Christopher Skura is a visual artist and art conservator living in New York City.
Skura has lived in Manhattan since 1995 and has exhibited his work throughout the United States. He holds a degree in painting and drawing and a professional certificate in sculpture from the Ringling College of Art and Design and a Liberal Arts degree from New York University. Skura has studied ceramic sculpture with Peter Gourfain at Greenwich House Pottery, drawing with Mark Barnett, Nicki Orbach and Leonid Gervits at The Art Students League of New York and stained-glass design and construction at The Peters Valley School of Craft. He is included in many public and private collections.
Christopher has been a studio assistant to many artists, including John Chamberlain and Hunt Slonem, and has held staff positions at The Ringling Museum of Art, New York University's Art Museum/ Grey Art and at the The Guggenheim SoHo and Solomon R. Guggenheim Museum in New York City. During this time, he had the unique opportunity to fabricate and construct many site specific artworks for other artists.
In 2003, he began a four year apprenticeship with master art conservator, Dr. Charles Von Nostitz in New York City. He was later selected to participate in James Bernstein's "Mastering In-painting Workshop" at the Ringling Museum of Art. He is currently Senior Conservator at one of New York City's oldest paper art conservation studios. Sometimes these materials and techniques find their way into his artwork.
In 2011, Skura and clay artist Julie Knight started building JAKPOT Ceramic Studios in the Catskill Mountains outside of Woodstock, NY where they sometimes collaborate on artworks.
His most recent work references architecture, structural systems and Emergence Theory. Improvisation and freehand drawing are emphasized. Skura’s forms are organic and plant-like but suggest the machinery of a man-made environment. This duality reflects his experiences growing up in the lush Florida landscape and his current life living and working in Manhattan.
“Looking around Skura’s Soho workshop, it is no wonder what inspires the images he makes. Tools, jars of colored pencils, brushes and ink bottles are juxtaposed with low hanging, kicking and leaky pipes. It is a hodge-podge of street finds and scavenged hardware that straddles a definition between gritty and homely. In a word, eclectic, like Skura. In his work, Boxy mechanical shapes join together and twist apart as they flow organically across the surface. Thought bubbles emerge and grow more bubbles. Some forms are pushed into the background with a pebbly white haze. If one thing is constant concerning this work, it is Skura’s lack of affinity to a single medium or esthetic tool; it appears to be a free-for-all determined to solve itself. Skura’s work is a thoughtful, exploratory art suspicious of rules and willing to admit mistakes. Starting with specific forms and growing into a general composition, Skura compromises and edits these pictures through a process that reveals itself to the viewer. Mistakes are simply pushed to the background and worked over. His drawings are improvisation; a search for resolution. It comes from an understanding that art making does not solve problems, but quite oppositely, poses more questions. It is this constant questioning and reevaluation that lends honestly to his drawings.”
Jason Marquis, Gallerist, Los Angeles CA
“Skura causes us to investigate the recognizable and unrecognizable and to make sense of what is real and illusionary as well as what is memory and what is construction”
Mark Ormond, Curator, Sarasota, FL
“Skura’s drawings are populated by a complex web of tiny blocks connected chemical-model style and stacked layer upon layer. Tiny symbols and building blocks, scattered about the paper that reach for each other connect in strings or seek isolation, bringing to mind not only the fabric of chemicals and molecules, but that of political, cultural and social spheres.”
Damarys Ocana / “Street Miami” Miami, FL