Red dot indicates that artwork is sold but available as a commission.
Eric Abrecht’s work appears in galleries throughout the country and is collected worldwide. He primarily focuses on landscapes, while also working with the figure and still life pieces.. Abrecht works conceptually, drawing from life experiences, and allows the subject of each painting to evolve as he works the canvas. Rather than titling each piece, Abrecht gives more open titles for the work. “This allows the viewer to apply their own feelings and experiences to each piece, without bias,” he says. “I want to give people the opportunity to connect with my work in a way that is different from the person standing next to them.”
A painter, printmaker, and musician, I consistently have been drawn to art forms that are sympathetic to structure yet open to improvisation. I am interested in the interplay of color, line, and shape where relationships of harmony and balance play a significant role. Recent investigations into the mathematical expression of the proportional ratio found in nature and known as the Golden Section have, at times, had an influence on my work. This formula provides a means of recognizing and understanding the intricate connections between all things. Encaustic, an ancient medium of molten beeswax, resin, and pigment, has allowed me to pursue the layering and scraping back that I find integral to my process of painting. The translucence created by the wax and resin yields a wonderful appearance of illumination from within. Always demanding, sometimes to the point of frustration, encaustic provides a balance of chaos and structure that satisfies while at the same time challenges my ongoing desire for problem solving.
My work today is a culmination of many years of painting, thinking and experiencing. My urban pop expressionist work is created by sifting through material to find just the right imagery that connects to establish a particular narrative. This art mixes my background of typography, mixed media collage, abstract expressionism and cubism.
Asheville's Alicia Armstrong paints memories, longings, dreams, inconsistencies. A single work often incorporates the questions posed by contrasts - both literal and conceptual - and captures the inescapable and dichotomous realities of life: joy and suffering, light and dark, closeness and distance. At the same time she offers viewers relief via temporary respite rather than finite solutions.
Capturing abstraction in nature, both physical and atmospheric, is the essence of my work. I search for moments when the natural world appears changed, distilled down to color, form and light. I invite the viewer to experience the same sense of discovery.
Liz Barber’s new body of work is vibrant, energetic and bursting with texture, color and shape. Inspired by water, light and their reflective qualities her "window panes of light" combine a graphic element with something very organic. Using a soft palette of colors with vigorous brushstrokes, she creates paintings that convey nature as constantly changing, shifting and moving. Atmospheric landscapes blend with drawn images from memory. Her canvases tell a short story by freezing a moment in time and then blending it with an abstracted ground. The common thread that winds itself through it all is her ability to capture a light source through its interaction with color. The result in daring and unusual combinations of color, forceful texture and the gentle luminosity enhanced pictures of the gorgeous effects of nature. In her own words: “There is always abstraction in my paintings no matter what the subject matter is. Nature provides organic, compelling shapes. Usually drawing is the starting point consisting of ambiguous elements that add depth to the painting. Moments from the past are as fragile and changing as nature itself. In my life, the way I see a leaf falling can trigger a past memory. This is my emotional connection with nature. My mother loved to garden and I was surrounded by flowers and plants my whole childhood. I was happiest outside in the sunlight and I paint from the perspective of capturing a memory of the way light moves. The subject matter of nature provides a decadent ballet of movement and change. This process makes visible my search through my memories. This is how I connect with the viewer.”
SHERRI BELASSEN uses shapes and colors in a contemporary manner to create her unique artwork. Her work often portrays animals and figures in earth tones resonant with her Arizona home. She was born and raised in Indianapolis and attended the University of Missouri on a full track and field scholarship while majoring in fine arts. Her dreams of making the Olympics were derailed by a sports injury. She then channeled her energies fully into art, graduating form Indiana University with a Bachelor of Fine Arts. She credits her inspiration in design and composition to trips she took as a child with her father in his two-seater airplane. The patterns and colors of the landscape informed her later aesthetic, which is built around defined blocks of color. “In life and art, I try to stay true to myself and listen to my own voice.”
“Sometimes the circle represent people in my life, sometimes it is about myself, always it is about wanting to manifest something beyond what I see and experience in my day to day life…To show that we are all flawed, broken and beautifully unfinished. Some people say a perfect circle is the shape of Heaven; I love that.”
Jeffrey has painted in many genres through the years, but his biggest connection has been with the abstract. Most of his work is achieved through his process of applying and removing paint in methodic layers of color and technique. He is in constant search of that perfect fusion of color and allure in order to entice ones freedom of thought and emotion. His current abstracts have a clean, modern edge. The pairing of vibrant colors, bold brush work and resin finish create energetic pieces that jump off the wall. He is fascinated by making the simplest shapes into a thing of beauty. Jeffrey believes that his “Modern Simplicity” series has broken new ground in the contemporary art movement.
