The Fine Palette of New York-Based Artist Petra Nimtz

Artist Petra Nimtz is the first to admit that a career in fine art was about as unfathomable to her twenty years ago as winding up in New York State from her native Germany. The artist has made a path for herself as an abstract painter, following her academic pursuits from country to country and state to state. Currently based both in Hudson Valley and Manhattan, Nimtz carefully pushes her practice forward with a nuanced look at texture and color. She is unafraid to explore alternative processes in her practice as well. ANTE sat down with Nimtz in her Midtown studio to peruse her recent works and pursue the depth of her considerations in art-making.

Petra Nimtz’ painting in situ (image courtesy the artist)

ANTE – Thanks Petra for sitting down with us today! So tell us: How did you get your start as an artist?

Petra Nimtz – I was born in Germany and left in 2002, ending up in Vancouver, BC, Canada. After two years, I began to think I should paint. I took a course at the Emily Carr institute and began sharing a studio, it all came together very naturally…

ANTE – And had you painted at all before that? 

PN – Yes, as a child – as a student in school, but I had never approached it other than as a student…

ANTE  – So not as a vocation?

PN Right, not until I lived in Vancouver. I began to study the basics of painting by starting with acrylics. I began this way, sharing a studio, working in acrylic before moving onto working with oil paints. Once I began working with oil, I was hooked immediately. I then visited NYC and began to study at the Art Students League in New York under Frank O’Kane, I know he’s still teaching – he’s quite a force of nature, and I love his work. I was writing down notes in his classes like a maniac… he mentioned Abstract Expressionists, all this information that was quite new to me – I had never studied art history, had never heard of that. Their work really resonated with me – he told me to study the painters who I liked, and that’s what I started doing and it helped me evolve my practice at my studio back in Canada.

ANTE  – What timeframe was this?

PN – This was about 2005-06 when I began working as a painter, and showing in local cafes in Vancouver. Living there in Vancouver at the time, the abstract art scene was not very active and I didn’t have much to look at, so in 2010 I moved to upstate New York for three months to rent a place to paint – a live/work space. A friend of mine directed me to Woodstock, so I went and spent three months there painting in a barn and going into New York City often. I then decided to move here – exactly ten years ago.

Petra Nimtz works between her studios in Woodstock and Midtown Manhattan

ANTE  – So then have you primarily been working in abstraction?

PN – Yes, I work in abstraction. I am an abstract artist, and I’m not interested in drawing or painting figuratively, or creating work with the human figure. I don’t want to pursue it. 

ANTE  – At the time you began living in Woodstock, were you working on a larger scale?

PN – The largest at that studio was 6×7’ size artwork, working in that barn. Actually when I began painting I started out smaller, but over the years I have become emboldened to try out larger sizes in my painting. I now like working in a 4×5’ format, it’s comfortable for me. 

ANTE  – Observing a work in progress, I do see some pencil and sketching/drawing, are you working with an oil stick as well?

PN – Yes, all of that – this particular work has so many layers. I work on multiple layers as each is still fresh – the paint is still wet, and for some works I’ll be building up, say, ten layers. I like showing layers and allowing them to shine through, giving them a chance to shine through – suffice it to say that I don’t spend too much time hiding the layers.

ANTE  – Can you talk about the brushstrokes you use in these artworks, particularly works in these smaller sizes? There is an expressive energy…

PN – Yes it’s easier for me to use looser brushstrokes – it’s more animated, what I like to call my “messy” paintings. I can work with a more expressive style in a smaller format, using a palette knife and brushes to create a more dynamic work. 

ANTE  – Do you frequently use a palette knife in your work?

PN – Yes, I use the edge of it: I use it to spread the paint onto the canvas directly. I can make strong and decisive gestures, and the paint can be applied more thickly. It allows me to direct my compositions and make certain areas of a painting stronger. This allows a certain side of the canvas to dominate the overall composition. I have been using the palette knife since I first delved into working with oil on canvas.

ANTE  – What is new to your recent work?

PN – The colors I utilize in my practice always change. The color palette varies organically according to my mood. 

ANTE  – Do you feel influenced by working in Woodstock?

PN  – Yes, it’s very inspiring – I’m surrounded by nature, blues and greens and whites. In nature, I’m inspired to paint using these colors. 

ANTE  – Do you feel that you are inspired by light in your work? 

