Nov 052017
 

danae falliersAnn Landi, October 23rd, 2017

Danae Falliers and Willy Bo Richardson have a two-person show of recent works at Surroundings, the landscape-design firm that took over James Kelly’s excellent and hugely missed gallery in the Railyard District. The two artists offer a fine complement to each other’s lushly minimalist visions (no, that’s not an oxymoron—as you can see below). Falliers’ composite-based photography turns landscape, libraries, fabrics, and streets into rhythmic grids and dazzling sweeps of color. Richardson makes opulent, vertically striped paintings that he describes as “philosophy in motion.”  In his artist’s statement, he says “I began with proportion and painted vertical lines as a measuring device. This evolved into my current practice. I did not know this would become a multi-decade body of work. I simply fell in love with something, and as it unfolded it touched me on more profound levels.”  This small but vibrant show is well worth a visit during an indefinite run.

danae falliers

Danae Falliers, Wildflower 40, 2015, 30 x 40 inches, photograph

 

Sky Bridge 2 (diptych), 2017, 53 x 114 inches, oil on canvas

Original article here

Nov 012017
 

Professional Artist Magazine recently interviewed me for a piece titled “Strategic Planning in Action: Notes from the Field”. You can find the issue in bookstores and online here: December 2017 Issue

professional artist

A good strategic plan answers three key questions: What do you do? Who do you do it for? And what do you need to do it well? ~ Elaine Grogan Luttrull

“Richardson knew he needed a partner with expertise within the architectural and design world who had a solid understanding of technology. But there was more. Richardson took his “high studio standards” to a new level last year when he became sensitized to solvents. He wasn’t able to be around anything toxic, so his studio practices and environment became toxin-free. That meant he needed to find a partner who adhered to the same standards… And he did.”

Jul 172016
 

travel santa fe

“Galleries are scrambling toward nationally relevant contemporary art,” says Willy Bo Richardson, a Santa Fe-born painter whose internationally acclaimed canvases of fluid vertical strokes hang at Canyon Road’s Turner Carroll Gallery. “The quaint notion of going to Santa Fe to buy howling coyote art is thankfully disappearing.”

Luxury and Lifestyle Magazine VIRTUOSO LIFE July/August 2016 – Santa Fe Travel

-Download Full Article Here-

Oct 072015
 

Artsy Three Distinct Artists United by Bold, Enthusiastic Styles

Turner Carroll Gallery welcomes into their space this month three new artists, with styles ranging from minimalist to maximalist and abstract to representational. Willy Bo Richardson, Fausto Fernandez, and Jamie Brunson share a certain spirited sensibility, but their methods of representation vary so dramatically that any one-line comparison between their practices wouldn’t suffice.

continue to article…

Aug 212015
 

adobe airstream

Original Article: Painters Point the Way at Richard Levy Gallery
By Margaret Wright  August-September 2014 Edition

richard levy gallery

“That’s Where You Need to Be,” Richard Levy Gallery

Painting, inextricable from human and social evolution, continues as a ready target for provocateurs lobbing the contention that the medium’s expressive force of action has finally achieved irrelevance to hands-free digital imaging. The conversation generated within “That’s Where You Need to Be,” a curated exhibition at Albuquerque’s Richard Levy Gallery, refutes such critical claims and even co-opts them with a demonstration of how the act of painting remains married to elemental expressive instincts.

Highlighting recent work by William Betts, Xuan Chen, Maria Park and Willy Bo Richardson, the show surveys how each artist employs abstract means to delve into the effects of color, space, and the current course of our evolution (or devolution). The artists’ references and methods are diverse but find frequent overlap. Richardson stretches vertical bands of color so intense across each canvas that they seem to crackle like neon. He has described his act of painting as a sort of meditation, a give-and-take with gravity and the universal laws that determine our experience of the physical world.

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Jan 152015
 

Eric Kroll is kind of fairy godfather to me. He was my mom’s boyfriend in Taos and New York City. He turned her on to photography and modeling… and then he turned her on to my dad.  His photographs of my family wove themselves into my memory and sense of self. His annual holiday photo-cards grace our old family albums.

arte-dental-tribune

Dental Tribune Latin America No. 9, 2015 Vol. 12

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Oct 112014
 

gallery intellgalleryIntell: WILLY BO RICHARDSON – WATERCOLORS
Phillips de Pury, New York

Kristina Nazarevskaia, October 4, 2012

Willy and I met many years ago when a budding young painter, I ventured deep out into Brooklyn to buy stretcher bars from his studio. It was a random ad on Craiglist that brought me to a ground floor garage space on Myrtle Ave and into the very first real artist studio.

“That’s Where You Need to Be 2”, 2012
watercolor and gouache on paper, 26×42 in

I remember feeling instantly awed by the perfect fluidity of color streaming down the canvas in soft vertical bands. Orange flowed next to the most brilliant turquoise, next to a deep alizarin crimson, next to a Naples yellow and all these colors seemed to be destined to exist in this very harmony, in this very space. There is a saying in Russian “Все гениальное – просто”, which roughly translates to all the ingenious things are in reality quite simple and this is how Willy’s work felt to me. It was perfectly simple, yet impossible  for anyone but him to have conceived and expressed. Over the years we have kept in touch and finally met up again in New York in anticipation of the exhibition at Phillips de Pury “Watercolors” in Chelsea where several of Willy’s new works are installed in their very own room. I’ve asked Willy to talk about about his process and the paintings in this exhibition as I believe that in abstract art, understanding the artist’s physical process, his thought process and inspiration is an integral part of understanding the painting itself. What is it about the outside world or the inside space that brings out this line or this stain, or this field of color? How do thoughts and intentions come to life?

Here is how Willy described his process:

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