Critique Collective

Critique Collective is your source for information and interviews about emerging and established contemporary artists.

Tag: new york

Sage Cruz Field Discusses His Interdisciplinary Practice

Sage Cruz Field links various forms of visual representation through his diverse body of work. Paintings and prints depicting animals hang eclectically with photographs and forays into the colorful language of abstraction. Manipulated with everything from acrylic to oil and spray paint on substrates such as cardboard and mattresses, Cruz Field’s paintings simultaneously evince sensations tangential to street art, lyrical abstraction, and figuration. These expressive techniques inform Cruz Field’s use of animal and human forms to expose the iconography of the representational pictorial plane as an emotional and psychological space.

Cruz Field currently lives in Syracuse, NY, where he is seeking a BFA in painting at Syracuse University. His works will be exhibited in a solo exhibition open to the public at Spark Contemporary Art Space at 1005 E. Fayette Street, Syracuse, NY on April 18, 2015. Cruz Field’s artwork can also be found on his website and tumblr.

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Paul Weiner:
Tell us a little about your process and aesthetics. How do you usually start a painting?

Sage Cruz Field:
I deliberately start a painting either abstract or realistic. My realistic pieces tend to illustrate a moment in time. Oils are an amazing tool, but I love to exaggerate space or form with the puff of spray paint. I am always drawn to worn materials because they are an immediate representation of time. Lately, I have gone back to acrylics in order to create a pop art sense of space in pieces.

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Paul Weiner:
What artist or artists do you feel have had the greatest influence on your work?

Sage Cruz Field:
My father has been my biggest influence in art. Seeing him working as an artist, whether it be oils, drawing, or murals, shaped who I am today. I am surprised sometimes to see colors and shapes in my pieces that stem directly from him. Seeing an old sketchbook of his one day really made this click for me. I always have to give credit to the graffiti artists I grew up seeing in the streets. Their language has also had a major impact on me. Other professional artists tend to be an afterthought.

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Paul Weiner:
You work in both abstract and figurative painting as well as photography. Is there any difference in how you think about making work across these different mediums?

Sage Cruz Field:
As I said, my realistic work is usually quite calculated even though the narrative may be open-ended. My abstract pieces are a series of experiments that end with victory or defeat. Over the years, I have, of course, tried to evolve the process of my paintings in different ways. Photography has definitely been a catalyst in changing my approach in all mediums. The immediacy of a photograph is powerful and hard to get a grasp on. In my eyes, however, the brush and camera are very similar tools.


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Paul Weiner:
Many of your recent works use animals as the subject. How do you decide on these animals and how does their presence impact the painting?

Sage Cruz Field:
Over time, my use of the animals has changed. I began using them as vehicle to communicate emotions such as grief, joy, or rage. Since then, my connection to these animals has mostly come from personal encounters in which I had the ability to photograph them. Sometimes, I find myself following animals to photograph them or just see where they lead me.

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Paul Weiner:
You mentioned the connection between your work and graffiti artists you see on the street. Is the ideal setting for your work public like graffiti, in a more private space like a gallery, or somewhere else?

Sage Cruz Field:
Like the work of street and graffiti artists, I have strived to become versatile in different environments. Maybe this is why I am attracted to video, design, and photography. I never considered separating myself from a specific platform such as a gallery or the street. Instead, I have tried to understand the power of each and their relationship to the community. I have worked very hard to contribute my work to the surrounding community in various ways. A vast space like the internet is very saturated with artists, and your local neighborhood is always substantially less.

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Paul Weiner:
When did you first start painting and how has your work evolved in recent years?

Sage Cruz Field:
I began seriously painting in high school when I received a scholarship to take free classes at the Steve Carpenter Studio. Steve is an extremely accomplished painter and amazing teacher. I focused here on still life painting. I was also accepted into the New York State Summer School of the Arts while in high school. Here, I focused on figure drawing and installation art. Experience with printmaking has also affected how I approach some paintings. Music has integrated into my art and photography in many ways, mainly through press passes and photo clients. Overall, I have maintained a specific outlook on color and energy that I hope people can recognize.


