Patricia Spergel

Patricia Spergel was born in 1960 in Philadelphia and graduated from Cornell University in 1983 with a B.A. in French linguistics and a B.F.A. in printmaking.  After living and working in both San Francisco and Philadelphia, she moved to New York in 1988 and received her M.F.A. in painting from the School of Visual Arts in 1990. After graduation, Ms. Spergel had a studio for eleven years in the meatpacking district in NYC and then moved her studio to the Westchester Arts Council building in White Plains, NY in 2001. While focusing on painting in her studio, she has also done extensive work with monotypes at the Center for Contemporary Printmaking in Norwalk, CT.  In 2004, the artist was invited by her alma mater to do a one person exhibition at the Tjaden Gallery at Cornell University. She has also been included in numerous group shows nationally and internationally. Spergel was included in the Northeast edition of New American Paintings in 2011 and was a highlighted artist in July 2014 on the 365artists365days blog. She had a two person show in January 2017 at The Painting Center with Sarah Lutz titled “A Conversation Afloat” and she had a one-person exhibition at Kent State University at Stark in September 2017 titled : “ Patricia Spergel: Peeking Through”.  The artist has also curated several group exhibitions, most recently “Parallel Practices” at Western Connecticut State University in Danbury and “Cultivate Your Own Garden” at The Painting Center. Spergel lives and works in Westchester County, NY.

CV STATEMENT PRESS

Artist Statement

Painting non-objectively allows me to draw from personal experiences, while keeping my focus on the formal qualities of paint.  My inspiration and fascination vary from a night visit to an aquarium, the shapes of machinery on a ride at Disney World, Renaissance frescos in Italian churches, or patterns made by sunlight on the wall.  Although my main studio practice is oil painting, switching up my medium to drawing or monotypes allows me to access a more intuitive place in a quicker, flowing manner. My recent work is composed of abstract shapes that crowd together, float and overlap, hovering on the verge of becoming recognizable, tangible objects, momentarily throwing the viewer off guard. Private, secret events are glimpsed just before they move or change. Forms surface, submerge, and press against one another as if for support, or come together as if magnetically, sexually attracted.