No doubt, it’s by coincidence that Brooklyn-based painter Amanda Wall’s latest work hails from the burgeoning artistic idiom of spiritual art so presciently described by Lisa Slominski’s article, “Spiritual Art” in February 2023. Or, perhaps it’s a phenomenon attesting to the current zeitgeist. In many ways, it mirrors a similar historical moment in the late 19th century and early 20th century in the US and Europe. War, a deadly pandemic, widespread mobilization of immigrant populations, and other major upheaval and angst “rendered a craving for alternative methods of connecting with the spiritual world,” emboldening “the rise of Spiritualism in America, and shortly after, its emergence in Europe.”
A resurgence of interest in “mediumistic and esoteric practices” has found expression in the work of several contemporary women artists, whether by design or, as I suggested above, by happenstance. In her 2024 book, The Other Side: A Story of Women in Art and the Spirit World, Jennifer Higgie summons the ghosts of women artists from the past, from Hildegard von Bingen to Hilma af Klint (among others), whose work, while unique to each, shared a common goal: “to communicate with, and learn from, other dimensions.”
Amanda speaks openly about the spiritual nature of her work and the role of automatism in her artistic practice. If she isn’t purposefully channeling the spirit world per se, she is definitely, like artists before her, striking a balance between mindful composition rooted in formal artistic training and unbridled stream-of-subconscious expressionism.
“I’ve always talked about spirituality and I don’t want to deny that influence, but this is so subconscious that I consider it a gift.” Then Amanda adds (and this is at the core of what makes historical and present day women’s spiritual art so compelling): “I believe it comes from the intellect and the spirit.”
Not unlike Surrealist painters such as Joan Miró and Max Ernst, Amanda’s current version of automatism has resulted in the creation of representational, biomorphic forms. These forms — sometimes figures human, animal, and otherworldly, at other times, fragmentary symbols — seem to be constituting or else dissolving from a solid, colorful matrix.
Enigmatic narratives suggested by titles like Hell Cat, Excessive Consumption, PUMP Up the Atmosphere, and No Voice are invitations rather than clues as to meaning. “I’m teasing you,” Amanda explains, “to tap into that immediate recognition of dark humor but also the presence of hope. Hope is the faint light in the distance.”
Around 20 or so recent paintings by Amanda were on display in Untitled Hotel’s (3 Freeman Alley) expansive ground floor gallery. The exhibition, titled “Feral Moments: Works by Amanda Wall,” closes on October 13, 2024 but the works can be viewed on her website. Her brief artist’s statement situates the works within the realm of contemporary spiritualist art (but, of course, not only):
My 2023 work takes you to the depths of our most primal fears and highly intuitive ability to
conquer and resolve. In the process of creation, there is a path toward revelation. In the
darkness of a storm, light radiates through cracks in the clouds. Often the light of the soul is
the prisoner of the mind. The inner demons are fear and ego. Mystery calls to us from the
heavens to seek the story of our existence. We desire to exist for eternity.
I had an opportunity to meet Amanda at the opening of her Freeman Alley (Manhattan) show, and afterwards I asked her multiple questions about her background, her practice, her current work, and more.
Debra Thimmesch: What is your artistic/educational background?
Amanda Wall: I have been drawing and painting since I was a child. I was interested in architecture in high school but I decided to study graphic design and fine art at The University of Tulsa. I was a web designer in my twenties and worked for a design firm in Milan, Italy, before moving to New York City. I returned to painting as a stay-at-home mother in New York with a studio practice in Brooklyn. Since then, I have been working in the art world: art galleries, art critic, art teacher, art studio assistant, and an art fair coordinator. In 2020, I graduated from Pratt Institute with an MFA in Painting & Drawing.
Debra: You’ve written (including for FF2 Media) about the considerable power of the art market in determining what new art we ought to be paying attention to and which artists are worthy of our attention. Do you want to elaborate on that here?
