Still Life Paintings at Magnolias

manhattan-72-500 Manhattan. Acrylic on unstretched canvas, 30 x 30 inches, 2015 by Sarah Atlee. $1,800 For purchase inquiries, contact Ro2 Art at (214) 803 9597 or visit this piece on Artsy.

Are you in or about Dallas, looking for the perfect cup of coffee? Look no further than Magnolias Sous le Pont. And while you're there, enjoy a gathering of succulent still life paintings by Sarah Atlee!

Put this on your calendar for next year (and every year): September 29 is National Coffee Day. Magnolias celebrated this year with a day of music, art, and endless cups of that heavenly brown nectar. They were also nice enough to interview me about my work and process.

Still Life will be up at Magnolias (map link) through 7 January 2017.

Cheers! Martini: Head Clog II

Martini: Head Clog II. Acrylic on canvas, 24 x 24 inches, 2016 bMartini: Head Clog II. Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee. $1,080 For purchase inquiries, contact Cerulean Gallery at 214.564.1199.

This post first appeared on my Patreon page.

I would like to thank the fine folks at Cerulean Gallery for hosting my paintings these last few weeks; I’m honored to be working with you. I would also like to thank my Patreon patrons for your ongoing support – you guys are the best!

Martini: Head Clog II (Detail view 1). Acrylic on canvas, 24 x 2 Martini: Head Clog II (Detail view 1). Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee.

Remember that first head-clogging Martini? Here's round two.

About the Glitch Series

In the Glitch series, I use vibrant acrylic paintings to reimagine traditional still lifes for the digital age. My recent compositions combine tempting, succulent foods with "glitches" painted directly onto the canvas. An avocado is interrupted by the irregular curves of a cracked screen. The natural beauty of an heirloom tomato is marred by low-resolution errors and broken pixels.

Historically, still life paintings are windows onto impossibly perfect worlds. This illusion of perfection continues into our daily lives on the Internet, as we live from one Insta-worthy moment to another. Why not use the flaws of online technology to break into that illusion?

Martini: Head Clog II (Detail view 2). Acrylic on canvas, 24 x 2 Martini: Head Clog II (Detail view 2). Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee.

Thanks to everyone who came to see the show!

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Sushi Sampler

Sushi Sampler. Acrylic on canvas, 24 x 24 inches, 2016 by SarahSushi Sampler. Acrylic on canvas, 24 x 24 inches, 2016 by Sarah Atlee. $910 For purchase inquiries, contact Cerulean Gallery at 214.564.1199.

This post first appeared on my Patreon page.

About the Glitch Series

In the Glitch series, I use vibrant acrylic paintings to reimagine traditional still lifes for the digital age. My recent compositions combine tempting, succulent foods with "glitches" painted directly onto the canvas. An avocado is interrupted by the irregular curves of a cracked screen. The natural beauty of an heirloom tomato is marred by low-resolution errors and broken pixels.

Historically, still life paintings are windows onto impossibly perfect worlds. This illusion of perfection continues into our daily lives on the Internet, as we live from one Insta-worthy moment to another. Why not use the flaws of online technology to break into that illusion?

Last week to see the show!

Sushi Sampler is available at Cerulean Gallery as part of the exhibition On Edge Part I, featuring work by Sarah Atlee, Fritz Danner, Nic Noblique, and Victoria Taylor-Gore, on display 16 September – 28 October 2016. Visit Cerulean Gallery to learn more.

Avocado: Cracked

Avocado: Cracked. Acrylic on canvas, 18 x 18 inches, 2016 by SarAvocado: Cracked Acrylic on canvas, 18 x 18 inches, 2016 by Sarah Atlee. $910 For purchase inquiries, contact Cerulean Gallery at 214.564.1199.

This post first appeared on my Patreon page.

Okay, show of hands: Who's reading this on a cracked screen?

We've probably all been there, felt the cold pit in our stomachs as we realize a careless moment has just sent our hard-earned cash down the drain (in the form of a gadget). It sucks.

But there's an upside.

Have you ever looked at the fascinating patterns and semi-random (but beautiful) shapes created when an LCD screen breaks? A little Google Images search will show you what I mean.

avocado-cracked-detail-1-72-500

I applied this same concept to the Tamales painting, with a slight difference in technique. Often when I'm painting stripes or other strict geometric shapes, I'll employ masking tape and clear acrylic medium to attain those precise edges. With Avocado, however, I decided to paint the stripes in by hand.

The process required a steadier hand, but I found it delightfully meditative and spontaneous. I love the spots where one area of wet paint bled into another, or where my hand shook just a little. I left these "mistakes" in because I never want you to forget that you're looking at a painting.

Every avocado has its own unique shape and texture. Every hand draws a line a little differently from all the other hands in the world.

Avocado: Cracked is available at Cerulean Gallery as part of the exhibition On Edge Part I, featuring work by Sarah Atlee, Fritz Danner, Nic Noblique, and Victoria Taylor-Gore, on display 16 September – 28 October 2016. Visit Cerulean Gallery to learn more.

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