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Amy Schissel
Animate Ground 2

2015

US$15,000

About

AMY SCHISSEL Animate Ground 2, 2015 acrylic, graphite, charcoal, ink on Fabriano hot press paper 85h x 105w in Amy Schissel is a Canadian Artist, currently based near Pittsburgh, PA. She obtained her BFA and MFA (2009) from the University of Ottawa in Ontario and has recently been awarded U.S.A.’s $25,000.00 Joan Mitchell Painting and Sculpture Award. In 2013 she received Ottawa’s Royal Bank of Canada Emerging Artist Award and in 2011 was a finalist in the RBC Canadian Painting Competition and National Exhibition, touring the Art Gallery of Alberta, the Hamilton Art Gallery, and Toronto’s Power Plant. Schissel was also Canada’s 2009 recipient of the Brucebo Foundation Fine Arts Award and Residency in Visby, Sweden. Recent national and international exhibitions include VOLTA Basel, Switzerland, VOLTA NY, NYC, Contemporary Fine Art Museum at West Virginia University, Huntington Museum of Art, USA, Florida State Museum of Fine Arts, Florida, USA, Pittsburgh Centre for the Arts, Pittsburgh PA, University of Brussels Gallery, Belgium, Karsh Masson City Hall Gallery, Ottawa,ON, Sjalso Studios, Sweden, Manifest Creative Research Centre in Cincinnati Ohio, Carleton University Art Gallery, Ottawa, ON, and Patrick Mikhail Galleries in Montreal and Ottawa. Ms. Schissel has lectured across the country and internationally in Halifax, Toronto, Ottawa, Los Angeles, Chicago, New York, and Pittsburgh. Collections include the West Virginia Museum of Fine Art at WVU, Canada’s Department of Foreign Affairs and International Trade, the New Zealand Consulate, University of Brussels, Gotland Museum of Fine Art, the City of Ottawa, and Canada’s Council for the Arts Art Bank. Schissel has received Grants and Awards from the Canada Council of the Arts, the City of Ottawa, Ontario Arts Council, the Myers Foundation of West Virginia, and the Joan Mitchell Foundation. STATEMENT My past large-scale paintings and drawings confront anxieties about the role of painting/drawing in the information age, responding to a constant technological presence in a data-driven, media saturated culture. I subscribe to digital processes to reappraise the language of painting/drawing, lending its analog form of expression relevance within an overarching new-media environment. I examine how abstract painting/drawing can be coaxed out of being ‘old media’ with the application of digital language to the painterly field. The surface of the work acts as a lens through which to translate current understandings of space: Embedding modes of digital representation such as pixels, clusters, loops, and linear arrays within the material specificity of acrylic paint and drawing materials, opens up an arena of vague yet familiar spatial emulations of digital environments, and forms a hybrid abstract language. Combining the analogue continuous nature of the painted brushstroke with algorithmic digital processes, although hand-made, my work often takes on the look of a digitized Abstract Expressionism.

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