AUDREY STONE

Audrey Stone received her MFA from Hunter College and her BFA from Pratt Institute, both in painting. She also studied at the Nova Scotia College of Art and Design and was selected for the Artist in the Marketplace program at the Bronx Museum of the Arts. Her work has been exhibited widely across the United States, as well as in Austria, Bulgaria, the Czech Republic, England, France, and Japan. Recent exhibitions include a 2018 solo exhibit of her paintings at Morgan Lehman Gallery, a two-person show at Muriel Guepin Gallery in 2015, and a solo exhibit of a thread-based installation on Governor’s Island in 2014. She has shown in group exhibitions at the Andy Warhol Museum, the Arkansas Art Center, the Columbus Museum, Geoffrey Young Gallery, Jeff Bailey Gallery, Kentler International Drawing Space, ODETTA Gallery, Schema Projects, and the Yerba Buena Center for the Arts. Her work is in the collections of Fidelity Investments and the Amateras Foundation in Sofia, Bulgaria. Stone lives and works in Brooklyn, NY. 


PAINTINGS

I have been occupied with line and color for some time; subtle color gradients have recently become a prominent element in my work. Observing shifting color and light in nature is an ecstatic experience for me. I find myself experiencing simultaneous excitement and calm, producing a desire to bring this dynamic opposition into my work. In my current paintings, I use the boundaries between broad and narrow bands of adjacent colors to generate visual vibrations. I am intrigued by the way the eye and brain process these transitions between colors, informing the viewer’s emotional and physical response to the work.

-Audrey Stone, 2018

SEWN PAINTINGS

I use thread to apply color, add dimension and create sculptural elements. I love the functional abilities of thread to repair, decorate, and hold together. Woven, thread becomes a continual surface, as in the canvas itself. 

Paint is more easily manipulated, applied and reapplied. It adheres to the canvas and stretches across it like a skin.  Using tape with the paint provides a certain uncontrolled control as edges reveal themselves in an unpredictable way.  

Both materials come with their own historical narrative: Thread conjures the woman’s means of production and craft from its applications (both functional and decorative), while painting comes from a patriarchal lineage.  Combining thread, floss and sewing techniques with paint allows me to wrestle with that ingrained gender tension.  Does the viewer value one material or form of expression over the other? Or have we shed the narratives as two media play on the same field, basically doing the same thing – creating surface, shape, color, image, etc. - is that even possible? 

- Audrey Stone, 2014

WORK ON PAPER

In 2007 I began a series of work using a combination of thread, ink and graphite within a grid format to explore what defines a line.  At first glance, the lines appear identical with little or no variation from each other. Upon closer inspection it becomes clear that some lines are sewn into the page and others are drawn in ink or graphite. Combining the two materials to create similar effects of line was a way to also think about two separate but overlapping languages; craft and fine art.

The thread line has dimension and a sculptural element to it, casting shadows and revealing space between it and the paper while the drawn line, depending on the material used, ink or pencil, appears to either rest on top of the paper surface or to sink into it. Studying, inspecting and comparing the lines becomes almost inevitable as the drawn line can be seen as a representation of the 3 dimensional thread line and visa-versa. 

As the work progressed a breakdown within the grids occurred as I strayed from the use of constant parallel lines of earlier drawings and began using angles and at times more random patterns.  The flow of information and line within each drawing may expand, contract, repeat or multiply depending on the system involved in the particular work. The systems are not perfect, there are hits and misses of intent along the way as well as a desire to let the imperfect unions of line remain.  While making these works my eye/hand coordination is challenged: how straight can my drawn line be?  Will my pen or pencil make contact with the plum line of the thread?  The drawn line reveals the natural instability of the hand, a human element, something I have always aimed to maintain in my work. 

- Audrey Stone, 2012