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October 28 - December 31, 2022

Reception for the Artist
Friday, October 28th, 5-8pm

Jeffrey Bishop 4.jpg
Jeffrey Bishop: Liquid Architecture
By Tom McGlynn

Jeffrey Bishop’s work has been characterized over the course of his career by a graphic intensity that is synthesized from many sources. One can see in his earliest sculptures and drawings classic Modernist tropes, including aspects of El Lissitzky and minimalist masters such as Barry Le Va, but can also discern influences of indigenous Northwest Coast totemic art and graphic tendencies of the symbolic traditions of American Southwest and Plains tribal artists. It’s a sophisticated mix of expressive form that melds distinctions between art historic traditions in ways similar to the Abstract Expressionist “unconscious” conjured by Jackson Pollock or Richard Pousette-Dart for example, but also more recently erupting in urban graffiti and the welter of contemporary “asemic” writing experiments taking shape in social media groups. 

His most recent series of compositions contain a compelling mix of symbolic and gestural elements that whiplash from expressive linear saraband to slower, pooling areas of inky mediums on synthetic substrates. One’s initial impression of these works is of a collection of Rorschach ink blots devised in the mind of an alien or otherwise alternate being, almost as if by proto-linguistic means of syntactical coding dependent upon linear attenuation and mass expansion and contraction. These are largely realized in deep blacks amidst subtle intermediate networks of grey suspended in luminous fields of vibratory value. The series is entitled Fathom Compression which hints playfully at a confluence of understanding and signal wave form dimensions.

With longer viewing, bi-lateral (humanoid/ insectoid?) symmetries arise that further reveal these works to be not simply chance-based but also the result of a carefully conducted operation. Bishop intentionally lets his ink medium takes its natural, flowing course but also carefully directs that course and then technologically intervenes with a silkscreen layer to “sample” elements of these improvisatory passages. The resultant hybrid image therefore doubles reflectively in its visionary reverie. This is automatic writing squared.

The question of how augmented pattern-recognition registers in one’s subconscious in a profoundly expressive way has always been important to Bishop. Looking again to his earlier work, one sees a similar inclination to bi-lateral symmetry in works such as Near Agung and Seek Cili (both 1993) from his mid-career period when he was based in Seattle, Washington.
This compelling series of works include vibrant colors and sections of patterning that recall the groundbreaking work of Philip Taaffe in that artist’s late 1980’s -early 1990’s period. Like Taaffe, Bishop has been involved in reinventing a language for painting that generously includes its more prosaic origins in the myriad decorative patterns recognized across world cultures. James Siena’s work, too, could be included in such a kindred group. Certainly, Siena’s recursive compositions also reflect a certain algorithmic networking of gesture evident in Bishop’s approach. Bishop’s early exploration of such spontaneously- controlled works were the result of a long and productive stint of creative activity on the West Coast. This is a specific developmental characteristic he shares with painters such as David Reed and Mary Heilmann, both of whom discovered the essence of their artistic autonomy in The West prior to arriving in New York City. In any case, his earlier experiences in Seattle lend these mid-career works a certain freshness and vitality that his more recent and newest work considered here has further extended and refined. 
Considering more recent works, two examples perfectly predict the works in the present exhibition. Cinq Femmes Rhumba (2006) and Totem Quiver #1 (2022) exemplify Bishop’s biomorphic and geometric inclinations. The former recalls the surrealist collages of Max Ernst based on microscopic organisms, while the latter combines wave-forms that invoke the nesting shape-form ovoids of the Haida-Gwaii together with the jagged reflective patterns of Hopi pottery and textiles (among many other world cultural implications). Both compositions set off vibrations of dynamic, rhythmic counterpoint. If one considers the multiplicity of formal languages deployed here, sensitively orchestrated by Bishop, one might gain a deeper insight into the artist’s sensibility and intent. There’s a universal structure to Bishop’s formal address to the viewer that includes an immediately accessible sonic dimension. 

