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    <loc>https://caitlinreid.nyc/posts/unreliable-narrators-with-rochelle-voyles-at-81-leonard</loc>
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      <image:title>Field Notes, Writing + Speaking - Unreliable Narrators with Rochelle Voyles at 81 Leonard - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://caitlinreid.nyc/posts/2025-year-in-review</loc>
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    <lastmod>2026-03-25</lastmod>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation</image:title>
      <image:caption>Artist talk following the exhibition Witchgrass at Tempest Gallery in February 2025.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation - Make it stand out</image:title>
      <image:caption>Detail from the painting Respiration and Collapse, 2024, by Tracie Lee.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation</image:title>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation</image:title>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation</image:title>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation - Make it stand out</image:title>
      <image:caption>Installation shot of Spirit Wave, Joshua Drayzen’s solo exhibition of drawings at Massey Klein</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/9ffac21f-6885-4b74-b461-421a059eb1fd/a4a1f5a5cf42f5cc725fcffd90df12dc.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation - Make it stand out</image:title>
      <image:caption>Dzurita's Untitled 91 and Old Wind glimpsed through Granwell's Spiraling Return. Photographed by Masaki Hori, courtesy of Field of Play.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation - Make it stand out</image:title>
      <image:caption>From the artist talk closing the exhibition It Must Be Nice to Fall in Love at Tempest Gallery, October 2025.</image:caption>
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    <image:image>
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      <image:title>Field Notes, Writing + Speaking - Language Arts: A Year of Writing, Curating and Conversation - Make it stand out</image:title>
      <image:caption>Photograph by Leah Huang, October 2025.</image:caption>
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  <url>
    <loc>https://caitlinreid.nyc/posts/charms-against-harm</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-25</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/daisies</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-25</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/beneath-the-surface-alexis-granwell-and-greg-dzurita-at-field-of-play</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-15</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/b9183741-68e8-4500-88f3-1bf5509519e5/Beneath-the-Surface_1b.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - Beneath The Surface: Alexis Granwell and Greg Dzurita at Field of Play - Make it stand out</image:title>
      <image:caption>From left: Greg Dzurita, I Think I Let Go, (2024). Alexis Granwell, Spiraling Return (2024). Granwell, Weather Watching (2024). Photographed by Masaki Hori, courtesy of Field of Play.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/13619f66-be67-4b2a-9b79-22c3a4553c6a/Beneath-the-Surface_2.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - Beneath The Surface: Alexis Granwell and Greg Dzurita at Field of Play - Make it stand out</image:title>
      <image:caption>Foreground: Alexis Granwell, Weather Watching (2024). Background, from left: Greg Dzurita Untitled 91 (2024). Alexis Granwell, Old Wind (2023). Photographed by Masaki Hori, courtesy of Field of Play. Weather Watching (2024) brings this sensibility into sharper focus. Its form suggests a reliquary or funerary vessel—at first, I felt met by a symbol of my own mortality. But then again, what is the experience of art if not a confrontation with one's own mind? I sensed a palpable grief, yes; but also a playfulness, an exaltation of ephemeral materials. It’s a celebration within life’s constraints—especially when faced with what appears, at first, impermanent. Though steadily perched on pedestals or mounted upon walls, Granwell’s works convey movement. Spiraling Return (2024), in particular, seems to resist gravity. Two curved wings of organic improvisation twist and pivot on a single point of contact with a steel frame. While they appear weighty, suggesting the solidity of ceramics, the forms are deceptively as light as paper. Athletic and flexible, I'm reminded of Martha Graham’s dancers. The lineage of post-minimalism and Arte Povera are evident within Granwell's body of work. They call to mind Eva Hesse’s tactile forms, the material experimentation and exuberance of the ’60s and ’70s. Like these creative ancestors, the work is deeply felt, and relish in a rejection of traditional sculptural materials like marble or stone. Like Hesse, these forms are self-contradictory, muscular and even rebellious—but also tender. Granwell crafts monuments to a life, or better yet, the afterimage of a feeling.</image:caption>
