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Below the surface of Shantell Martin’s signature black and white drawings is an artists’ inquiry into the role of artist and viewer, where a work of art is more than an object of admiration disconnected from its inception. With a meditative process defined by an uninhibited flow, her compositions embody her internal state and the impermanence of the world around her. Exploring themes such as intersectionality, identity and play, Martin is a cultural facilitator, forging new connections between fine art, education, design, philosophy and technology.

 

In addition to prestigious solo shows at some of the most renown art institutions including the 92Y Gallery in New York City, the iconic Albright Knox Gallery and the MoCADA Museum, Martin has carved a path for herself that is as much intellectual as a visual artist. During her two year tenure as an MIT Media Lab Visiting Scholar, Martin collaborated with the social computing group  to use drawing as a medium to explore the interaction of social processes with physical spaces.

At the Brown Institute for Media Innovation, Martin created a large scale wall installation and worked with the Institute’s research group to explore how visual and computerized storytelling might influence media and technology innovation.

 

A fashion and design icon in her own right, Martin has collaborated with iconic brands such as Nike, Vitra, Max Mara, Tiffany & Co., and in 2018, Puma launched a global capsule collection featuring her drawings. Martin has collaborated with legendary artists such as Pulitzer Prize winning performance artist Kendrick Lamar and acclaimed designer Kelly Wearstler. In late 2018, she was asked to collaborate with the prestigious New York City Ballet, where she created large scale drawings in the performance hall and foyer of the Lincoln Center for the company’s celebrated Art Series. She continues to teach as an adjunct professor at NYU Tisch ITP (Interactive Telecommunications Program), where she works with her students to push the boundaries of storytelling, visual art and technology.

 

ORIGINAL ART

The relationship between an artist and collector should be just that... a relationship. If you are interested in purchasing original artworks, Shantell would like to get to know YOU a little better through a series of questions that will ensure the work she creates goes to great people that will love and value it. 

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Credits

Branding & Design by Anton & Irene with love

537 East Delavan Avenue
537 East Delavan Avenue, Buffalo, NY

DANCE EVERYDAY

The artwork, a sprawling network of stark black line-drawings set against a white backdrop, occupies the 200-foot north-facing wall of the former Houdaille plant at 537 East Delavan Ave.

Buffalo
2017

The first step towards the rebirth for one of Buffalo's historically neglected neighborhoods the East Side's Northland Corridor, Shantell Martin's drawing "Dance Everyday" is a signal of things to come for the long-struggling community. Much of the plant will be demolished as part of a $42 million Buffalo Billion-funded revamp of the Northland Corridor into a hub for light industry and commerce that is being run by the Buffalo Urban Development Corporation. The work is the product of a collaboration between the Albright-Knox Art Gallery's public art program and the University at Buffalo's fledgling Creative Arts Initiative. 

"Dance Everyday", Martin's largest ever public art piece, was completed over a weekend in June. In that time, she worked with Buffalo artist Scott Bye and used several cans of spray-paint to transform the whitewashed wall into what many are seeing as a joyful reflection of a neighborhood creaking slowly back to life.

"What I do is playful. I feel like a big kid. What I do, I love it, and I enjoy it," she said. "And even if I come in in a bad mood, like 10 minutes later, I'm in a really great mood because I'm doing something I love. And I think people should do more of that."

 

Read more here.

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