Interviews by Brainard Carey

Martina Grlić (b. 1982, Croatia) was educated at the Academy of Fine Arts, Zagreb, Croatia. She has exhibited at Fragment Gallery, New York, USA; Museum of Mali lošinj; Museum of Contemporary Art, Zagreb; Kunstlerhaus, Vienna; Ningbo Museum of Art, Ningbo, China, and the National Museum, Gdanjsk, Poland. She lives and works in Zagreb, Croatia.

For her second solo exhibition in New York City, Martina Grlić presents new and recent works.  At first glance, Martina Grlić's paintings might appear fragmented, fuzzy, or even incomplete. However, this is a deliberate artistic choice made to visualize the inconsistency of the recollection process. Interested in the intersection of personal and collective memory and a blurry line on which certain forms become semi-recognizable, the Croatian artist combines technical skill with conceptual depth to convey the understanding of human identity. Drawing on the metaphor theory, her Memory Projects are essentially rearranging and reappropriating visual allegories revolving around cultural, political, economic, or social legacies, as well as gender perspectives.

Martina Grlić, Thousand wishes, 2023 Oil on canvas 19 3/5 x 16 1/10 in | 50 x 41 cm

Martina Grlić, I’ll wear him like a scrunchie, 2023 Oil on canvas 47.2 x 39.3 in 120 x 100 cm

Martina Grlić, Dissociated I, 2022 Oil on linen 66 x 55 in | 170 x 140 cm

Kejoo Park (B.1956, Daejeon, Korea) lives and works in Frankfurt and New York. She earned a BFA in Painting from Cornell University, studied at Pratt Institute and The Art Students League of New York, and earned an MLA in Landscape Architecture from Harvard University. Kejoo Park, a Korean-American conceptual and multimedia artist, utilizes a wide range of media, including painting, sculpture, performance, and sitespecific installations, to explore the intricate relationships between humanity and nature. Her work emphasizes the duality of internal and external existence and the dynamic interplay between natural and artificial elements. In her large-scale public art projects, Park seamlessly integrates diverse genres such as music, poetry, and philosophy, developing a unique artistic language. Drawing on her studies in art and architecture, she expands her practice to express the embodiment of both Western and Eastern cultures.

As a landscape architect, she has collaborated with numerous architects on international competitions and projects across the globe. She also served as an Assistant Professor of Landscape Architecture and Ecology at the University of Stuttgart in Germany.

Her work has been exhibited at Gallery Reitz, Zurich, Switzerland (2024); Gallery Uhn, Königstein, Germany (2023); Galerie Anna 25, Berlin, Germany (2023); Kunstverein Familie Montez, Frankfurt, Germany (2022); Galerie Uhn, Königstein, Germany (2022); Galerie Rieder, München, Germany (2021); Galerie Anna 25, Berlin, Germany (2019); Galerie Rieder, München, Germany (2019); Galerie Artstation, Zürich, Switzerland (2018); Galerie Hübner & Hübner, Frankfurt, Germany (2018); Galerie Rieder, München, Germany (2017); Galerie am Hirschengraben, Zurich, Switzerland (2017); Stadtgalerie, Bad Soden am Taunus, Germany (2017); Galerie Anna 25, Berlin, Germany (2016); Galerie Tuttiart, Luzern, Switzerland (2016); Galerie Hübner & Hübner, Frankfurt, Germany (2015); the Permanent Collection of Pierre Soulages at the Museum Ludwig, Koblenz, Germany (2014).

Kejoo Park, Drinking Song of the sorrow of the Earth - from the series the Song of the Earth ( Das Lied von der Erde) mixed media, 180x180cm (diptych)

Kejoo Park Landscape Rondo, 2020 Mixed media on rice paper and canvas 47.2 x 59 in

Kejoo_Park_ Homarge3 to Beuys from the Series Visible-Invisible, mixed media, 100x100

David Allan Peters in his studio, 2022.