Please view Sage Cruz Fields’s websitetumblr, and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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Coffee and Rebecca Jacob’s Figurative Painting Skills

Rebecca Jacob earned her BFA at Moore College of Art and Design in Philadelphia. She has also studied at the Pennsylvania Academy of Fine Arts, the School of Visual Arts in New York, the Art Students League of New York, and the Cleveland Museum of Art. I picked her brain on her own art practice and thoughts about the commercial art world. Rebecca’s artwork can be found online at rebeccajacob.com.

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Paul Weiner:

How do you choose a subject for a series of work? For instance, how did you happen upon coffee as a motif?

Rebecca Jacob:

Ah, the hardest question to answer! Prior to my coffee art phase, I brought in a painting to show a gallery director. His mot to me was, “you’re cute but you need to find a gimmick.”

At that time Starbucks was new, and coffee shops were just starting to become popular – hence the inception of my coffee art series. I even painted with actual coffee! Recently, I am focusing on reproducing, on linen, plant life and landscapes from my personal world. I also love literature, despite my extreme lack of writing skills. I pull from various sentences, stanzas, poems, etc. to use to title my paintings.

the morning repast

tea with sugar and cream

perhaps solitude is your preference

Paul Weiner:

Let’s talk about the landscapes and nature, then. Do you prefer to paint en plein air or in your studio? Also, do you find photography and other digital advances like Photoshop to be a useful tools or simply annoying crutches for figurative painters.

Rebecca Jacob:

I love the concept of painting en plain air but I can never seem to set aside the time. Hence, the photos in my studio where I can work at night. I use my own photos, but do not use photoshop.  Whereas it saves an artist time to use crutches, I try not to because my drawing skills suffer if I do.

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Are the Tulips too Excitable_10x10_oil on belgian linen

Paul Weiner:

Do you find, as a figurative artist, that the commercial art world has become overly focused on abstraction?

Rebecca Jacob:

With regard to the commercial world of art, don’t get me going! Art is now completely about monetary investment; if a gallery of note says it’s valuable, then it is. Art is stock for investment, nothing more. Artists seems to justify their work in saying that it is there to convey a message, but art, especially art that needs to be explained, is not the best way to convey a message.

Any element of the aesthetic has become irrelevant; this is now expected from the current fashion in the art world. Any skill involved in creating art is also irrelevant, indeed frowned upon, as old fashioned and therefore unworthy. The two basic tenets of what constitutes good art are now ignored. This is why people get away with posing as artists, and the world believes them. I feel that the figure is the hardest element to draw and paint, and should be conquered first and foremost before venturing on.

Paul Weiner:

Do you view your work as conceptual or intuitive?

Rebecca Jacob:

My work is both conceptual and intuitive depending on the day and my mood.

Paul Weiner:

Interesting. I would imagine that most people would find your work worthy of merit in an academic setting in terms of skill. So, would you say that your concepts are driven more by the commercial art world or your own curiosities?

Rebecca Jacob:

I have to admit I am driven by the commercial art world. Who doesn’t want to be a successful artist, especially after the 1980’s!  On the other hand, I also am driven by my own curiosities.

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Paul Weiner:

Take us through the material process you use as a painter. What materials do you like to paint on and with?

Rebecca Jacob:

I generally work small, so I can afford to use the best quality canvas and paint. I have had several mishaps with low quality oil paint chipping off. I also love to work in oil due to the history of it and the lasting power of oil.

Paul Weiner:

Oil painting is certainly a traditional technique. Do you see your style as being rooted in history? Perhaps you could name a few artists who you’ve found influential.

Rebecca Jacob:

I have always been drawn to artists via their stories more than their actual work. For example, take Jackson Pollock. I enjoy reading about his life more than his actual work. Although, when I visited his studio this past fall, I found that I do love his work. I have been obsessed with the lives of artists in Paris from when Paris was the center of the art world. On visiting Paris, I was more interested in finding their haunts and residences than viewing their works. Currently I am drawn to Johannes Vermeer after reading girl with a pearl earring. I also am fascinated with how he created and ground his own colors and the materials they used back then. I currently am trying to use the colors he used in his palette.

