New York’s center of gravity is a place where you can have all or nothing. Ideas, like people, stick to it or are pushed away like two of the same magnetic poles. While the stakes of making art in New York are often governed by this similar idea, generations of artists come to this city to see where they stand in relation to this magnetism. Its surrounding literal and social architecture can be taken in many directions and angles, yet the focus on this center never shifts.
Hercules invited me to select a few artists that are definers of what it means to be making art in New York and some that are making their path in this particular landscape. How do they navigate this community of similar and dissimilar as well as their relationship with the physicality of New York City? What is their vantage point and how do they choose to live here? While in many ways these artists are diverse, all are making interesting work that in one form or another speaks of New York’s current artistic climate.
I presented a few questions to these artists about their relationship to the city they call home. Once a week for the next five weeks Hercules will feature an artist from this group.

Colin Snapp is an artist who lives and works in New York. To view his work please visit his website or stop by his current show at The Journal Gallery up until April 29th.



Jerome Marshak was born in St. Louis Missouri in 1942 and began making art in 1965 while studying law at Washington University in St. Louis. During the late 1960s and early 1970s his work was exhibited at the Los Angeles Artist’s Association and the Comsky Gallery in Los Angeles.  Marshak has worked alone in a small studio on the remote southern headlands of Lopez in Washington State for the last six years.
In 2009 Nina Katchadourian, viewing program curator at the Drawing Center in New York invited him to show his work with two other artists who examine the capacity of drawing to represent something as dynamic, volatile and vast as the ocean. His lines are drawn using a set of templates designed to reduct and then deconstruct what he sees. While staying within the material bounds of traditional drawing, his works expand our understanding of how drawing acts as a descriptive system and means of interpretation.

How has working in New York influenced your practice?  Working in New York is a radical change in the information I am processing to produce my work.  I am in New York for one year on a residency grant from the Sharpe Foundation.  Prior to coming to New York in September of 2011, I lived and worked on Lopez Island for thirty years.Lopez is an island in Northern Puget Sound off the coast of Washington State.  The island is the size of Manhattan, approximately 30 square miles,with a population of about 2,000. The contrast in the two environments is radical. On Lopez my work was about water, sky, shoreline and mountains; in New York my work is about people, architecture and being immersed in the most intense community of art and culture anywhere.  New York is an extremely dense environment both socially and physically. Which one would you say has a larger impact on your work? I would have to say both the social and the physical are having a strong influence on my work.  What are you currently working on? I am creating an installation in my studio that is an abstract transformative  representation of urban evolution.

Portraits by Cameron Krone
Text and curation by Colin Snapp