" x 2"
$2,500

Untitled Wall Piece #2

Untitled Wall Piece #2

Double Sided
Oil and Encaustic on Panel
13" x 12" x 2"
$2,500

Untitled Small Table Piece #1

Untitled Small Table Piece #1

Double Sided - Standing Piece
Oil and Encaustic on Panel
15" x 12" x 12.5" x 2"
$3,000

Untitled Small Table Piece #2

Untitled Small Table Piece #2

Double Sided - Standing Piece
Oil and Encaustic on Panel
15" x 12" x 12.5" x 2"
$3,000

Untitled Large Table Piece #1

Untitled Large Table Piece #1

Double Sided - Standing Piece
Oil and Encaustic on Panel
20" x 23" x 2"
$4,500

 Untitled Large Table Piece #2

Untitled Large Table Piece #2

Double Sided - Standing Piece
Oil and Encaustic on Panel
20" x 23" x 2"
$4,500

Untitled Standing Piece

Untitled Standing Piece

Double Sided
Oil and Encaustic on Panel
19.5" x 22" x 2"
$4,500

Untitled Color Field #1

Untitled Color Field #1

Oil and Encaustic on Panel
53" x 48"
$15,000

Untitled Color Field #2

Untitled Color Field #2

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #3

Untitled Color Field #3

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #4

Untitled Color Field #4

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #5

Untitled Color Field #5

Oil and Encaustic on Panel
60" x 48"
$16,000

Untitled Color Field #6

Untitled Color Field #6

Oil and Encaustic on Panel
72" x 72"
$20,000

 

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“For me, painting is about paint: color, texture, the joy of putting it on or scraping it off; I believe the results are best served by keen and repeated viewing. My painting is about surface primarily. Surface is feeling – it can be ambivalent. It gives the illusion of depth and reflection, of time and memory and complexity.

I prefer imagined sites rather than actual landscapes. I incorporate crossroads, paths taken or not taken, suggestions and intimations of the past and the future. Windows, portals, exits and entrances are subjects that inspire me. Materials that age, rust, decay and change are for me the elements of birth and survival. I have been greatly inspired by visits to both the Southwest and to South Africa, by the mysterious and changing landscapes, and the symbolism that permeates so much of their histories. I try to introduce elements that are hidden or apparent, that will encourage “reading” my paintings many times and constantly discovering something new. I find myself using different materials such as copper, lead or nails, materials from the earth (as is paint), which may also continually change over time, I especially like encaustic (beeswax), which in many ways is just the opposite of these other materials in terms of its durability and permanence, and its wonderful ability to be opaque or transparent.

Above all, I love the PROCESS of making a painting – revealing parts of myself that might be a mystery even to me. I love the smells, textures, endless decisions and accidents that come from the paint, the wax, the wood, the nails, and the copper and lead, that seem to be consistent with my purpose, my aesthetic. The making of art is a sensual endeavor, and the better if it speaks to the viewer – to me that is the greatest barometer of success.

Some of my “parents” are Richard Diebenkorn, Nathan Oliveira, Manuel Neri, Anthony Gormley, Elaine Anthony and Judith Streeter.”

Kellyann Monaghan


Greenpoint Warehouse and Empire State Building

Greenpoint Warehouse and Empire State Building

Oil on Panel
13" x 25"
Framed
SOLD

Billboards, Streetlight and Court Square Building

Billboards, Streetlight and Court Square Building

Oil on Panel
15" x 19"
Framed

Greenpoint, Trade Tower and Sunset

Greenpoint, Trade Tower and Sunset

Oil on Panel
17" x 13"
Framed

Milton Street Water Tower

Milton Street Water Tower

Oil on Panel
17" x 13"
Framed

Water Tower and Skywriting

Water Tower and Skywriting

Oil on Panel
13" x 17"
Framed

Williamsburg Bridge, East River, Nocturne

Williamsburg Bridge, East River, Nocturne

Oil on Panel
15" x 12"
Framed

Newton Creek, Court Square and Billboard

Newton Creek, Court Square and Billboard

Oil on Panel
15" x 19"
Framed

Crane and Factory

Crane and Factory

Oil on Panel
13" x 13"
Framed
SOLD

Orange Sky and Satellite

Orange Sky and Satellite

Oil on Panel
13" x 13"
Framed

Rooftop and Golden Arches

Rooftop and Golden Arches

Oil on Canvas
30” x 38”
Unframed

Water Tower at Matchless, Greenpoint

Water Tower at Matchless, Greenpoint

Oil on Panel
9” x 11”
Framed

Street Light, Water Tower

Street Light, Water Tower

Oil on Panel
13" x 13"
Framed
SOLD

In Between, DUMBO Rooftop, Brooklyn Bridge

In Between, DUMBO Rooftop, Brooklyn Bridge

Oil on Canvas
32” x 36”
Unframed

Flushing Project Windows

Flushing Project Windows

Oil on Canvas
28” x 46”
Unframed

Hess, Water Tower, Church and Trade Tower Construction

Hess, Water Tower, Church and Trade Tower Construction

Oil on Canvas
32” x 42”
Unframed

George Washington Bridge at Hudson I

George Washington Bridge at Hudson I

Oil on Panel
12.25” x 25”
Framed

 

KellyannM-Headshot

“I use landscapes and urban landscapes as a journey and stage for the drama of light, air and movement. I attempt to see past the structured architecture into the otherworldly qualities of the landscape. I am intrigued by the way light plays on architecture, energizing and describing form. There is a mystery in the dynamics of light and atmosphere in contrast to the architectural structures.

There is emptiness and solitude in the spaces I paint; yet they have a quality of human presence through the atmosphere and illumination. In the recent years, I have been obsessed with the rooftops of cluttered Brooklyn and New York City spaces, where the architecture is piled and pushing upon each other. Currently the repeating forms of the satellite dishes and antennae that dominate many apartment rooftops are central to the visual rhythm in my paintings. Construction cranes and scaffolding also play a role in creating the rhythmic urban spaces. I have exaggerated and edited qualities from city life into dramatic compositions. The sky and the spaces between buildings are as significant as the buildings themselves. I am fascinated by the city’s night sky, which reflects the ever-present human interjection of light pollution.

During a recent stay in Southern France, Toulouse region I had access to the beautiful landscape, old and decaying buildings and by contrast, the modernized forms and structures of contemporary life. I painted primarily on site and in the open air. The small medieval villages and ancient farms inspired many paintings. In these works I depicted lush landscapes, claustrophobic village streets and dilapidated farms. There is a quirky relationship between the village tiled rooftops and the gritty ones of my Brooklyn spaces. Even in this beautiful and historic place there are television satellite dishes sprouting about.

My aim is to maintain an element of spontaneity and directness in the paint. A fluid and spontaneous quality in the every paint stroke is very important to me. I primarily work all prima and often plein air. I edit, emphasize and exaggerate structural forms from life observation. The process allows for idiosyncratic and unexpected painterly qualities to occur.”