An Unforgotten Past: The Work of Nicolas V. Sanchez

Nicholas V. Sanchez (MFA 2013, Fellow 2014) is driven by a prolific compulsion to bear witness to everything he holds dear. In paintings that depict blind horses, decaying walls and scabrous surfaces, Sanchez suggests a world that is not only falling apart but one that is also slipping through his fingers.  By painting memories that could easily fade into oblivion, Sanchez creates an illusion, first for himself and then for the viewer, of their continuity which satisfies his quest to preserve his family's heritage.

In Nicolas' newest body of work created specifically for the "2014 Fellows" exhibition opening at the Academy on September 3rd from 6-8pm, Nicolas reveals some of his most intimate paintings yet.  On the eve of the show's opening, we caught up with him to discuss his Fellowship year, learn about his inspirations and what's next for this artist-on-the-rise. 

Q: What are the major themes you pursue in your work and can you tell me about your work from the "2014 Fellows" show?

A: Family, heritage, tradition, preservation, identity, space, and preservation are themes I tend to explore in my work.  For the 2014 Fellows show, my work continues to center around the idea of inheritance through family, specifically through my family's history. Linking different worlds by means of family photos, rural animals, and painting methods, a new identity is simultaneously created and lost through the preservation of traditions, myths, and legacies of past generations. 

Q: Would you tell us about your childhood and its influence on your work? 

A: I was born and raised in Michigan where I had equal access to urban neighborhoods and the dirt roads and open farmland. It's that quaint Midwest kind of area. I first started seeing influences of home in my work during my time in New York. I would say my bi cultural experience growing up is what influences my work the most. I would also say my connection to nature influences my work as well. As a child I went outside and ventured into the woods beyond our backyard collecting bugs and teaching myself about nature. I always had an affinity for animals and nature. I recall those times when finding links and overlaps to my past and inherited legacies.

Q: How did you start painting? Do you start with a picture, an idea, or a story in mind?  

A: I have been drawing all my life. Since I could hold a pencil. I started painting in undergrad. I can't say I start in any one way. Sometimes the work starts with an image in mind, other times its a feeling, or a technical execution that motivates me. Sometimes I'll see something and think, 'oh...yea, that should be painted like this...' So sometimes it starts with clarity and other times it starts with moments of curiosity and I have to paint or draw something to find out why I was so attracted to it. A sense of elasticity in my studio practice is important to me. When simultaneously working on a large oil painting and a small ink drawing, each medium is revisited with fresh eyes, hands, and mind. Contrary to the non-erasable and 'restrictive' idea about drawing in ink, my colored ballpoint pen drawings offer a sense of freedom. My first mark is also my last mark. There's no taking it back, so why worry about it? I just keep drawing. It pushed me to become more disciplined and develop a sense of agility.

Q: How has the Academy shaped your practice? 

A: I came to the Academy to develop my technical skills and it has done that. Because the Academy has given me a stronger foundation, I feel less restrictive and encouraged to try new things. I've acquired skills that allow me to express my ideas and explore unknown territory.

Q: If you could retake any class at the academy what would it be?
A: Wade's drawing class 

Q: What did you learn most about yourself and practice during your post graduate year?
A: I learned more about what drawing and painting mean to me. 
 

 

Q: Can you share any rituals you may have in the studio?
A: The only thing I do consistently in the studio is clean up before I leave. I need a clean and somewhat organized space so I can focus when I return. I love being able to arrive at my studio and within minutes begin working. 

  

Q: What was the best advice given to you as an artist? 

A: A wise artist named Guno Park (MFA 2011) told me to "Just draw!"

Q: If you weren't an artist what would you be? 

A: I also like teaching dance (pop-n-lock, isolation, footwork, and body waves) so maybe that's what I would be doing. 
 

Q: Pick a piece and would you tell us about it?

A: Heir, 2014 (oil on canvas, 24 x 30 in). This is Ethan. He is the youngest first cousin in my family. He battles me every time I come home. He keeps my dancing skills on point. 

Q: Finally, what's next? 

A: Immediately after the opening reception for the "2014 Fellows" show, I am assisting international artist Liu Bolin on a project in Chelsea. Then, my work will be featured in a two- person show in November.  I will also be working on a few projects with Accesso Galleria in Italy. Besides that, I will be painting and drawing every day, living and working in the city. 

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Currently, Nicolas V. Sanchez's work is featured in the "2014 Fellows" exhibition on view at the Academy's Wilkinson Gallery through September 28th.  This three-person show also features the work of 2014 Fellows Elizabeth Glaessner and Yunsung Jang.

