Sarah Lamb and Ed­ward Mi­noff de­but new still life and ocean­scape scenes at Cav­a­lier Gal­leries in New York.

American Art Collector - - Contents - By Michael Claw­son

In one of Sarah Lamb’s new works, Crabs, a pair of Dun­geness crabs sit on a plate. It’s hard to tell if they are alive, or if this is their post-boil cool-down be­fore din­ner. Ei­ther way, you can al­most taste the ocean.

In one of Ed­ward Mi­noff’s new works, Fos­sil, a foam-tipped wave crashes in a rolling cas­cade on a beach. You can al­most smell the ocean.

Al­though both artists have painted as­pects of the ocean here, their new joint show at Cav­a­lier Gal­leries in New York City will cover much more as they weave larger themes—in­clud­ing nos­tal­gia, the anatomy of waves and vin­tage ob­jects—into and out of their work. The show, Masters of Con­tem­po­rary Re­al­ism, opens Oc­to­ber 17.

For Lamb, she finds her in­spi­ra­tion in ev­ery­day life. “For this show, I have a se­lec­tion of paint­ings of large, an­tique weather

vanes,” she says. “Good friends of mine have an ex­quis­ite col­lec­tion from the 19th cen­tury and are gen­er­ous enough to let me bor­row them…I’m drawn to their won­der­ful patina— a lot of these old weather vanes have been gilded and regilded over the years. Gold leaf over cop­per verdi­gris is a beau­ti­ful ef­fect and re­ally fun to cap­ture in paint.”

All of the works are painted un­der ar­ti­fi­cial light, which she finds more suit­able to her paint­ing style and the mood of her works. “The ar­ti­fi­cial light adds more con­trast and chroma to the lights and darks. The weather vanes are dy­namic and the­atri­cal so the ar­ti­fi­cial light suits the sub­jects,” Lamb says. “I al­ways paint from life—even if the sub­ject is go­ing to die on me in a few days. It is kind of a thrill to try and cap­ture some­thing in paint be­fore it ex­pires...the petals will wilt, birds start to smell and cheese grows a furry layer on top.”

Mi­noff, who says Lamb’s work is a bril­liant in­spi­ra­tion to him and filled with “dy­namic brush­work and bold color,” will al­most ex­clu­sively ex­plore the ocean, in­clud­ing a ma­jor new, and still in­com­plete, trip­tych that will an­chor his half of the show. “Each work re­lates to it in some way and it will be fun to see if view­ers are able to make the con­nec­tions. I my­self am still try­ing to un­der­stand how cer­tain stud­ies re­late. In some cases it is quite ap­par­ent, how­ever, in oth­ers it is in­di­rect,” Mi­noff says. “All of my paint­ings are ex­plo­rations— med­i­ta­tions on a theme through which I learn, process and bet­ter un­der­stand my sub­ject, which is the ocean.”

Why waves, though? Mi­noff says it all comes down to en­ergy. “At their most ba­sic level, waves, en­ergy trans­mit­ted through phys­i­cal space, per­me­ate our ex­is­tence: We think of sound, light, even our own beat­ing hearts as waves,” he says. “My paint­ings at­tempt to al­most sculp­turally con­struct waves as I un­der­stand them. Given a lit­er­acy in the ba­sic el­e­ments, I try to mold and oc­ca­sion­ally warp them into my vi­sion while main­tain­ing cred­i­bil­ity. The show is, in some ways, about process. I spent one month paint­ing every day on the beach, which al­lowed me to cre­ate a very im­me­di­ate feed­back loop and to com­pare dif­fer­ent con­di­tions—winds, light, tides, cur­rents, etc.—on the same sub­ject. At the end of that month, I re­viewed my stud­ies and be­gan de­vel­op­ing the trip­tych, which is par­tially based on a par­tic­u­lar morn­ing af­ter a fierce storm had passed, leav­ing days of heavy surf in its wake and a sub­dued warm light emerg­ing past sweep­ing clouds. [The new pieces] al­low me to bend my un­der­stand­ing of real phe­nom­e­non to cre­ate a dra­matic qual­ity that ex­presses my own vi­sion: more a feel­ing or sense of the ocean than a lit­eral re­pro­duc­tion of it.”

1Sarah Lamb,Crabs, oil on linen, 12 x 23"2Sarah Lamb, An­tique Grasshop­per Weather­vane, oil on linen, 34 x 47"

3Ed­ward Mi­noff, Fos­sil, oil and 23k gold on linen on panel, 24 x 48"4Ed­ward Mi­noff, Con­ver­genceNo. 2, oil on linen on panel, 8 x 24"

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