To paraphrase Goethe, if architecture is frozen music, then the liquid architecture of Jeffrey Bishop’s music is uniquely realized in his harmonically complex work.

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Jeffrey Bishop

Catalog available

Jeffrey was born in Berkeley CA.

Father was a Particle Physicist


First language was German. Was in Zurich (father doing a post doc)


Later lived in Paris and Brussels as a kid and in the Ticino (the Italian part of Switzerland) - learned French and Italian (French fluent, German functional, Italian lost(!)


Then lived in Princeton NJ before going to college in Boston at The Boston Museum School (now called the School of the Museum of fine Arts, SMFA). Got my BFA degree from Tufts University. 1973.

Won the 66th James William Paige Travelling Fellowship 1974.


Jeffrey was influenced at the time by Michelle Stuart, Dorothea Rockburne, Joan Snyder and Deborah Remington among many. Later and more lastingly by Robert Smithson, especially the writings.


He went to grad school at the University of Washington, Seattle 75-77. Studied with Jacob Lawrence and Michael Spafford.


He won the prestigious Betty Bowen Award, 1982, resulting in a one person show at the Seattle Art Museum. 

Showed for many years in Seattle at the Linda Farris Gallery.


Also in Los Angeles where I lived in 88/89.

I taught painting, drawing, modern art history at Cornish College of the Arts during my time in Seattle.


Moved to NYC in 1994.

Residencies at:

American Academy in Rome

Jentel, Sheridan WY

Takt, Berlin, Germany

Banff Centre for the Arts, Banff Alberta, Canada


Contemporary music

Current Jazz

Hiking, biking, scuba diving.

I was an active skydiver for 22 years (now retired!)

Quiver Wall, Enamel on Wall, 13' x 33', Mural at Ideal Glass, 22 E_edited.png

Mosaic Artspace, Curated by James Trigas, Andreas Kokkodis
Marfa Clinic Exhibition Space Marfa, Texas, Curated by Don Culbertson and Valerie Breuvart
John Molloy Gallery  NYC, NY Curated by John Molloy "Quiver Wall", Mural at Ideal Glass Studio 
22 E. 2nd St, NYC Curated by Willard Morgan
SRO Gallery, Brooklyn, NY, "Nomadic Mechanics", Monoprints 2014-2018
Curated by Cecilia Whittaker-Doe, Don Doe
Talking Pictures: "6 Paintings" Brooklyn, NY, Curated by Cathy Quinlan
Scholes Street Studio, Brooklyn, NY, Curated by René Alain "Quiver-Alchemy"
490 Atlantic Gallery, (two person show) Brooklyn, NY, Curated by Jim Edwards
ShapeShifter Lab, Brooklyn, NY  Roger Smith Hotel, NYC, Curated by Danica Drummond 
Danforth Museum of Art, Framingham, Mass, Curated by Katherine French
Catherine Person Gallery, Seattle, WA
OHT Gallery, Boston, MA
Miami University Art Museum, Oxford, Ohio, Curated by Dr. Edna Southard
OHT Gallery, Boston, MA
Westminster School, Simsbury, Conn.
Meyerson & Nowinski Gallery, Seattle, WA
Linda Farris Gallery, Seattle, WA
San Diego State University Gallery, San Diego, CA, Curated by Walter Cotten
Linda Farris Gallery, Seattle, WA
Linda Farris Gallery, Seattle, WA
Linda Farris Gallery, Seattle, WA
Whatcom Museum of Art, Bellingham, WA, Curated by Dennis Evans
Seattle Art Museum, Seattle, WA, Curated by Bruce Guenther
Karl Bornstein Gallery, Santa Monica, CA
Linda Farris Gallery, Seattle, WA



