In the 308th installment of "A View From the Easel," a popular series where artists open their studio doors to share insights about their creative workspaces, two distinct artistic voices emerge with compelling stories about how their environments shape their practice. The series, which welcomes artists from all mediums and workspace types including home studios, continues to provide intimate glimpses into the diverse ways contemporary artists approach their craft.
Tony Tasset, working from his studio in Sawyer, Michigan, has been operating in his current space for six years. His approach to studio work defies conventional schedules, as he explains that his art changes form frequently, causing his routine to shift dramatically depending on current projects. "I can go for months without entering my studio or I can be working 12-hour days. Oh, who am I kidding, I rarely work more than six hours," Tasset admits with characteristic humor.
For Tasset, much of his artistic process happens outside the physical studio space through reading, looking at art, and living his life. When he does enter his studio, he focuses intensely on work, typically accompanied by music rather than podcasts, though he confesses that "Ezra Klein keeps pulling me back in." His recent listening has included an eclectic mix of Fela Kuti, John Prine, Mdou Moctar, Lucinda Williams, Mulatu Astatke, and Steve Reich.
The relationship between Tasset and his space is uniquely intentional – rather than adapting to an existing environment, he built the studio specifically to accommodate his work. Located about 90 minutes from Chicago near Lake Michigan, his rural setting provides daily walks in the woods while his social interactions often center around a local barbershop run by three brothers who don't take reservations or credit cards, frequently discussing deer hunting and boat sales, with art never entering the conversation.
Tasset's connection to the broader art community primarily exists in Chicago and other parts of the country, with summer visits from friends providing highlights to his somewhat isolated creative life. Winter months bring challenges, as he describes beginning to wonder "what the hell I'm doing here," comparing himself to Jack from "The Shining" before spring flowers emerge to restore his perspective.
Regarding his studio design, Tasset expresses particular satisfaction with the proportions of the space, noting that he "designed every inch" to feel like "just the right size for my ambition and ego. It's pretty big." His wishlist includes having "a steady stream of collectors, curators, and critics drifting through" along with "a team of assistants working full-time helping me keep up with the demand for my art," envisioning himself cooking fantastic lunches and charming visitors with "erudite and hilarious takes on art and the absurdity of existence."
In stark contrast to Tasset's six-year tenure, Irene Christensen represents remarkable artistic longevity, having worked in her Tenafly, New Jersey studio for an impressive fifty years. The Norwegian artist, who has lived in the United States for five decades, maintains a beautifully lit home studio where she creates her extensive body of work, including approximately 70 accordion books, works on paper, mixed media, and oil paintings.
Christensen's dedication to her practice is comprehensive – she also maintains a second studio at Long Island City Art Center specifically for oil paintings and visitor meetings. Friends describe her as a workaholic since she works or thinks about art constantly, painting during the day and drawing in her accordion books at night while listening to music or news. Her artistic life is enriched by frequent travel, particularly to Oslo, Norway, where she keeps a small apartment.
For Christensen, her studios represent more than workspace – they embody "freedom to enter another world where I am alone and all I love comes with me. I become another me who takes over." This transformation speaks to the profound psychological relationship many artists develop with their creative environments.
Christensen maintains active involvement in the art community through memberships in NY Artists Circle, the National Arts Club, the Artists Fellowship (focused on helping artists in need), and the Association of Norwegian Visual Artists. At the National Arts Club, she serves as an active member of the Archaeology Committee and maintains connections with Artists in Residence in Everglades (AIRE), where she participated in 2002 and experienced significant environmental impact on her work.
Both artists share appreciation for natural light in their studios, with Christensen particularly valuing "the large windows and the light" in her space. When asked about desired changes, their responses reveal different priorities – while Tasset dreams of professional recognition and assistance, Christensen's wish transcends personal concerns: "I wish for peace in this world."
Their material preferences also differ, with Tasset humorously suggesting "the internet" as his favorite art material, noting its value as a resource for contemporary artists "as long as you stay away from all social media, cooking demos, porn, animals being cute, and the news." Christensen prefers traditional materials, working with both oil and acrylic paints, finding both "equally rewarding to work with."
The series continues to accept submissions from artists interested in sharing their workspace stories, welcoming all mediums and studio types as it documents the diverse ways contemporary artists create and maintain their practice across different environments and career stages.
