Filed under: Interview, Seattle | Tags: Amanda Manitach, Roq la Rue Gallery, Stacey Rozich
Stacey Rozich’s Within Without Me opened May 2 at Roq la Rue Gallery in Seattle. The 22 watercolor and gouache paintings on display cast the artist’s trademark colorful, convivial monsters in a new light—or new darkness, rather. The series is about “the light and the shadows of faith, devotion and the power of lies” and illustrates the misadventures of drunkards wielding shotguns, decapitated monsters with demonic masks and spiritual elders hoarding piles of blood money. Blackbirds lurk in many of the images, waiting to devour the dead. For the week leading up to the show, Rozich painted a huge mural on the virgin walls of the gallery’s new space in Pioneer Square (Roq la Rue recently moved from its decade-old location in Belltown). Curious about the origin of this series, I asked Rozich a few questions about the work. – Amanda Manitach, Seattle Contributor
Stacey Rozich | Collection Day At The Shrine, 2013, watercolor and gouache on paper, 11 x 7.5 inches. Image courtesy of Roq la Rue Gallery.
Filed under: Chicago, Review | Tags: Chicago Urban Art Society, Robin Dluzen, Stacey Rozich
It’s not often that illustration succeeds in a fine art context, as illustration, didactic by nature, tends to be without the depth and subtlety we understand to be valuable in “fine art.” However, the illustrative practice of Seattle-based Stacey Rozich not only succeeds in the gallery, it thrives with narrative strength and a clear artistic vision that ranks her recent exhibition “This Must Be the Place” at Chicago Urban Art Society among the best exhibitions in Chicago this summer. – Robin Dluzen, Chicago Contributor
Stacey Rozich | He Hates That Song, 2012, watercolor and gouache on paper, 11″ x 14″ framed. Photo courtesy of the artist
Filed under: DC, New York, Q&A | Tags: artsauce, Benjamin Edmiston, Brooklyn, Christopher Daniels, DC, Matthew Craven, Matthew Smith, Michigan State University, Natalia Yovane, Nick Van Woert, NUDASHANK, Paper Chasers, Sam Adams, Stacey Rozich, SVA, The School of Visual Art
Much of Matthew Craven’s meticulous work exists as both colorful abstraction and surreal historical document. His transformation of images appropriated from history textbooks nudge and reconfigure the original historical narratives. And his modular treatment of familiar forms unexpectedly activates their hidden potential for abstraction. Painting, drawing, collage and installation are linked in Craven’s practice through his fastidiously precise lines, which run across works and from project to project. Last week I caught up with the Brooklyn-based artist — whose work is currently in the group show Paper Chasers at Nudashank — to talk about his work, his influences, and time travel. Our conversation, and lots of images, after the jump. -Matthew Smith, D.C. contributor