Display Blooms Sublime, 20x20, oil on belgian linen

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Please view Rebecca Jacob’s artwork online at http://www.rebeccajacob.com and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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Simone Rene’s Patterns and Fabric Collage

Simone Rene is a fabric collage artist from Brooklyn, New York who holds a BFA in Illustration from the School of Visual Arts. Her artwork is available online at http://www.simonerene.com/.

11.75"x16", cloth

City Background B5, 11.75″x16″, cloth


Paul Weiner:
When did you decide to begin with the medium of fabric collage?

Simone Rene:
I began working in it about 4-5 years ago. At the time I was doing some mixed-media pieces, paint/graphite/paper/found objects and making clothing, but I couldn’t commit to either because I was torn between my love of fabric and making visuals. I was making a quilt for my nephew, one of my first. It had figures of cute monsters and their toys on it. As I was cutting, positioning, and sewing, the direction I wanted to go in suddenly dawned on me – I know, I know – Duh.

Paul Weiner:
Having studied illustration at the School of Visual Arts, do you see that impacting your style today?

Simone Rene:
I have always loved the figure, and it is pretty central in most of my work. I studied Fashion Illustration in high school and took it at SVA. I think that I am prone to elongating and manipulating the figure to sell the story much the same way fashion illustrators do in order to sell clothing.

The Ancestors A1, 10"x31", cloth

The Ancestors A1, 10″x31″, cloth

Paul Weiner:
The idea of selling a story is interesting, and I can certainly see how fashion is incorporated in your work. So, as far as stories go, do you read your artwork as a narrative?

Simone Rene:
I think of my images as grasping at just a phrase pulled from a whole story, and for me that is where the emotion is.

Paul Weiner:
How do you start one of your fabric collages? It must be tough determining which fabric to use.

Simone Rene:
Usually my concept begins with a thought, words followed by a visual that is accompanied by color. Sometimes I just find a piece of fabric that wants to be something. After I have the concept, I sort through my large fabric collection and go on hunts, both new and used, for just the right fabrics. Once I have the dominant fabric color or pattern, things seem to fall into place. I experiment with combinations and sometimes make variations of the same image. It may take a while, and I may have to return to that image over and over again while I work on other pieces, but it’s ok because art is about exploration.

The Ancestors A5, 12"x31.5", cloth

The Ancestors A5, 12″x31.5″, cloth

Paul Weiner:
Is there a particular color or pattern that has intrigued you?

Simone Rene:
I find myself drawn to black and white patterns, cerulean blues, fuchsia pinks, and flesh tones that are cool – not really into the warm autumn colors.

City Background B3, 15"x27", cloth

City Background B3, 15″x27″, cloth

City Background B1, 17"x21.5", cloth

City Background B1, 17″x21.5″, cloth

Paul Weiner:
You’ve mentioned that your family has resided in Brooklyn since the late 1700s. Could you talk specifically about your “City Background” work and how that relates to your own identity?

Simone Rene:
I grew up embedded in family and surrounded by generations of relatives, both by blood and marriage. We were American, we were New Yorkers, and we were Brooklynites.

When I was little, I don’t ever recall wondering who or what we were. I thought that the diversity of my family was normal. It wasn’t until I began middle school and began to be asked to define myself by ticking off a box that I began to consider “What was I?” note not “Who I was.” It was confusing and disheartening to be asked to define myself and by doing so chance wiping away generations of ancestors that may not be stereotypically present in face or person. It made me a bit of a rebel. I checked all the boxes and when called upon could defend that choice because I knew my family’s stories and history.

I think being generations in the city allowed for the ambiguity that did define my family and I. It allows me to explore aspects of my history with familiarity as well as distance.


Please view Simone Rene’s artwork online at http://www.simonerene.com and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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