Zabel

The Surf Lodge - Figurative Vibrant Textural Entertainment Bar Original Painting

2023

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about feeling, she creates magic and captures the moment by infusing her art with strong emotive qualities. Zabel communicates each scene with precision. Her work evokes the Impressionists, but depicts modern love and adventure. Couples stand at bar top tables sipping aperitifs. Bartenders and piano players help to break the ice among palm trees and cityscapes presented in vibrant, dripping hues. The energy of social butterflies drawn to one another is palpable as they float effortlessly across the canvas. This 36 inch...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about ...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about feeling, she creates magic and captures the moment by infusing her art with strong emotive qualities. Zabel communicates each scene with precision. Her work evokes the Impressionists, but depicts modern love and adventure. Couples stand at bar top tables sipping aperitifs. Bartenders and piano players help to break the ice among palm trees and cityscapes presented in vibrant, dripping hues. The energy of social butterflies drawn to one another is palpable as they float effortlessly across the canvas. This 36 inch high by 18 inch wide painting...

Guided by her passion for life and her spirit, French Canadian painter Zabel creates vibrant artworks filled with romance and immersive textures. With a belief that art is all about feeling, she creates magic and captures the moment by infusing her art with strong emotive qualities. Zabel communicates each scene with precision. Her work evokes the Impressionists, but depicts modern love and adventure. Couples stand at bar top tables...

John-Herbert was born in Miami and moved to New York city when he was 3 years old. As the son of a Filipno mother and bi-racial father, his multi-cultural roots at first felt like a challenge but with time, and especially through his creative explorations, he would create his own unique world. This would immerse into his work; containing multiple points of views. Inspirations from Basquiat to Van Gogh, Monet to Dali and Matisse; John-Herbert developed a Neo-Expressionist approach infused with surrealism, figurative, and abstract renderings. From the tender age of eight, Wright gravitated to painting as an escape expressing a rich inner world. His work heavily relies upon dark figurations amongst an urban landscape leaving the viewer space to navigate the world he creates. An analogy of the human condition; centering the female nude/mother and child as the protagonist, he tells the story of the broken seeking respite, the downcast, the other. Wright seeks to illuminate the universe of darkness within all of us, within himself, and that darkness contrasted with fragility has always been at the epicenter of his work. Wright has managed to create a niche for himself as a painter and street-wear designer, contributing to the role the graphic t-shirt played in disseminating New York street culture across the globe. Transferring the techniques of garment making onto his canvases, Wright’s paintings feature backdrops of multiple layers of silk-screened images, drawings and text. He has also expanded his avenues of expression, creating installations and even multi-sensory exhibitions, building even more detailed spaces to travel with him through. Although his success has been celebrated, in many ways till recently, Wright has also kept his own story on fade. This changed last year with his highly lauded solo show “Rewind & Reflect” (at the Blue Gallery...

In Summer of Love, Sandy Palasti brings her signature expressive style to a vibrant yet ethereal palette of sky blues, softened whites, and grounding neutrals. This large-scale oil p...

“It is terrifying to paint. When you start out, you are faced with this great unknown. And you think, am I ever going to paint again? Yet, as you work, it starts to formulate itself...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...