Amanda: Great Question! I think the art market has been saturated with figuration that lacks differentiation or originality. Emerging artist’s work should be thought provoking, not just technically skilled remixes of previous historical mastery. Whenever the word “trending” is used to describe what is selling, it makes me cringe.
I guess the question is, “Who have become the tastemakers?” With the exception of art critics (some are artists as well), the art world stopped asking artists what they think and that’s a huge mistake. Warhol’s opinion mattered, he promoted Basquiat. Established artists need to support and help emerging artists with their careers because they have the connections. When I’m established, I will.
Debra: Are there some artists working now whose work you find interesting?
Amanda: If I were to drop a few painters I follow and admire, [they’d be]: Sterling Ruby, Amy Sillman, and Neo Rauch.
Debra: Have any historical artists influenced your practice and/or informed interpretive aspects of your work?
Amanda: I like to think about the influence of a movement rather than an individual artist. When I do research or go to galleries and museums, I’m searching for answers in my own process. I’m thinking about what I want to accomplish and how the artists during a specific moment in art history solved problems. Manifestos are interesting to me. I’m attracted to writing what I stand for. What you stand for is having a voice with conviction.
Debra: Talk about your recent work. How does it differ from, say, past work?
Amanda: I hope that sarcasm and humor embedded in my paintings is not lost. The titles are conceived as a riddle rather than an explanation. I am enticing you to investigate without being too serious. I’m playing with you and I hope that it feels playful and whimsical.
It’s human nature to believe in other dimensions without grounded space, to believe in something beyond ourselves. Our universe is infinite. When you fully embrace the concept, you stop seeing the limitations in life and you start seeing the possibilities. Through intense isolation, a healing thought process brought me to this recent series.
Debra: Your recent work is smaller in format than, say, the wolf picture you’re also exhibiting. Stylistically, they’re different as well. Can you explain the formal and narrative choices you’ve made with your recent work?
Amanda: Working small is just a way to resolve a new style and refine formal properties. I have started working on larger canvases. The works previous to 2023, centered on spirituality through an exploration of eastern religions.
I think those hazy sinister spirits were tapping into what has evolved into the entities I create now. I abandoned the human form for more abstract subconscious imagery.
Debra: Do you have future exhibitions scheduled?
Amanda: Yes, I’m showing at the Clio Art Fair in September located in Chelsea. I’m really looking forward to it. I went to the Clio Art Fair in May. I’ve been connecting with art world professionals on instagram about my show. The waiting is the hardest part of this process. Patience is not a virtue when you’re ambitious.
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Amanda’s work will be on display at the Clio Art Fair at 465 W. Broadway from September 5 to 8. Clio Art Fair showcases the work of artists “without any exclusive NYC gallery representation,” focusing “on the kinds of contemporary art and interventions that are being created by independent artists all over the world…”
Notably, the Clio Art Fair runs simultaneously to longstanding Armory Show at the Javits Center (Sept. 6-8). We’d love to see the artists at the Clio Art Fair, including Amanda Wall, receive well-deserved attention.
© Debra Thimmesch (8/31/24) – Special for FF2 Media
LEARN MORE/DO MORE
Check out Amanda Wall’s artist website.
Read Amanda Wall’s past work for FF2 Media by visiting her author page.
Read an interview with for Contemporary Art Curator Magazine.
Visit the Untitled Hotel, 3 Freeman Alley to see more of Amanda Wall’s work.
Make plans to check out the Clio Art Fair!
Learn more about The Armory Show.
Read more about Spiritual Art, as written by Lisa Slominski.
CREDITS & PERMISSIONS
Featured Photo: Crop of Amanda Wall’s painting Don’t Fall for It.
First Middle Photo: Amanda Wall’s Sugar Trap and Don’t Fall for It. Photo taken by Debra Thimmesch on 7/11/24.
Second Middle Photo: Amanda Wall’s Hell Cat. Photo taken by Debra Thimmesch on 7/11/24.
Bottom Photo: Amanda Wall’s headshot. Photo provided by the artist and used by FF2 with her permission.
All images authorized for responsible use by FF2 Media as long as user adds link to this post in credit section.
