The group of subjects in this body of work occupy the same place in my mind, in relationships with physical distance yet emotional closeness. My level of realism requires me to spend hours inspecting and replicating another person's skin, even with that person being absent. The resulting tension between the subjects and my process keeps me engaged in the work.

These pieces are a form of collection. My method of categorizing people. I chose hands because they are both utilitarian and personal. As a part they infer a lot about the whole. They are the main vehicle of touch, both impersonal and intimate.

Using a transparent ground like glass is a way for me to put the paint into the viewer's space. This gives the illusion of three dimensions while remaining two-dimensional, informing the viewer of their own multiple perceptions. The pieces become specimens, like a slide for a microscope, asking to be examined. I am presenting to the viewer something I consider worthy of archival and close examination.

Pandemics

My art is about my life. I try to be as busy as possible and work as quickly as I can without judging what happens on the canvas or in a sculpture until it's done. Even then, I enjoy the chance occurrences that exist in that chaos and want to share them with you. When someone looks at my work, I hope they experience it first and don’t read into what is written as an explanation of what is supposed to happen. Anything happens.

My current work explores the idea of time, memory, light, and color. I try and contextualize memories and influences into something tangible by negotiating the gaps of what I know to be true and the things that are unknown.

The goal of my art is to create work that follows the traditions and styles of classical paintings, but which focuses on the symbols and ideologies that comprise Americana. Throughout art history, the objective of master painters was to create visually striking scenes which conveyed different themes and messages to the viewer.  Whether it be religious, mythological or historical, all of these Masterworks Immortalize people, places and modes of thought from the past, a goal I wish to mirror within my own work. I employ a mix of identifiable American symbolism, with  visual motifs and subject matter from classical paintings. With each piece, I arrange these elements in such a way as to convey broader themes and values that are prevalent socially and politically within the US. In some cases such as the bald eagle, I will replace roosters or other animals to modify the meaning behind the symbol. I make my work with gouache on paper. The medium allows me to quickly render detailed reproductions In classical painting styles, while simultaneously giving the work its own distinct character apart from historical classical pieces. With this work I try to place Modern America within the classical art canon, while highlighting and deconstructing the ethos of American mythology. 

Julie Wolman’s work consists of a series of energetic, colorful paintings in oil. These works emerge from a process of layering that entangles line, color, and space, as well as unexpected texts, all in one image. As an architect in her previous life, with a BFA and a BA in Architecture from the Rhode Island School of Design, it is not surprising that the feeling of exuberance and spontaneity Wolman achieves is grounded in geometry; a hidden geometry that allows her to explore movement and chance with abandon.