David Allan Peters (b. 1969 in Cupertino, CA) received his Bachelor of Fine Arts degree from the San Francisco Art Institute in San Francisco, CA, and his Master of Fine Arts degree from Claremont Graduate University in Claremont, CA.

Peters has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; Royale Projects, Los Angeles, CA; Museum of Art and History, Lancaster, CA; Weber Fine Art, Greenwich, CT; Ameringer | McEnery | Yohe, New York, NY; Royale Projects, Palm Desert, CA; and AKA PDX, Portland, OR.

Recent group exhibitions include “Hybrid Spaces” (curated by Dr. Necmi Sönmez), Borusan Contemporary Art Collection, Istanbul, Turkey; “LA Painting,” Museum of Art and History, Lancaster, CA; Laguna Art Museum, Laguna Beach, CA; “Belief in Giants,” Miles McEnery Gallery, New York, NY; and “Hello My Name Is...Los Angeles,” Royale Projects, Los Angeles, CA.

He is a recipient of the Nora Bartine Memorial Award from De Anza College, Cupertino, CA and his work may be found in the collections of Borusan Contemporary Art Collection, Istanbul, Turkey and the Laguna Art Museum, Laguna Beach, CA.

The artist lives and works in Los Angeles, CA.

DAVID ALLAN PETERS Untitled #3, 2024 Acrylic on panel 40 x 30 inches 101.6 x 76.2 cm. Courtesy of the artist and Miles McEnery Gallery.

DAVID ALLAN PETERS Untitled #10, 2024 Acrylic on panel 72 x 60 inches 182.9 x 152.4 cm. Courtesy of the artist and Miles McEnery Gallery.

DAVID ALLAN PETERS Untitled #16, 2023 Acrylic on panel 40 x 60 inches 101.6 x 152.4 cm. Courtesy of the artist and Miles McEnery Gallery.

David Anaya Maya was born in Bogot. D.C., raised in rural Colombia, and currently lives and works in New York City. After graduating as ‘Maestroʼ from Los Andes University in 2004, Anaya Maya has shown their work internationally and has explored an extensive range of materials, mediums and concepts.

As an artist, curator, writer, teacher and art collective organizer, Anaya Maya has expanded seminal interconnections between peoples, bodies, identities, species, and ecosystems.

They have been awarded with fellowships and residencies in Colombia, The Banff Centre in Canada, The Drawing Center in New York, and the New York Foundation for the Arts. Four of their drawings are part of the collection of the Leslie Lohman Museum of Art.

Providentia installation, High Noon

“Kikuyu,” 2023, oil on linen reinforced with epoxy resin, 10” x 7.5”

“Coat of Arms,” 2023, oil and bronze powder on linen reinforced with epoxy resin, 10” x 17” x 2"

“National Flower,” 2023, oil paint on dried linseed oil reinforced with epoxy resin, 1.25” x 1.75”

Florencia Escudero's sculptures include soft and handmade components printed with digitally-rendered imagery.  Feminist theory, cyber culture, and an embrace of various techniques such as digital photo collage, hand sewing, and silk-screening place each sculpture in the realm of both the machine-made and the handmade.  As the artist notes, "When making these pieces I am thinking about the history of feminist art that looks at the objectification of women's bodies. I want to flip the expectation and look at how objects become human."  Escudero received an MFA in Sculpture from the Yale University School of Art in 2012. Her works have been exhibited at The Aldrich Contemporary Art Museum, Ridgefield, CT, Rachel Uffner Gallery, New York, NY, and Petzel Gallery, New York, NY, among other venues. She lives and works in Brooklyn, New York.

Florencia Escudero Snakestone, 2024 Digitally printed and silkscreened satin and spandex hand-sewn over upholstery foam, resin, ceramic, colored sand, epoxy, cotton piping, and wood base 33 x 31 x 23 inches Courtesy of the Artist and Kristen Lorello, NY.

