After Eros

Last Saturday was the day of my Eros And After exhibition at Holyrad Studio! Thank you everyone for coming. It really meant a lot to me for people to brave the terrible weather. I hope you enjoyed my paintings inspired by Alain Robbe-Grillet‘s first films (L’Immortelle, The Man Who Lies, Trans-Europ-Express, & Eden and After) and the screening of Trans-Europe-Express.The storm outside kept blowing against the building but to be inside Holyrad Studio and Alain’s world was such an intimate experience. We had candles burning and wine flowing! Here are some photos taken by me from my low-quality smartphone camera (I really need to buy a real camera!) unless otherwise noted– many are taken by my friend Natasha Bluth who did a beautiful job. The studio had extended the exhibition to Sunday, Oct 4, but select pieces are still on view until the end of October. Contact Holyrad Studio if you’d like to take a look or purchase anything.

Photo by Meghan Harlow.

If you want to know about my process, my interest in Alain Robbe-Grillet, and what’s next for me, check out my recent interview with Liz von Klemperer on Art Report.


Eros And After exhibition

Here I am in front of my paintings inspired by scenes from Alain Robbe-Grillet’s films L’Immortelle and The Man Who Lies. Photo by Meghan Harlow.

Photo by Natasha Bluth.

Photo by Natasha Bluth.

The first half of my Eros And After series. Starting with Alain Robbe-Grillet’s first film L’Immortelle.

Some of my paintings depicting scenes from Alain Robbe-Grillet’s film The Man Who Lies: “Thumb Suck,” “Hair Pull,” and “Black Blindfold.”

Close-up of “Thumb Suck.”

These art students were among my favorites. They had really perceptive comments and asked great questions about my paintings. They brought up things I’d never noticed before in my own work and totally understood the whole concept for my show. It was a pleasure talking to them– one of them said she would write about my show for a class assignment.

Damian, my other favorite painting subject, next to his favorite painting, “Assassin’s Kiss.” The one on the end (one of my favorites too) depicts a scene from Alain Robbe-Grillet’s Trans-Europ-Express.

Liz von Klemperer, Sean, and other guests Saturday night after the Trans-Europ-Express screening.

Liz in front of my

Liz in front of my “Eve In Chains” painting, depicting a scene at the end of Alain Robbe-Grillet’s Trans-Europ-Express. Guests were treated to an intimate, cozy screening of the film that night. It made me so happy to see what a crowd-pleaser it was. A huge hit!

Watching Alain Robbe-Grillet’s L’Immortelle before Trans-Europ-Express. This gorgeous, haunting scene (clearly) inspired the second painting pictured here.

The studio radiates warmth, especially during the terrible, rainy, windy, chilly weather!

Natasha came by to take some photographs of my show on Sunday. She interviewed me the week before for an article she’s writing about my show. Here she is standing in front of her favorite painting in the Eros And After series, “Eva,” which depicts a scene from Alain Robbe-Grillet’s film Trans-Europ-Express.

Photo by Natasha Bluth. “Assassin’s Hand” on the end.

Photo by Natasha Bluth. “Eva Looks At Elias,” and we look at her.

“Choke Hold,” “Eve In Chains,” and one inspired by Eden And After, “Untitled.”

“Choke Hold,” the climax of Alain Robbe-Grillet’s film Trans-Europ-Express.

The second half of my Eros And After series. 10 paintings on one side, 10 on the other, so 20 in all– perfectly symmetrical which was unintended! These color paintings (and the last black and white painting) depict scenes from Alain Robbe-Grillet’s first color film Eden and After.

Photo by Natasha Bluth. The last painting, “A Kiss is the Beginning of Cannibalism,” is my personal favorite. It made sense to end with that painting for so many reasons.

Sunday was sunny!

The garage door/window open during the few sunny hours on Sunday. Everyone who came to my reception the previous night sat in those comfy seats to view Alain Robbe-Grillet’s film Trans-Europ-Express.

Photo by Natasha Bluth.

Photo by Natasha Bluth.

It’s hard to tell in this photo but we posted some sexy stills from some of Alain Robbe-Grillet’s films on the door of Holyrad Studio, opened the garage door/window next to it to let in fresh air, got my jazz playlist going since the weather became relatively warm for a few hours, and a lot of people dropped in! It was absolutely fantastic to interact with everybody.

The

The “O” symbol of Holyrad Studio framing the climax of Trans-Europ-Express.

Art director Jacqui King Wack and I thinking about becoming a comedic duo due to our height difference.

Photo by Natasha Bluth.


Before Eros

Holyrad Studio owner Daryl Oh behind one of my paintings inspired by Alain Robbe-Grillet’s film L’Immortelle. Last Thursday during our layout testing.

The Trans-Elizabeth-Express (my brother’s car) arrived in Brooklyn from Long Island the Thursday afternoon before my weekend show with all my paintings on board. Here are half of my paintings laid out at Holyrad Studio waiting to be unwrapped and suspended from the ceiling. My framer, Michael Choi of the Home Art Gallery in Port Jefferson, Long Island, did an absolutely beautiful job.

Figuring out the order...

Figuring out the order…

Logistics... and to-do lists.

Logistics… and to-do lists.

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