Annually, the Academy awards Post-graduate fellowships to three exemplary graduating students chosen through a highly competitive selection process. During their Fellowship year, the Fellows receive studio accommodations, a stipend, exhibition opportunities and teaching assistantships to expand the depth and breadth of their artistic practice. The "2014 Fellows" show represents the culmination of their Fellowship year and the beginning of their promising careers beyond the Academy. 

To see more work from Nicolas V. Sanchez please visit his website.  Stay tuned for more interviews from Elizabeth Glaessner and Yunsung Jang during the exhibition's three week run.

Mid-Year Critiques

By Zoë Sua Kay (MFA 2014)

It might be said that one of the frustrating things about mid year critiques is that as soon as they’re over, the school closes because Christmas around the corner. But what about all that advice you’ve just been given?

Suddenly, despite having been absolutely exhausted from the final push in the studio leading up to it, you’re re-energized – you’ve got to go and fix that thing you’ve just been told is the collapsing point of that painting. But alas, you’re being shuffled out, slightly relieved, slightly ecstatic, slightly like you’ve just survived you first foray through the tumble dryer. 

Regardless of whether your own critique went well, or whether it was a disaster, it’s probably a good thing that no one really remembers in the immediate aftermath what had been said.   A few salient comments stick in your mind but really, when you’re under the spot light in front of one hundred-or-so of your peers, adrenalin kicks in and part of you snaps in to survivor mode.  On critique day, all the work you’ve done thus far – the desperate search for meaningful content and that entirely original stroke of genius that makes your artistic "voice" more Pavarotti than the guy at the 14^th street subway who for years never quite managed to figure out the lyrics to The Beatles song he keeps singing – all that exertion is finally, and in one fell swoop of the 15 minutes you’re assigned, either deemed worthwhile or, heaven forbid, a fundamental "mismanagement" of time.

Although I had only witnessed a couple of the mid-year critiques the previous year, I had heard the horror stories.   In the days leading up to critiques for my fellow class of 2014, compatriots were divided between fear of imminent apocalyptic disaster and a Joan of Arc-esque sense of martyred stoicism.  You try to tell yourself it doesn’t matter that much, that you’ve done what can.   By the time you you’re hanging your work, you are falling apart at the seams because you’re suddenly overcome with grief at the lackluster body of work you’ve produced.  However, when my name was finally called and the formal introduction made, something unexpected happened.  I found myself switching into the role of a host.   As I gave my little blurb about what my work was about, it felt as though I was welcoming them into the party that I guess is my art making.  And then it was all a blur.

I remember Wade Schuman likening one painting to a billboard (thanks, Wade) but it was all mixed between more positive comments and other criticisms.  So much is said in so little time and between so many "jurors" that it’s difficult to keep track of it all. In hindsight, it’s difficult to get into a meaty debate over certain points you’d have liked to expand on. The comments that are made by our professors are incredibly astute yet abridged versions of a full criticism you want explore. It’s actually rather an unbelievable exposé of their intellect and ability to get to the meat of the matter within a few minutes. This, however is the only drawback. If such insightful issues can be raised in such a short time, imagine what could be discussed if we had each had an hour of their time..or an entire day?? I think I can safely say that all my classmates were left hungry for more. Alas, we must take pity on our faculty members, and applaud what, for them, must have been a long and grueling two days.

All in all, the experience for us students was a good one.  And I didn’t even feel the urge to cry.  At the end, when people gave their congrats and shook my hand, and exhaled with a somewhat shaky sense of relief, thinking, ‘it’s all over…for now’. All in all the experience for us students was a good one. And I didn’t even feel the urge to cry. Especially at the end when people gave their congratulations and shook your hand, and you exhaled with a somewhat shaky sense of relief, thinking, "it’s all over…for now". 

My only grievance, as a young female artist, is the lack of female presence on the panel. Catherine Howe did a fantastic job of holding the flag for us and there were a few more women artists in the mix the following day, but in all honesty, my heart did sink a bit when in the morning I noticed the male to female ratio. 

Now though, after the dust has settled and I’ve had time to obsess over the transcripts of my critique, I feel armed and ready for the turbulence of the final semester. The time has come to jump back into attack mode and prove to Wade that my paintings are not fated to be billboards, thank you very much.  Besides, there’s nothing wrong with a good billboard.

 

On behalf of the students I’d like to thank the faculty for their time and effort, it really is an honor to be offered so much of it. Thanks to Holly for providing us all with transcripts and ultimately minimizing post-blur amnesia. I’d also like to thank the first years that made it in to show their support. And well-bloody-done fellow second years! 

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To learn more about Zoë and her work visit: www.zsuakay.com

 

Interested to experience critiques for yourself?  Find past critiques on Academy’s Vimeo channel.