Florencia Escudero Digital Medusa, 2024 Resin with abalone, starfish, epoxy, shells, 3D-printed plastic, temporary tattoo paper, eva foam, steel 22 x 24 x 15 inches Courtesy of the Artist and Kristen Lorello, NY

Florencia Escudero Echo, 2022 Digitally printed satin and spandex hand-sewn over upholstery foam, resin cast with watches, chains, and glitter, steel rod, chains 32 x 31 x 3 inches Courtesy of the Artist and Kristen Lorello, NY.

Areum Yang (b. 1994 Seoul, South Korea; lives and works in New York) graduated from Hongik University, Seoul, South Korea in 2017 and from the Hunter MFA program, New York, NY in 2021. She recently undertook residency at Skowhegan School of Painting and Sculpture. She has been included in group shows at Long Story Short, Los Angeles, CA; Analog Diary, Beacon, NY: Hauser & Wirth, New York, NY; Margot Samel, New York, NY, and Mamoth, London, UK. Yang was selected as the winner of the Silver Award for AHL T&W Foundation Contemporary Visual Art Awards and the KCC Young Artist Awards in 2021. Her work has been selected for print publication in Art Maze Magazine edition 23, Friend of Artists volume 15, and Whitewaller issue 33.

The Day Before, 2024 acrylic, oil, fabric collage, oil pastel, pencil on poly cotton 82 x 74 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich. 

In Between Dreams, 2024 acrylic, oil, fabric collage, oil pastel, and pencil on poly cotton 70 x 60 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich. 

Morning Laundry, 2024 oil, acrylic, pencil, oil pastel, fabric collage on poly cotton 70 x 75 inches. Courtesy of the artist and Derek Eller Gallery, New York, photo, Adam Reich.

Raquel Rabinovich is a New York-based, Argentinian-American artist known for her monochromatic paintings and drawings as well as for her large-scale glass sculpture environments and her site-specific stone sculpture installations along the shores of the Hudson River.

Born in Buenos Aires in 1929, she has lived and worked in the United States since 1967, currently residing in Rhinebeck, NY. Rabinovich has been the recipient of numerous grants and fellowships, including the 2011-2012 Lee Krasner Award for Lifetime Achievement from The Pollock-Krasner Foundation. She is included in the Oral History Program of the Smithsonian Institution Archives of American Art.

Raquel Rabinovich, Avatars 1, 2022 Ink wash, pastel, and colored pencil on Essindia paper 14 x 20 in.

Raquel Rabinovich, Avatars 2, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in.

Raquel Rabinovich, Avatars 3, 2023, Oil, wax, and colored pencil on canvas, 30 x 48 in.

Nana Wolke by Inna Svyatsky / installshots.art

Nana Wolke explores the nature of perception, focusing her attention on modes of apprehension of space and time. Her series of works usually begins on film-like sets, where the artist records the unfolding of staged situations and improvised actions occurring in spaces spanning across social hierarchy. Wolke proceeds to assemble and edit both original and found footage to create distinctly monochromatic visual atmospheres and rhythms that she then translates into painting and sound installations. Using commonplace lighting to model space and generate the grain, textures and slippages of her images and sequences, Wolke utilizes a variety of devices chosen as much for their technical properties as for their social significance – e.g. CCTV equipment, home video camcorders, inventory cameras, intercom systems, etc. Considering the multiple viewpoints from which an action can be witnessed, Wolke’s work conjures a tension between observation and control, often inviting viewers to navigate environments that interrogate notions of access and inclusion – whether for economic, social, or security purposes. In so doing, Wolke reflects upon the conflation of desire and shame in contemporary modes of production and consumption of images and visual culture. By constantly confronting the logic of live actions, cinema, and paint, Wolke ultimately seeks to analyze the progressive inextricability between actual and artificial realities.

