This week we release a series of limited edition prints from a collaboration with the fantastic artist Nicolas Jorcino.

Nicolas Jorcino is a native of Buenos Aires, Argentina, who has lived and worked in Louisville, KY since 2001. While attending architectural school in his hometown, Jorcino was introduced to painting during weekly sessions at a local master's workshop. He quickly began conducting his own experiments, which led him to become a full time muralist for the next eighteen years. Today his work is still informed by some of the same problems, pursuits and processes of architecture and design; as a social and physical science and also as a fine art. About his work in this exhibit, Nicolas writes, “My formal training is in architecture and urban planning. I began this series of paintings a few years ago while exploring different aspects and similarities between these two disciplines and painting. Identifying light as the primary material of architecture, I looked for a way to present it with the same weight and hierarchy as the concrete structures that control and shape it in the works of some of the masters I admire... In these images, the process is revealed more as an intellectual exercise than a physical execution.”

Nicolas is currently exhibiting at the Carnegie Center for Art & History in Kentucky with another TWFineArt artist and favorite, Rebecca Norton. The is exhibition titled In Between and runs until October 11, 2014.

To see our limited edition print series visit our SHOP.

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This week we have introduced an exciting new artist to our limited edition print portfolio! Aviva Reed is a Melbourne based visual ecologist who uses her interdisciplinary skills to communicate knowledge of scientific concepts through visual art. Her numerous projects to date include the Gaia Series, inspired by the scientific theory of evolution for the Windgrove property at Roaring Beach, Tasmania. We are so excited to be releasing a limited edition series of these 13 prints. The suite of work tracks the earths evolution from the Pre Cambrian era through to the Paleocene. Each piece captures in gorgeous detail the key features of each geological era. [caption id="attachment_10896" align="aligncenter" width="800"] Gaia No. 10, 2014. Print by Aviva Reed[/caption] Also new this week are some wonderful new prints by Greg MacLaughlin. Greg's signature trapezoid has been infused with collage elements and placed in new spatial environments, adding an exciting new dimension to his investigation of shape, form and endless possibility. [caption id="attachment_11065" align="aligncenter" width="800"] Ergo, We Hurt, 2014. Print by Greg MacLaughlin[/caption]  

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American painting has long embraced the philosophy that bigger is better. From Jackson Pollock to contemporary artists like Mark Bradford, large scale works have been a consistent part of the modern American tradition. [caption id="attachment_8091" align="alignleft" width="301"] © JAMES SIENA, Untitled 2009
19-1/4" x 15-1/8"
Courtesy PaceWildenstein, New York[/caption] Lately though, there has been a shift. I noticed it first in the younger artists studios and then in the work of well known contemporary artists like James Siena. Instead of making epically scaled paintings, these artists are making work that is smaller, painterly, intimate and inviting. It was through my interest in James Siena's painting that I discovered the work of Ben Pritchard, a Brooklyn based artist creating small, heavily labored drawings and paintings. Siena included Pritchard in two exhibitions that he curated, first at the Atlantic Center for the Arts in 2009 and again at DC Moore Gallery in New York City in 2010. The surfaces of Pritchard's paintings are quite heavy and evidence layers of under painting. Gone is the grand format and familiar clean canvas edge. Instead, Pritchard's paintings are human scale and sit on awkwardly shaped surfaces where the forms appear to wrestle with the uneven edges. The intense workmanship and elegant simplicity of the final image combine to make Pritchard's work both charming and compelling. Ben's drawings are also intimate labors of love. Although in his drawing there is no layering or masking of the work involved. The detail sits on the surface and the finished image is an intricate concoction of marks that conform to a set of rules established by the artist at the outset of the drawing. All this work is squeezed onto a piece of paper not much larger than your average A3 sheet. Again the forms appear to wrestle within the asymmetrical edges of the paper to create intriguing, dynamic compositions. Pritchard's work represents a beautiful shift towards intimacy. He has stepped away from the massive, bold 'look at me paintings' of the past while skillfully preserving that certain something in painting that compels the viewer to take notice - only this time, it is not from a distance. To view more of Ben's work, visit his website or his TWFineArt print portfolio. [caption id="attachment_8138" align="aligncenter" width="494"] Oscar Fate, Ben Pritchard 2009-14, Oil on canvas, 24/28"[/caption] [caption id="attachment_8135" align="aligncenter" width="542"] Title Unknown, Ben Pritchard[/caption] [caption id="attachment_8093" align="aligncenter" width="405"] Santa Theresa, Ben Pritchard Ink on Paper, 2011,48/65cm[/caption] [caption id="attachment_8094" align="aligncenter" width="429"] Potatoe (Rhizome) Ben Pritchard Ink on paper, 25.5/19.5, 2012[/caption]          

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