Post Tribeca Ball, Pre MFA Open Studios, and Some New Work

By Ian Factor (MFA 2014)
 
Tribeca Ball was last week, and MFA Open Studios is this Friday, so the activities never end here at the Academy. What follows is a little assemblage of photos taken in and around the school over the last two weeks.

Only about a month left of class before the summer break, and I'm scrambling to get everything done ... seems like an impossibility at this point: five paintings and two presentations to do on top of everything else. The push is on.

I'm JUST getting into the sketches and studies that I plan to develop this summer and into next year as my Thesis work. In addition to all the class work I need to get done, I'll be trying to get a grasp on this new direction as well. So in my next entry I'll have more to report on that. I have one charcoal sketch below that represents the beginning of the beginning in this new direction.

In the meantime, I hope to see everyone at the Open Studios this Friday, Apr. 19th, from 6 to 9pm!!!

One of my newer pieces in progress:
"Crow Pose," 48" x 60" Oil

Detail of "Crow Pose"

Here's a working charcoal drawing of mine,
beginning the "movement" series.
30" x 22" Charcoal on Tan Canson Paper

My Palette

Sweet Graphite pencils! 

Alfred Rosenbluth, MFA 2013 

Zoe Suenson Taylor, MFA 2013

Wade Schuman and his band, Hazmat Modine, at Terra Blues.

JP Roy's Painting II Class Crit.

Sunlit studios

John Jacobsmeyer lectures during our composition class.
 

Ilsa Brittain (MFA 2014) with some casts.

Some of the casts.

Wade Schuman's "Man and Beast" class.

Roberto Osti drawing during the Tribeca Ball.

My studio prepped for the Ball. 

Models getting ready for the Ball

The night of the Ball: Music and art. 

Zoe Suenson Taylor, MFA 2013 at the Ball.

Cast and the stars.

Students working on Anatomy on a Sunday evening.

Katie Fogg, MFA 2014 working on Anatomy.

Ian Factor (MFA 2014) will be blogging here throughout the academic year about his first year at the Academy and moving to New York City. Check the label "First Year Experience" or "Ian Factor" for more posts about his first year at the Academy.

Spring Break: Dean Peter Drake Arrives in Istanbul

By Peter Drake (Dean, Academic Affairs)

Janice and I arrived at Istanbul International Airport at 6:00 am. Remarkably, Erdal Kara was there to meet us and drive us into town. Erdal is in charge of international students at Mimar Sinan University and is very invested in facilitating student, faculty and alumni exchange between Mimar Sinan and the Academy.

Ali Karem Bilge talking with Peter

Equally remarkable is the fact that Ali Karem Bilge offered us his apartment for the duration of our visit. Ali and his father have been great supporters of the Academy and many of our students. One of the first things that you notice upon entering his apartment are three great paintings by Angela Gram and four fantastic landscapes by Emily Adams. Ali is crazy nice and he seems to be the norm among Turks of all ages. It should be noted that we wouldn’t have met any of these folks without the efforts of alumna Buket Savci Atature and our very own Wade Schuman who met them all last year while gigging in Turkey.

Briefly, because I’m operating on 48 hours with no sleep, here are some of the highlights of the first day.

Topkapi Palace is amazing. The treasury has so much diamond, ruby and emerald encrusted stuff in it that you can get blasé about emeralds the size of softballs. Seriously, you would think this was all just rhinestone applique. The lines can be daunting, but it’s worth it.

Blue Mosque - ceiling

 

The Blue Mosque was next and it was during afternoon call to prayer. The call itself is so beautiful if you haven’t heard it before, although I was standing near a minaret my first time and nearly jumped out of my skin. The proportions of the Mosque are astounding and the sense of communal spiritual commitment is mesmerizing. The intensity of the patterns and their sheer numbers makes for an almost hallucinogenic experience. It was the highlight of the day for me.

I had been looking forward to seeing Hagia Sophia ever since Janice and I bought a stereopticon slide of it years ago. It was under construction, but it is still such a commanding presence and the sense of its history as both a Christian and Muslim house of worship is almost heartbreaking. Mosaics of Christ and Mary share the stage with quotes from the Koran without missing a beat.

 We also took in the Mosaic Museum which may inspire some interesting ideas for an MTA commission I’m working on.

Basilica Cistern

Finally we went to the Basilica Cistern which is an underground reservoir held up by 360 massive stone columns. Istanbul has always struggled with water supply and  this cistern taps into an aquifer 19 kilometers north of the city. Janice got some of her best photos here. It feels a bit like the Paris catacombs but there are fish swimming in the cistern and it feels like the set of a Bond movie.

Our last accomplishment of the day came when we took the tram home spending all of 6 lire instead of 40 for a cab. It’s nice to be a New Yorker.

  

Check back in future blog posts on the rest of Peter's trip scouting Istanbul for a future artist-in-residence program for Academy students.