"Just Friends", Equity Gallery, NYC, Curated by Patricia Fabricant, Beth Dary and Alexandra Rutsch Brock
Digital: AAA Prints 2012 - 2019, Curated by AAA (American Abstract Artists)
Western Connecticut State University Danbury , CT
"Just Friends", Equity Gallery, NYC, Curated by Patricia Fabricant, Beth Dary and Alexandra Rutsch Brock
"American Abstract Artists - 75th Anniversary Print Portfolio and 2019 Monoprint Portfolio"
Curated by AAA, Transmitter Gallery, Brooklyn, NY
"Dedication and Purpose: 65 over 65" 
Joanne Mattera Art blog. On line Exhibition, Curated by Joanne Mattera 
"Just Friends", Equity Gallery, NYC, Curated by Patricia Fabricant, Beth Dary and Alexandra Rutsch Brock
"The Black and White Show", Curated by Ford Crull, Jane St Art Center Saugerties, NY
"Independent Cogitate"
Yangzhou Contemporary Art Center, Curated by David Chen, Yangzhou, China
"Turbulence", Curated by Odelette Cho
Sylvia Wald and Po Kim Art Gallery NYC, NY
"Drawing Invitational", Curated by Cathy Ann Quinlan, Paul D'Agostino and Jeffrey Bishop, Talking Pictures Brooklyn, NY
Sideshow Nation VI
"The Greatest Show on Earth"
Sideshow Gallery, Brooklyn, NY, Curated by Richie Tempiero
"Yellow Chair, Holiday Extravaganza", David&Schweitzer Contemporary, Brooklyn, NY, Curated by Michael David
"Hygge", Small Works, Curated by Jen Dragon
Cross Contemporary Art, Saugerties, NY
"Mykonos Biennial" Mykonos, Greece, Curated by Lydia Venieri
"True Believers", David & Schweitzer Contemporary, Brooklyn, NY, Curated by Daniel John Gadd
"GAMUT, A Group Show about Color", Cross Contemporary Art, Saugerties, NY, Curated by Jen Dragon
"Alter(native) Facts, Pleiades Gallery, NYC, Curated by Denise Adler
"The Trace" (Abscence/Presence) Lichtunfire Gallery, New York, NY, Curated by Peggy Cyphers, Ford Crull, Priska Juschka
"The Talking Pictures Invitational" 106 Van Buren, Bed-Stuy, NY
Curated by Cathy Ann Quinlan, Paul D'Agostino, Jeffrey Bishop, (Based on JB interview with Susan Sontag, 1981)
"Thru the Rabbit Hole 2, Nation V", Sideshow Gallery, Brooklyn, NY, Curated by Richard Timperio
"DSC Flat File Exhibition", DSC Gallery(David & Schweitzer Contemporary) Brooklyn, NY, Curated by Michael David
"Quiver/Alchemy", 490 Atlantic Gallery, Brooklyn NY
(2 person show), Curated by Jim Edwards
"NOMENCoLorATURE #1, Studio 10, Brooklyn, NY, Curated by Paul D'Agostino
"NOMENCoLorATURE #2, Centotto Gallery, Brooklyn, Curated by Paul D'Agostino
"Art Du Jour", 490 Atlantic Gallery, Brooklyn, NY, Curated by Jim Edwards
"In Monitoring", The Buggy Factory, Bushwick, Brooklyn, NY,  (3 person show), Curated by Paul D'Agostino. With Tom Butter and John Descarfino
"Works on Paper NYC IV", Jeffrey Leder Gallery, NYC, 
"Small Works", Jeffrey Leder Gallery, NYC, NY
"Last GREXIT to Brooklyn", Centotto Gallery, Brooklyn, NYC,, Curated by Paul D'Agostino
"Take Five", Cross Contemporary Art, Saugerties, NY, Curated by Jen Dragon
"Group 17", Kunstraum Tapir, Berlin Germany "Take Five", Curated by Isolde Krams
"Back in Situ, or Turns", Centotto: Galleria [simposia] Salotto Brooklyn, NY. Curated by Paul D'Agostino
"Abstraction and its Discontents", Storefront Ten Eyck, Brooklyn, NY, Curated by Deborah Brown
