Paul Theriault

Paul is an electronic media artist working with computers, cameras, televisions, scanners and more. He seems to have empathy for the often slightly outdated technology he tinkers with, mapping emotional and cerebral processes onto them. He is also an abstract oil painter who paints on scanner beds rather than canvas. These paintings are always erased to make way for a new painting, but they live on as moments captured by the programmed eye of the scanner. Sometimes these digital images are printed out, and other times they are displayed on the backlit surface of a deconstructed flat screen television. In this episode Paul and I discuss his unusual process and the ideas behind his work.

For more images of the artist’s work, visit https://paultheriault.net/

Videopainting 4, 2019, LCD monitor with found objects, 18 x 30 IN.

Videopainting 5, 2019, LCD monitor with found objects, 18 x 30 IN.

Hall Monitors, 2016, plasma screen displays.

Scannerpainting 41, Inkjet pigment print on matte paper and canvas, 28 x 42 IN.

Scannerpainting 43, Inkjet pigment print on matte paper and canvas, 28 x 42 IN.

Geist 2, 2016, inkjet pigment print on matte paper, 8.5 x 11 IN.

Gerald Sheffield

Gerald is an artist working in painting, assemblage and installation art. His most recent work delves into his time deployed in Iraq by the United States Army. Much of his work seeks to complicate society’s oversimplified understanding of soldiers and the occupied people of Iraq. Through his paintings he investigates and questions the way in which western art and media depict and have depicted people and places in the middle east. He also explores the United States’ chaotic diplomatic mismanagement of Iraq during the war.

In this interview, we discuss Gerald’s experience enlisting in the United States Army, his deployment to Iraq, a new installation inspired by an unbelievable true story, political rhetoric, Orientalism, and finally his preference for a specific color.

Be sure to see Gerald’s exhibition at New Release Gallery in New York’s Chinatown. It's entitled “Democratic Paradox," and it's on view until February 16th

Gerald is an artist working in painting, assemblage and installation art. His most recent work delves into his time deployed in Iraq by the United States Army. Much of his work seeks to complicate society’s oversimplified understanding of soldiers and the occupied people of Iraq. Through his paintings he investigates and questions the way in which western art and media depict and have depicted people and places in the middle east. He also explores the United States’ chaotic diplomatic mismanagement of Iraq during the war. In this interview, we discuss Gerald’s experience enlisting in the United States Army, his deployment to Iraq, a new installation inspired by an unbelievable true story, political rhetoric, Orientalism, and finally his preference for a specific color. Be sure to see Gerald’s exhibition at New Release Gallery in New York’s Chinatown. It's entitled “Democratic Paradox," and it's on view until February 16th

Gerald Sheffield, Al Faw Palace II, (Flashe on panel) 12x16 inches.

Gerald Sheffield, building Dreamland, or Camp Baharia, Fallujah, Iraq, 10" x 8", Acrylic on panel, 2018

Gerald Sheffield, cnn, 2017, (flashe on canvas) 10x8 inches

Gerald Sheffield, genesis II incompetence, 2016, (charcoal, acrylic on canvas), 96 x 84 inches.

Gerald Sheffield, army colors (Charcoal, Acrylic, and Screen Print on linen) 95x55 inches

Gerald Sheffield, you make yourself so big you become a coin, 2016, (Acrylic and Flashe on paper) 22 inches diameter

Greyson Hong

Greyson Hong is a multimedia installation and performance artist whose recent work investigates the limits of human experience. Greyson often uses her own body as a site of artistic experimentation. Much of her work humorously appropriates scientific charts, mathematical data and advertising slogans in order to communicate deeply personal and powerful experiences that often deal with gender identity, politics, and love.

To view more of her work visit greysonhong.net

Greyson is a multimedia installation and performance artist whose recent work investigates the limits of human experience. Greyson often uses her own body as a site of artistic experimentation. Much of her work humorously appropriates scientific charts, mathematical data and advertising slogans in order to communicate deeply personal and powerful experiences that often deal with gender identity, politics, and love. To view the works discussed in this podcast visit FirstStopArt.com.