PN  – I frequently do use white through the layers of my artworks, and I am often influenced by light in my work. While I frequently use white painting in my work, I don’t often work with purple as a color in my compositions. 

ANTE  –  Interesting to know! And do you work on a single painting at a time?

PN  – Oh no, I always work on multiple paintings at a time because I get stuck. I’ll get stuck on a work. I have multiple works in progress hanging on walls – I have quite a large studio space in Woodstock so it’s easier to move from one wall to another to change what I’m working on when I get stuck on a certain artwork. I have never worked on an easel; I always work on the wall. It helps me to work on several pieces at a time – I’ve always worked this way in my process, since I very first started painting.

Work by Petra Nimtz in situ (image courtesy the artist)

 

ANTE  – Tell me about your approach to painting: you already referenced infusing gesture with the palette knife, what other considerations inform your painting?

PN  – I’ve always worked with palette knife and brush, but now I’ve even used my hands or even gloves to directly apply paint to the canvas. I like working with different methods of application – brush, palette knife, hand – in contrast to create tension and create clear gestures in my work. It’s easier to carefully construct a composition borrowing from these different styles of line and gesture in a smaller format works, however. Smaller size works are easier to control this dialogue within. 

ANTE  – So you only work in painting? Not in other mediums?

PN  – I actually have also worked in monoprint, collage and works on paper. I’ll sometimes create a monoprint. I make monoprints in addition to paintings, but I don’t view this as my main style of work. Painting will always be my medium. 

ANTE – In terms of expanded practice: Do you frequently work in collage, or have you worked in other formats than oil on canvas? 

PN  – In 2015-16 I was working in acrylic a bit in addition to my oil painting, and around that time I started making collage a bit. Some of these works I’ve since covered with oil paint – since 2018, I’ve worked almost exclusively with oil paints. I was working with acrylic before, but it dries so fast and you can’t build up layers, so I returned to exclusively working with oil paints so that I could build up layers in my work. Adding a new element to the work with collage is exciting for me – I was happy to paint over my collage works with oil as it added it an exciting texture for me. 

ANTE  – Can you talk to us more about other artists whose work has inspired you?

PN  – I’m really interested in New York City as a moment in the 1950s and 60s and the artists who lived here then – they inspired one another, challenged one another, and built up a camaraderie. Reading about their lives, they were all wild. They were also great artists. Of course many wonderful women artists of this time period – Grace Hartigan, Joan Mitchell – continue to inspire me. Among contemporary artists, I love Amy Sillman. In addition to her wonderful practice she also has a great sense of humor that has come through when I’ve heard her speak. 

ANTE  – So what are you working on at the moment? Have you worked more in one certain style over, say, the past six months?

PN  – What I’ve liked recently is that my work has become more gestural, more loose. The style I call “Messy” – I think of Joan Mitchell and her messiness, which I love. I was thrilled to see my style evolve into this messier look – my painting style changes over time without planning out, but the positive feedback I’ve had from others is that while my style changes, it is always recognizable. My changes in style over time do shift, but it remains recognizable and I’m happy to go with the flow.

ANTE  – So a few years ago you mentioned that you had a studio in Bushwick before moving to this Midtown location, can you tell me about your experiences as an artist working in Bushwick?

PN  – Well, Paul D’Agostino who is very knowledgeable came out to visit my studio. He’s lovely and helped me – really became a great resource for me, he’s wonderful. He hosted a few shows at his studios, and suggested my work to other members of the community. I did enjoy being a part of the community as best I could, but I live in Woodstock – I was mostly in Bushwick on the weekends, most studios were closed and most artists were gone when I was working there. Here being based in Manhattan, it’s an easier commute and I can walk to Chelsea galleries and other nearby galleries to go observe the art exhibitions that are on at the moment.

ANTE  – So what exhibitions have you been in recently?

PN  – Well, I participated at a group show in Bushwick, and I’ve also recently shown with Julie Torres in a space just outside of Hudson in Hudson Valley, New York. It’s nice to have a footprint both in Woodstock and in New York City, I can appreciate the benefits of both.

ANTE  – So what exhibitions have you visited in recent days and months that you enjoyed? 

