REAR WINDOW, 2018, acrylic and oil on canvas, 55” x 47”
Exhibited: “Summertime” Tibor de Nagy Gallery, NY, 2018
PORTRAIT IN A CONVEX MIRROR ( for John Ashbury ), 2017, gesso, acrylic, polymer resin on canvas, 44" x 72", Private Collection, NY
DETAIL, 2017, PORTRAIT IN A CONVEX MIRROR
NOTE TO SELF , 2017, gesso, acrylic, polymer resin on canvas, 44" x 72"
NOTE TO SELF, Detail, 30"x 20"
TIPPING POINT, Everyone Has Desires, 2016-17, polymer resin, acrylic on canvas, 62" x 48"
Studio 2018
PARALLAX, 2018, oil, acrylic, pearl and silver pigments , resin on canvas, 49" x 48", Private Collection, Naples, Florida
NOISEY CONTEMPLATION 2018, heavy body acrylic and polymer on canvas, 40" x 47"
RISE -UP , 2015-16, oil, acrylic, and polymer on canvas, 74" x 64"
BUDDHA, (Front And Center) 2016-17, acrylic, polymer resin on canvas, 36" x 30"
IN PRAISE OF SHADOWS, 2014-2018 oil, acrylic on canvas, 20" x 20", Private Collection, NY, NY
THE IDEA OF MIDNIGHT SUN, 2018, acrylic on canvas, 24" x 24"
TITLE COMING SOON, 2018, acrylic on canvas, 24” x 24”
VEILED HEAT COLD SNAP , 2016, oil, acrylic, metallic pigment, polymer resin on canvas, 62" x 73"
Studio 2018
BLUE SPIRIT MATERIAL( Shelley Rowing Home To Mary) 2016, oil, acrylic, heavy body polymer, pearlescent pigment on canvas, 62" x 62"
MERCURY, 2016-17, oil, acrylic, polymer resin , silver and pearl pigment on canvas, 62" x 62"
Studio 2018
Installation, solo exhibition, Quick Mettle Rich Blood , Allegra LaViola Gallery NY,
SHOOT THE BLUES THINK BACK INTO THE OCEAN, 2012-2016, oil, acrylic, resin, mica, iridescent pigment/ canvas, 68" x 58"
SHOOT THE BLUES THINK BACK INTO THE OCEAN
Exhibited: A Concentrated Gaze, 1285 Avenue of the Americas Art Gallery UBS , 1285 6th Ave, NYC, April 11-July 1, 2016
FARTHER OUT, 2012, oil, acrylic, mica, polymer resin on canvas, 62" x 62"
"Verbal attempts to describe Slone's opulent metaphysical paintings, enriched with sweeping sumptuous textures in blazing colors, cannot ever hope to do justice to their sheer grandeur."
— Gigi Kracht, pgs. 62-66, VIEWS Magazine, 2012
MOLTON, 2011 oil,acrylic on canvas 18”x14"
JOY WHISPER, 2012, oil, acrylic,polymer resin, micaa on canvas, 36" x 36"
Catalogue Essay, Hallucinatory Splendor, LINK
MADAME B, 2011, oil, acrylic, mica, resin on canvas, 62" x 62"
"Sandi Slone continues her passionate affair with paint's kinetic, sensuous, qualities revisiting some of the unusual processes she developed ..."
—Stephanie Snyder, ARTFORUM.com, December 20
SPIRIT MATERIAL, 2012, oil, iridescent acrylic, pearl pigment, polymer resin on canvas, 49" x 62", Private collection, NY
Fireplace and Spirit Material
Slone 2017
VOSTOK, 25'“ x 85”, Studio 2018
WORLDS APART, 2015 oil & acrylic on canvas, 40" x 57", exhibited, The Lonely See And The Sky, NY, 2014, Private Collection, New York
FOR ALL THAT, 2014, acrylic & polymer resin on canvas, 48" X 62"
TOUCHSTONE , 2012-2018, acrylic on canvas, 28" x 22"
RED LETTER DAY (The Aleph ) 2013, oil, acrylic, polymer on canvas, 76" x 60"
Exhibited : Art In Buildings, 2018, Love Apple Art Space, Ghent, NY, 2018
RED LETTER DAY (The Aleph), Painting 101, Sargent's Daughters, NY, 2014
"Sandi Slone’s Red Letter Day is awash with symbols, and seems more like the cave walls of Lascaux or Le Chauvet. Her paintings are an accretion of visual ideas over time. From the upper right hand corner we read a bright red aleph-like shape, but this visual key presides over a cascade of less discernable but still interpretable signs. Black circles, boxes and ladders fall away from the aleph into a rosy and grey miasma. Eros (2009) uses a similar figure ground typology, a single brushstroke with six dangling pods looms over a washy fade from light blue to yellow, like some forgotten gesture to call up a goddess." - Artcritical.com
The NEW YORK TIMES, January 20, 2014, staff photographer: Nicole Bengiveno. Red Letter Day (The Aleph) 76” x 60” exhibited: Painting 101, Sargent's Daughters, New York, NY, 2013 , Material Way, Fiterman Art Center, BMCC-CUNY, New York, NY, 2014, Art In Buildings, Love Apple Art Space, Ghent, NY, 2018
Review; ARTCRITICAL, LINK,
ART IN BUILDINGS , 2018
“I still think painting is the great unknown, a parallel universe” ( in conversation with Jennie Lamensdorf) Even though Sandi Slone has often worked with oversized brushes—an early series of abstract paintings made with large brooms established her reputation as a young painter — she long has had a predilection for intimate gestures and unexpected incidents that signal her preoccupation with visual strategies as metaphors for everything from the materiality and sensuousness of color and light that impact landscape memory and the body, to the current state of our fraught planet. There has always been a sense of the hand, of calligraphic gestures and shapes, that explore the language of contemporary abstraction with its wide ranging references as much as her sweeping swaths of paint and thick transparent pours do—extending the conversation around modernism and what came after.
FROM ALL SIDES , oil, acrylic, polymer resin on canvas, 20" x 20" exhibited Fendi Casa solo exhibition In The Clear
Featured, SCENE MAGAZINE, LINK
PORTRAIT OF MRS. BOIT'S FUSHCA POLKA DOT DRESS, 2014, acrylic, gesso, polymer/canvas, 20" x 20"
Exhibited: 40 Female Artists Explore The Legacy of John Singer Sargent, Sargent's Daughters Gallery, New York, 2014,
Studio 2017
WHITE ON THE MAP, 2014, acrylic, molding paste on canvas, 24" x 20", exhibited: Painting 101, Sargent's Daughters, 2014
Featured in INTERVIEW MAGAZINE, LINK
Blue Holds Red, (LUMEN) 18" x14", acrylic, polymers, on canvas, 2017
MIDNIGHT RIVER, 28" x 22", oil, acrylic /canvas exhibited Lower Manhattan Cultural Council 2017, Private Collection, NY
ELYSIUM, 2014, 20" x 16", acrylic on canvas
THE IDEA OF THE SEA, 2014, acrylic polymer on canvas, 30" x 36", private collection New York
INSOMNIA (for Louise Bourgeois) 2013, acrylic, molding paste on canvas, 18" x 14"
HOW TO CONSULT THE I CHING, 2015, oil, acrylic on canvas, 8” x 8”
FATHOM, 2011, oil, acrylic and mica on canvas, 34" x 68"
TRIPPING ON THE GREAT WALL, 72” x 44”, 2017
MOVABLE MATRIX, 60” x 48”, 2017