Wolke holds an MFA from Goldsmiths, University of London. Solo exhibitions include Breed at Management, New York; Wanda’s at NiCOLETTi, London; High Seat at Castor Gallery, London; 4:28 - 5:28 am at VIN VIN, Vienna; and Some Girls Wander by Mistake at Fondazione Coppola, Vicenza. Group exhibitions include Over you/you at the 31. Biennial of Graphic Arts, Ljubljana; Daddy at G2 Kunsthalle, Leipzig; Painters Painting Painters: A Study of Muses, Friends, and Companions at the Green Family Art Foundation, Dallas; Love is the Devil: Studies after Francis Bacon at Marlborough, London; and No Angels at Wilhelm Hallen, Berlin among others. Wolke was also selected for the 2021 cohort of Bloomberg New Contemporaries.

Nana Wolke 00:02:26,417 - - > 00:02:29,010 (Empire), 2023 Oil, sand, and iron dust on linen 70 7/8 x 94 1/2 inches / 180 x 240 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art

Nana Wolke 00:00:00,000 - - > 01:36:06,960 (It’s good enough for Nancy. It’s good enough for Nancy), 2024 Oil on linen 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art

Nana Wolke, 02:10:34,195 - - > 02:18:06,207, (Sleeping pills, sneakers, turtleneck, power cord), 2024, Oil and construction sand on linen, 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art

Will Stovall (Ph.D. Yale University, 2018; M.F.A. Bard College, 2025) is an artist based in Washington, DC. He completed a dissertation on the institutional imagination of German philosopher Jürgen Habermas. His paintings were the subject of a solo exhibition at Ulrik and have been featured as cover illustrations for Oxford German Studies and Seminar: A Journal of Germanic Studies. In addition to his interest in visuality in the German philosophical tradition, he has presented research and organized exhibitions on the art history of Washington, DC, and is the editor of Of the Land: The Art and Poetry of Lou Stovall (Georgetown University Press, 2022).

Eden and Inferno, 2020, oil on canvas, walnut frame, 15 x 10 in. (38.1 x 25.4 cm.). Courtesy of Ulrik, New York; Photo: Stephen Faught

Faces and Goalie, 2021, oil on paper pinned on linen, 6 3/4 x 5 1/2 in. (17.1 x 14 cm.) Courtesy of Ulrik, New York; Photo: Stephen Faught

Watchers, 2021, oil on linen, 4 1/2 x 5 1/4 in. (11.4 x 13.3 cm.) Courtesy of Ulrik, New York; Photo: Stephen Faught

Watchers [verso], 2021, oil on linen, 4 1/2 x 5 1/4 in. (11.4 x 13.3 cm.) Courtesy of Ulrik, New York; Photo: Stephen Faught

Gail Spaien lives in South Portland, Maine. She earned her B.F.A. from the University of Southern Maine and her M.F.A. from the San Francisco Art Institute. Spaien has received numerous fellowships including the Ucross Foundation; Varda Artist Residency Program; Millay Colony for the Arts; the Djerassi Foundation Resident Artists Program; and the Skowhegan School of Painting and Sculpture.

Over four decades, Spaien’s work has been exhibited nationwide and abroad, including Taymour Grahne Projects (London); Vardan Gallery (Los Angeles, CA); the DeCordova Sculpture Park and Museum (Lincoln, MA); Provincetown Art Association and Museum (Provincetown, MA); Crocker Art Museum (Sacramento, CA); the Portland Museum of Art (Portland, ME); Ogunquit Museum of American Art (Ogunquit, ME); and Colby College Museum of Art (Waterville, Maine). After thirty years as faculty at the Maine College of Art and Design she is now full-time in the studio.

Turquoise Window, 2024, acrylic on linen, 48 x 45 inches

Pearl with Boots and Pheasants, 2024, acrylic on linen, 34 x 36 inches

The Season Called Locking, 2024, acrylic on linen, 48 x 48 inches