"Come Together: Surviving Sandy", Curated by Phong Bui, Brooklyn, NY 
Jeffrey Leder Gallery, NYC, N.Y. "Organic Connections" 3 person show, Curated by Charles Marburg Westminster School,  Simsbury, CT. "100 Year Anniversary Artists". 
"Studio of the Absurd", M55 Gallery, LIC, NY.  
"III Bienal Internacional de Pintura de Guayaquil", Museo Alvarro Naboa,  Guayaquil, Ecuador. Curated by Mauricio Pablo Martinez Rojas
"Spring Highlights", Winston Wachter Gallery, Seattle, WA.  
"Diagnostic Arts", Monserrat College of Art, Beverly, MA.
OHT Gallery, Boston, MA. "Gallery Artists".
OHT Gallery, Boston, MA. "Gallery Artists"
Linda Farris "LOOK", Seattle, WA
Bellevue Art Museum, Bellevue, WA Washington State Convention Center, Seattle, WA
Meyerson & Nowinski Gallery, Seattle, WA
Meyerson & Nowinski Gallery, Seattle, WA
Vox Populi Gallery, Seattle, WA
Elizabeth Leach Gallery, Portland, OR
Security Pacific Gallery, "The Betty Bowen Legacy".
Linda Moore Gallery, San Diego, CA
Bellevue Art Museum, Bellevue, WA. "Watercolor".
Linda Farris Gallery, Seattle, WA. "20th Anniversary Show".
Seattle Art Museum, Seattle, WA. "Betty Bowen Award Tenth Anniversary Exhibition".
Bellevue Art Museum, Bellevue, WA
Westminster School, Simsbury, Conn. "Five Alumni". Blackfish Gallery, Portland, OR. "Linda Farris at Blackfish".
Henry Art Gallery, Seattle, WA. " The Collectors: An American Tradition".
Eastern Washington University, Cheney, WA. "Washington  Drawing" (Traveling Exhibition).
Mississippi Museum of Art, Jackson, MI. "Collage and Assemblage" (Traveling Exhibition). Henry Art Gallery, Seattle, WA. "The Washington Year/Shape as Idea: Abstraction".
Linda Farris Gallery, Seattle, WA
Seattle Art Museum, Seattle, WA. "Selections from the 
Modern Collection".
Cranberry Gallery, Plymouth, MA. "Contemporary Washington State Artists".
Vladisvostock, USSR. "Cornish Faculty".
Los Angeles Institute of Contemporary Art, LAICA, Los Angeles, CA. "Eight Seattle Artists".
Linda Farris Gallery, Seattle, WA.
Linda Farris Gallery, Seattle, WA. Seattle Art Museum, Seattle, WA. "Washington Open".
The City of Seattle, Seattle WA. "Selects".,Linda Farris Gallery, Seattle, WA.
Seattle Art Museum, Seattle, WA. "New Ideas" (Four Person Show).
Linda Farris Gallery, "Seattle Drawing", Seattle WA.
Boston Museum of Fine Arts, Boston MA. "Traveling Fellowship Show".

Quiver Wall Drawing for Mural #4, Dimensions Variable, 2019_edited.png
about MAS

About Mosaic Artspace

Mosaic ArtSpace (MAS) is a multi-discipline art venue that aspires to showcase and promote various artistic endeavors with outreach to painters, sculptors, musicians, video, performance, installation artists. 
MAS hosts the artwork of local artists and artists from the NY Metropolitan area and other cities.
MAS seeks to create a dialogue with issues of contemporary art practices to encourage, support and expand creativity and self-expression. To create an environment in which the arts flourish and enrich the quality of life.


Showing by appointment
49-28 31st Place, Long Island City, NY 11101
T: 888.MOSAIC2
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