Zoey Frank was born in Boulder, Colorado in 1987. She completed four years of classical atelier training under Juliette Aristides at Gage
Academy of Art in Seattle, and received an MFA in painting from Laguna College of Art and Design. Zoey has received numerous honors and
awards, including an Elizabeth Greensheilds grant in 2013, the Artist’s Magazine All Media Competition Grand Prize of 2012, the Hudson
River Fellowship in 2012, scholarships from the Albert K. Murray foundation, the Stacy Foundation and the Art Renewal Center.  Her work has
been featured in Fine Art Connoisseur, the International Artist’s Magazine, Artist’s Magazine, and Southwest Art, among other publications.  
Zoey works from her studio in the Bay Area.  
The New York Optimist
© MMXIV, The New York Optimist. All Rights Reserved. The New York Optimist & www.thenewyorkoptimist.com is a registered
trademark of The New York Optimist.  The New York Optimist is a registered service mark of Thenewyorkoptimist.com. The New York
Optimist logo and original photos are a registered trademark of The New York Optimist  . All other photos are property of the advertiser.
And are rightfully protected under their copyright protections.
Facebook
Twitter
Stumble
You Tube
Digg It
SHARE
Zoey Frank
Section A, 2014
Oil on linen on panel, 44" x 64"
Kirsten, 2014
Oil on linen, 36" x 46
Conversations, 2014
Oil on linen, 60" x 70"
Shim's Kitchen, 2013
Oil on Mylar, 8" x 10"
Bedroom, 2014
Oil on linen on panel, 28" x 46"
Taboret, 2013
Oil on linen on panel, 42" x 54"
Sail, 2012
Oil on Linen, 54" x 72"
Song, 2011
Oil on canvas, 72" x 36"
Departure, 2013
Oil on linen, 54" x 48"
Homesteader, 2011
Oil on linen, 18" x 16"
White Dress, 2013
Oil on panel, 39" x 22"
Street Crossing, 2013
Oil on Linen, 36" x 60"
Solitude, 2011
Oil on linen, 27" x 23"
Camellia, 2010
Oil on linen, 14" x 30"
Yma, 2011
Oil on linen, 26" x 15"
Travis, 2010
Oil on linen, 32" x 18"
This body of work used the daily changes in mundane environments to investigate the process of painting. I engaged in a direct encounter
with my subjects, and the temporal changes that took place in what I observed became integral to my process. Various states of the paintings
remain visible in the final pieces, creating a palimpsestic record of my decision-making process. The questions I posed revolved around
issues of color relationships, value structure, non-liner perspective, and pictorial space, and the way these formal elements can generate
affect and imply narrative.   
Palimpsests
Distillations
Academic