PN  – I finally went to the new MoMA, and enjoyed the Amy Sillman-curated section “The Shape of Shape” that they have on view now. Recently, I went to an interesting show in Chelsea (NYC) at Albertz Benda, “Substrate”. The show was really beautiful. I also did get the chance to witness the show at the Katonah Museum of Art, “Sparkling Amazons.” It was an intriguing show and I had the chance to learn about artists who were not previously known to me. There was also an intriguing show recently featuring artist Cat Balco, “My Exploding Stars,” at Rick Wester Fine Art.

Digging Into the Interdisciplinary Practice of Roni Sherman Ramos

“I always think that my work speaks for itself, because I’m really a traditional painter.” -Roni Sherman Ramos

It’s morning, and shafts of light are pouring in through the windows of Ramos’ Brooklyn studio. Paintings on canvas jostle for attention with nearby works on paper, while ceramic works fill the remaning space. I carefully step through the space, afraid to awaken the spirits seemingly captured in Ramos’ elevated works: nighttime scenes – or are they abstractions with flecks of bright light winding through them? – share a wall with vibrant ochre red compositions that seem to leap for joy at being created. Ramos is studious – rarely a season goes by when she’s not pursuing professional development to deepen her understanding of her artistic practice. She is also reflective and thoughtful, ruminating on the painters and other interdisciplinary artists she has taken absorbed wisdom from. We spoke in November 2019 as she was celebrating the results of a recent trip to the kiln, diving into both her paintings – where her traditional roots lie as an artist – along with her work in the expanded field.

“Reflections” Roni Sherman Ramos, 36×36″ oil on linen

Roni Sherman Ramos: Even though my work is abstract, there are always elements viewers can understand…from a representational standpoint. People are always seeking familiar things in artworks – especially if they are abstract (works). I like to give viewers the freedom to find a mountain, or a face… before recently, I wasn’t even titling my work so that it could speak for itself. I’ve come to realize my work is rooted in nature and rooted in the land, and it has elements of land-driven [representation]… so I’m now calling these paintings abstract landscapes. Now, I’m embracing this impulse toward nature: it looks like nature to me, there’s no denying it.

ANTE. Mag: That’s a big leap!

RSR: Right, I’ve always tried to disguise this impulse before. I can deny it, and put lines through it or..

AM: …cover it in markings or…

RSR: …right or cover these in markings, or disguise it. But it remains. My process is a process of destroying, and re-inventing and resurrecting, as Amy Sillman says. I work in layers – sanding, scraping, destroying and then building [the work] up again and finding things from the past that rise to the surface, then making new marks.  What I strive toward is making sure there are a variety of marks: places where the eye can rest, and places where color leads the eye…agitation is present on other areas of the canvas. Tension and relationships are built through marks across the canvas. I include impasto as well in my works.  There’s always contrast – my work includes defined shapes and diffused shapes. Textures are also very important to me.

“Earth Wind Fire” Roni Sherman Ramos, 24×18″ oil on linen

AM: Can you walk us through your process? Some of the recent works from this Fall have almost an action-painting sensibility, showing brushstrokes and emblazoned areas of texture and scratches…

RSR: Marks and mark-making are both important parts of my practice. Texture as I mentioned is very important. I also love the work of Jackie Saccoccio, I’m a fan of her paint-drip heavy style and sometimes incorporate a similar sensibility but not always.

AM: Is there a new direction you’ve embarked on lately in your work? 

RSR: Lately with my oil paints I’ve incorporated using a heat gun into my process, using the heat gun on the freshly painted coat of oil on linen and exposing a bit of the layers below. This adds areas that build that feeling of agitation, I’ve learned to be careful when I use it as it takes a light touch.

AM: Is this the first time you’ve used the heat gun in your process?

RSR: I’ve used it before to dry water-based mediums, but this is the first time I’ve used it in my oils.

AM: Tell us about the works we are seeing here (featured in this article): are these all recent works? Say from the past two years?

RSR: These are all recent works, but honestly my paintings take a long time to make. Often I think I have control over the process, but eventually I realize the process has control over me. This is just what happens organically: you don’t always know what will happen or how you’ll do something that you’ll like

AM: So is this freeing for you or is it nerve wracking?

RSR: I like the serendipity of it, to a certain degree. Sometimes it’s disappointing but that’s ok, I know I can keep on going but it can take months until I see what I like. I always have more than one work in progress at any given time.

-ANTE. Mag