My studio practice is driven by a desire to formulate an abstract visual language that is embedded with markers of personal history and cultural identity. Recent works take the form of three-dimensional paintings and works on paper. The simultaneously discordant and harmonious shapes that play across the surfaces of my work encode reference points drawn from aspects of my Jewish and queer identities, inviting questions about the coordinates where they may intersect. 

My studio practice is driven by a desire to formulate an abstract visual language that is embedded with markers of personal history and cultural identity. Recent works take the form of three-dimensional paintings and works on paper. The simultaneously discordant and harmonious shapes that play across the surfaces of my work encode reference points drawn from aspects of my Jewish and queer identities, inviting questions about the coordinates where they may intersect. 

In my current sculptural paintings and works on paper, these entangled shapes are themselves echoes of those that appear in eighteenth- and nineteenth-century Eastern European Jewish cut paper works. Made with laborious care by both amateur and professional artists, the central texts that they depicted are typically framed by intricate patterned borders, and were displayed in the home as both ornament and talisman. Taking inspiration from these works is a reclamation, one that seeks to revive a domestic history that was nearly erased by the Second World War. In responding to their forms, my practice envisions what might have been if once thriving Jewish communities in Europe had stayed intact. 

A different vernacular of the home–the curvilinear forms of 1980s laminate furnishings–finds its way into my work through an even more personal link. This same furniture was sold by my Jewish, Polish-born grandfather in the store he co-owned on Long Island. In my youth, the stylized dressers and desks that were displayed on the shop floor imprinted on me, in all of their pastel, melamine glory, the wares he sold gave shape to my dreams of vibrant futures.

 
Mark Joshua Epstein received his MFA from the Slade School of Fine Arts (London, UK), and a BFA from the School of the Museum of Fine Arts and Tufts University (Boston, MA). Selected solo and two-person shows include: Matéria Gallery (Detroit, MI), Turley Gallery (Hudson, NY), Asya Geisberg Gallery (NY, NY), Ortega y Gasset Projects (Brooklyn, NY), SPRING/BREAK Art Show (NY, NY), Handwerker Gallery at Ithaca College (Ithaca, NY), Vane Gallery (Newcastle, UK), Demo Project (Springfield, IL), and Biquini Wax Gallery (Mexico City). 
Selected group shows include: Hexum Gallery (Montpelier, VT), Geary Contemporary (Millerton, NY), Gaa Gallery (Provincetown, MA), Marquee Projects (Bellport, NY), TSA New York (Brooklyn, NY), Museum of Contemporary Art Arlington (Arlington, VA), Collar Works (Troy, NY), Good Children Gallery (New Orleans, LA), Monaco (St Louis, MO), Beverly's (New York, NY) and Des Moines Art Center (Des Moines, IA),  Epstein has been an artist-in-residence at the Sharpe Walentas Studio Program (Brooklyn, NY), British School at Rome (Rome, Italy), the Fine Arts Work Center (Provincetown, MA), Vermont Studio Center (Johnson, VT), Millay (Austerlitz, NY), Jentel Foundation (Banner, WY), Macdowell (Peterborough, NH), Saltonstall Foundation (Ithaca, NY), and the Kimmel Harding Nelson Center (Nebraska City, NE), amongst other places. His work has appeared in publications such as the New York Times, Runner Magazine, Chronogram, Hyperallergic, Whitewall, Two Coats of Paint, New American Paintings, Art Maze Magazine, and Dovetail. He is currently a Windgate Artist in Residence at the University of Arkansas, Little Rock.