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    <image:image>
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      <image:title>Field Notes, Writing + Speaking - Beneath The Surface: Alexis Granwell and Greg Dzurita at Field of Play - Make it stand out</image:title>
      <image:caption>Dzurita's Untitled 91 and Old Wind glimpsed through Granwell's Spiraling Return. Photographed by Masaki Hori, courtesy of Field of Play. Across the room, through the curved ribbons of Spiraling Return, I see Greg Dzurita's painted works. They also engage with the material constraints of the body, infused with a serious sense of play. Dzurita constructs his surfaces from scratch, layering pieces of wood onto standard stretcher bars to create custom armatures that underline the overall shape. Once wrapped in canvas, the painting’s surface becomes deliberately uneven, sometimes warped, and playfully undulates across unconventional edges. Resisting normative rectangular dimensions, the works reach out into the viewer’s space, breaking the fourth wall. Often, there’s a tension at the edge, a curve where you might expect a corner. At the center of Dzurita's Untitled 91 (2024), a shape reminiscent of a Fibonacci spiral twirls towards a calculated center. A starburst of white gleams against a ground of deep violet with sandy texture. Throughout Dzurita’s body of work, geometric motifs like circles, spirals and cubes are rendered both in delicate outline and with illusionistic depth, articulating the tension between tangible objects and their Platonic ideals. In I Think I Let Go (2024), the circle motif appears as a painted orb alongside thin outlines of a cube’s corners, paired with flat planes of color to signal its dimensionality. These lines extend beyond its initial borders, suggest one-point perspective and drawing the viewer's eye back into the distance. Meanwhile, gradients shift in contradictory directions, disrupting any unified spatial logic. Adjacent to these illusionistic corners, the wooden armature beneath the canvas occasionally breaks the surface—a tangible bump that interrupts the pictorial space and reminds us of the work’s physicality.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Beneath The Surface: Alexis Granwell and Greg Dzurita at Field of Play - Make it stand out</image:title>
      <image:caption>Detail of Dzurita's The Only Echo. Dzurita’s process is shaped by improvisation and visualization. In turn, the paintings feel like forms glimpsed in the mind’s eye and translated from intuition into material. Listening to jazz while working, Dzurita seeks flow states that dissolve time, once sharing that geometry is his closest visual approximation to music. It echoes Wassily Kandinsky’s approach: painting as if composing a score. The work seems to emerge from this very psychic space—and invites the viewer to dwell there as well. Dzurita’s distinct color-world is deeply grounded in place. In 2024, he moved into his grandmother’s former home in Queens, originally purchased in the 1940s. Over time, he noticed the perennials from her garden flowering in waves: tulips, irises, and then violets—each cohort blooming and dying, careful not to overstep the others. When the petals began falling, Dzurita started collecting them, transforming this detritus into pigment. While not every hue is foraged, it’s clear the plants live on within these paintings. Like perennials themselves, the works reflect the cyclical nature of life, its continuity, and how energy flows through each subsequent generation.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Beneath The Surface: Alexis Granwell and Greg Dzurita at Field of Play - Make it stand out</image:title>
      <image:caption>Granwell's Old Wind and Dzurita's The Only Echo (2025). Photographed by Masaki Hori, courtesy of Field of Play.</image:caption>
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  <url>
    <loc>https://caitlinreid.nyc/posts/my-armor-thinned-to-a-silken-scrim</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-13</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/studio-calendar-mid-year-check-in</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/39a0a143-525a-42dc-bea4-13c37f00f4df/square+cal.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - Make Art Every Day: July Vibe Check ✨ - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/2a894993-83f6-4a42-9528-92adfea82047/key%3Acode.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - Make Art Every Day: July Vibe Check ✨ - Make it stand out</image:title>
      <image:caption>Note: I wrote in pencil on purpose… she’s experimenting.</image:caption>
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  <url>
    <loc>https://caitlinreid.nyc/posts/when-there-is-no-longer-a-danger-of-frost</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-13</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/ghost-coast</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-13</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/cats-cradle</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-13</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/1000-days-of-drawing-a-conversation-with-joshua-drayzen</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-09-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/e3df6788-f62c-401a-b642-4a76355ad3e9/Installation-shot-1536x1185.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - 1000 Days of Drawing: A Conversation with Joshua Drayzen - Make it stand out</image:title>
