Welcome to the 328th edition of A View From the Easel, a series where artists delve into their creative environments. This week, artists are exploring the creation of unique alphabets and the concept of universal collapse. Interested in participating? Review our submission guidelines and share details about your studio using this form. All types of studios and artistic media are welcome, including those at home.
LUSMERLIN, Columbia, Maryland, and Philadelphia, Pennsylvania. How long have you been in this workspace? I’ve been in my Maryland studio for three years and have used the Philadelphia space intermittently for four years.
Describe a typical day in your studio. I begin with sunlight when possible, incorporating stretching, reading, and sitting outdoors, even in the cold. Without sunlight, a white lamp suffices. My peak creative hours are late morning to early afternoon. Prior to painting, I engage in dance or karaoke to align my mind and body, essential since my painting involves full-body movement.
How does your studio space influence your art? My studio opens to a garden, providing constant inspiration from nature, which is a recurring theme in my work. The space’s flexibility, with movable walls and furniture, allows my projects to evolve seamlessly. It has facilitated ambitious works like a 28-foot painting titled “The Big Rip,” depicting the universe’s impending collapse.
Zoë Elena Moldenhauer, Gowanus, Brooklyn. How long have you worked in this space? Since fall 2021. Describe an average day in your studio. I walk to my studio from Cobble Hill to Gowanus around noon, crossing the Union Street bridge. Whether working or in between projects, the studio is my personal sanctuary.
How does your space affect your work? My small studio features mobile surfaces and strategically placed shelves. I create intimate, layered works using fabric, printmaking, and collage. Larger pieces are crafted on the wall or ground. The studio’s basement location on a hill adds a quirky, tilting dynamic to my work process.
