# The Life of Objects with Painter Gwen Strahle

Page: https://stenobird.com/podcast/i-like-your-work-conversations-with-artists-401291/the-life-of-objects-with-painter-gwen-strahle
Text version: https://stenobird.com/podcast/i-like-your-work-conversations-with-artists-401291/the-life-of-objects-with-painter-gwen-strahle.md
Podcast: [I Like Your Work: Conversations with Artists](https://stenobird.com/podcast/i-like-your-work-conversations-with-artists-401291)
Published: 2025-11-07T12:00:00+00:00
Episode link: https://ilikeyourworkpodcast.libsyn.com/the-lift-of-objects-with-painter-gwen-strahle
Audio file: https://dts.podtrac.com/redirect.mp3/traffic.libsyn.com/secure/ilikeyourworkpodcast/ILYW_Gwen_Strahle_final.mp3?dest-id=793520
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JSON: https://stenobird.com/v1/public/podcasts/i-like-your-work-conversations-with-artists-401291/episodes/the-life-of-objects-with-painter-gwen-strahle
Duration seconds: 2574

## Resource

Gwen Strahle is a painter living and working in northeast CT. She teaches at the Rhode Island School of Design. She shows her work at Nancy Devine Gallery in RI. Strahle has received several awards including the Connecticut Artist Fellowship, the Purchase Prize from the American Academy of Arts and Letters, the Guggenheim Fellowship, and an Honorarium from the Drawing Center. Strahle earned her MFA from Yale University in 1983. "I have been making paintings of objects arranged on my studio table for over forty years. Many of the objects in my work have been with me for the entirety of that time. The objects are painted both from life and from memory: bud vases, shells, pitchers, and glasses. Each of these objects is a kind of vessel, and I often think about what is inside of an object- the fullness of something empty in appearance. The objects are personified in the paintings, and I have become emotionally invested in them; they are part of my family. Over the years, they have changed and aged with me as I paint them into each image. I have created a hierarchy of icons using these familiar objects that can grow and change depending on their arrangement from one painting to the next. That dynamic relationship between objects is important to me. The covered table under the set-up serves as the canvas, or as the painting itself. Its flat surface is raised up for the viewer, with the malleability of a blank slate that allows objects to emerge from and be pushed back into the surface of the table—like a garden bed. It represents the painted world in which my objects can exist. Twenty years ago, I began to add my own silhouette to the paintings, which has recently turned into a shadow, and it presides over the still-life, and is in turn embraced by it. It made sense for that…

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