      <image:caption>Installation shot of Spirit Wave, a solo exhibition of drawings at Massey Klein</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/87d2896b-7cd4-4708-85a7-ed0621fdd739/vessels-1536x1157.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - 1000 Days of Drawing: A Conversation with Joshua Drayzen - Make it stand out</image:title>
      <image:caption>Vessels, 2024. Pen, graphite, color pencil, Magic FX pencil and pearlescent watercolor. 9 x 12 inches</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/eff4241f-208c-43d8-b5ce-352f2e1a63ba/A-Moth-to-a-Flame-Wielding-Its-Own-Torch-Crusader-2024-1536x1089.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - 1000 Days of Drawing: A Conversation with Joshua Drayzen - Make it stand out</image:title>
      <image:caption>A Moth to a Flame, Wielding Its Own Torch (Crusader), 2024. Pen, graphite, color pencil, Magic FX pencil and pearlescent watercolor. 6 x 8.5 inches</image:caption>
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  <url>
    <loc>https://caitlinreid.nyc/posts/ajaib</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-19</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/witchgrass</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-08-13</lastmod>
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  <url>
    <loc>https://caitlinreid.nyc/posts/2024</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-12-17</lastmod>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/647e9380123d672777932e85/fdc90b6a-720a-4dc1-a3a4-a027626b400e/interview.jpg</image:loc>
      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review - Make it stand out</image:title>
      <image:caption>Gallery Director Defne Tutus, myself, and artist Lena Ruth Schwartz at Tempest Gallery in August 2024.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
      <image:caption>Stepping into our most creative season yet.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review - Make it stand out</image:title>
      <image:caption>Turns out my asymmetrical outfit is matching Jacob’s artwork in this picture. Totally unintentional, but I’m here for it. Taken at Tempest in December 2024.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
      <image:caption>Exhibition poster for Personal Effects, opening January 16th, 2025 from 6-8pm at 508 W. 26th St #6E.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - 2024: A Year in Review</image:title>
      <image:caption>I’ll also be hosting the artist talk for Witchgrass, a group show currently on view at Tempest Gallery. The exhibition features work by Yasmeen Abdallah, Amy Greco, Rose Malenfant, Taraneh Mosadegh, and Defne Tutus. Join us for the lively discussion on Saturday, January 25, 2025, from 3-4pm at Tempest Gallery, 1642 Weirfield Street, Ridgewood, Queens.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Make Art Every Day. - Make it stand out</image:title>
      <image:caption>Studio Calendars for 2025</image:caption>
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      <image:title>Field Notes, Writing + Speaking - Make Art Every Day. - Make it stand out</image:title>
      <image:caption>This year’s calendars feature gold, silver and black stickers to mark a day of creative work.</image:caption>
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      <image:caption>2025 Studio Calendar in Evergreen.</image:caption>
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    <image:image>
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      <image:title>Field Notes, Writing + Speaking - The New Body: A Conversation with Lena Ruth Schwartz and Defne Tutus - Make it stand out</image:title>
      <image:caption>From Left: Lena Ruth Schwartz, Caitlin Reid, Defne Tutus at Tempest Gallery's exhibition, The New Body.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - The New Body: A Conversation with Lena Ruth Schwartz and Defne Tutus - Make it stand out</image:title>
      <image:caption>Schwartz speaking about her work, at right.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - The New Body: A Conversation with Lena Ruth Schwartz and Defne Tutus - Make it stand out</image:title>
      <image:caption>Close up of A New Body, Lena Ruth Schwartz, 2024.</image:caption>
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      <image:caption>Nightmare at the Bottom of Your Knitting Bag, Lena Ruth Schwartz, 2024.</image:caption>
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      <image:title>Field Notes, Writing + Speaking - The New Body: A Conversation with Lena Ruth Schwartz and Defne Tutus - Make it stand out</image:title>
      <image:caption>Hand-felted wall pieces from Schwartz's residency in Iceland in 2023.</image:caption>
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