Greyson Hong, “YOUR ONLY LIMIT IS YOU,” (installation view), 2017, Photo Credit: Jessica Smolinski.

Greyson Hong, “YOUR ONLY LIMIT IS YOU,” (installation view), 2017, Photo Credit: Jessica Smolinski.

Greyson Hong, “YOUR ONLY LIMIT IS YOU,” (installation view), 2017, Photo Credit: Jessica Smolinski.

Hong Hong

Hong builds colorful and monumental compositions using paper pulp. These large-scale works record the shifting conditions of time and environment as they cure outside over many hours. Hong is fascinated both by things that change over time and objects like horizons that seem to stay the same even as we change. Her ephemeral paper works are constantly evolving as they absorb the conditions of the spaces they occupy, and as their lustrous colors gradually fade to grey. In this episode, we discuss the process and philosophy behind Hong’s captivating work.

Hong builds colorful and monumental compositions using paper pulp. These large-scale works record the shifting conditions of time and environment as they cure outside over many hours. Hong is fascinated both by things that change over time and objects like horizons that seem to stay the same even as we change. Her ephemeral paper works are constantly evolving as they absorb the conditions of the spaces they occupy, and as their lustrous colors gradually fade to grey. In this episode, we discuss the process and philosophy behind Hong’s captivating work.

Hong Hong, Installation shot from Dark Matter, 2018.

Hong Hong, Installation shot from Dark Matter, 2018.

Hong Hong, Composition for a Vivid Dream, 144” x 144”, kozo, dust, pollen, sun, water, fiber-reactive dyes, 2017.

Composition for the Long Way Home, 144” x 144”, kozo, dust, pollen, sun, water, fiber-reactive dyes, 2017. (detail)

Hong Hong, Composition for the Long Way Home, 144” x 144”, kozo, dust, pollen, sun, water, fiber-reactive dyes, 2017.

Hong Hong, Swamp Garnet, 144” x 96”, kozo, sun, dust, pollen, water, repurposed paper, fiber-reactive dyes, 2016.

(detail) Swamp Garnet, 144” x 96”, kozo, sun, dust, pollen, water, repurposed paper, fiber-reactive dyes, 2016.

Hong Hong, Blue Avalanche, 32” x 84”, kozo, sun, dust, pollen, water, repurposed paper, fiber-reactive dyes, 2014.

Hong Hong, Migration I, 40” x 60”, graphite, charcoal, 2013.

Zachary Keeting

Zach’s bold and vigorous paintings appear to harness the momentum of mid-century American expressionism, but they have an orderly logic to them: each explosive brushstroke seems to have been carefully placed. The compositions are wildly emotional, while at the same time, meticulously layered. Zach’s paintings can be enjoyed without any backstory, but they often allude to deeply personal memories.

View more of the artist’s work at http://zacharykeeting.com

Zach’s bold and vigorous paintings appear to harness the momentum of mid-century American expressionism, but they have an orderly logic to them: each explosive brushstroke seems to have been carefully placed. The compositions are wildly emotional, while at the same time, meticulously layered. Zach’s paintings can be enjoyed without any backstory, but they often allude to deeply personal memories. View the discussed work on http://firststopart.com/

Zachary Keeting, vitamin L vitamin A, 2018 acrylic on canvas, 60″ x 72″

Zachary Keeting, 2017, words of jeer, acrylic on canvas, 48″ x 54″

Zachary Keeting, walker mountain lookout, 2017, acrylic on canvas, 84” x 72”

An untitled painting by Zachary Keeting from 2010.

An untitled painting by Zachary Keeting from 2005.

An untitled painting by Zachary Keeting from 2002, painted after losing an arm-wrestling match with the artist’s sister.

An untitled painting by Zachary Keeting from 1997.

An untitled painting by Zachary Keeting from 1994.