It was an unplanned process that lead me to painting. Even now I would be at a loss to explain exactly why I took the plunge. Yet, I feel as if I had always been preparing for this role. I began taking a few art and art history courses at the University of Alabama four years ago and what came after has been a revelation. I am, in all practical purposes, a self-taught artist. All the places I’ve been, things I’ve observed, come together in my paintings. Travel is a passion and inspiration which has a profound effect on my work. I take pictures and record everything. The human form, the interaction of colors, composition, shadows and hues are all fascinating. My landscapes take on a more literally interpretation of my travels but even my abstract series are continuations of color palettes seen firsthand. Recently I became captured by the yellow and umbers from a field in France. Every place I visit is reflected in my paintings. In connection with many abstract expressionism painters, my work is very much an emotional process. I come to a blank canvas with a feeling or thought about what I would like to create but it's all very spontaneous in its outward projection. I choose to go layer by layer, often times mixing mediums, until I'm satisfied. As I paint, I give and take from the painting’s color saturation and hues. Each painting has various “under” paintings where I try to create an overall aesthetic that’s both sophisticated in color and ethereal in nature.
At age 29, Heather moved to New York City to pursue her photography career. While there she worked for many professional photographers, but knew Fine Art was here passion. When she met Andrew Moore, a fine art photographer working in Cuba and living in New York, she realized that fine art was also her next adventure. She then moved back to Florida where she has been a professional artist since 2004. Specializing in manipulated Polaroids, she quickly rose to success amongst the top interior designers and art buyers in the North and Central Florida markets. Her work can be seen throughout these markets in corporate offices, banks, and major hospitals and clinics. Concentrating on mostly cyclist themes and marathons, but her Sports series includes skiers, surfers, swimmers, triathlons, golf, horse racing, tennis and dancers. Each piece is a celebration of competition and the human spirit. The pieces are energy made manifest and really tries to create a feeling of excellence.
Carol has a long history of involvement in many aspects of artistic endeavor. Her main interest is in painting, and she has accumulated a great deal of experience over the years through study and hard work. Her efforts have evolved through various stages, and more recently have developed into what might be defined as ‘luminism’, in which light is the most expressive feature, and the harsh delineations of physical objects are softened and etherealized in a glowing haze that lends an atmosphere of spirituality. These paintings, which are usually landscapes, are dreamlike in a very pleasant way. They stimulate the imagination and give one a sense of peace and well being
Christy Bonneau’s medium to large-scale oils are abstract, emotional landscapes infused with the feeling of what it means to be innately human. Crazy, quiet, she paints in her studio creating pieces whose center’s revolve around issues of connectedness. Bonneau mixes pigments moving in and out of reality working on a hierarchical, symbolic scale, flushing formulas and responding to theoretical questions fulfilling the canvas’ requirements. Within the fields of color the human spirit dances with the rhythm of life. Each painting causes pause, draws the viewer into its center, and demands an emotive response. She also integrates her oils with printmaking, intimate etchings, transfers and collages in multi-media expression. Christy Bonneau has discovered the synergy of the true professional artist discipline and freedom.
These paintings bring my impulses, intuition and deep emotional feelings to a more conscious level. Throughout there is a constant theme-- an attempt to control and balance chaotic forces in our lives. With the rhythm of color and texture and repetition of forms, I seek to turn each piece into a visual symphony. She creates balance in each piece by a meticulous synchronization of a variety of superficially disharmonious elements: smooth, broad color fields, linear imagery, textured surfaces, oil and mixed media on panel or paper and deeply layered paint. According to Booma: “The very gesture of adding materials to the surface is very defining and a powerful movement. I feel various added elements keep the color shapes and movements in check.” The effect is that of a carefully realized harmony sustained with razor-sharp precision.
I am an artist who experiments with interactions. By testing the reactions between various art media and subject matter, my intent is to allow connections between different ideas, images and objects to reveal a new understanding for both the observer and the artist. My process often employs chance operations, the notion of “play”, and spontaneous creation. These techniques are then worked and reworked until some sort of balance between the conscious and subconscious is reached. My work often involves the absurd, created identity, coincidence, ritual, personal anecdote, and humor.
Paul Brigham has spent a number of years reading Zen philosophy, practicing Tai Chi, and studying Asian art and aesthetics. He downplays his formal artistic training and cites as more influential the education received from his firsthand experience of nature. His recent paintings are inspired by the tradition of ukiyo-e, “the floating world”, specifically Japanese bird and flower prints. The challenge for Brigham has been to apply aspects of these traditions to his work in a way that respects but does not imitate them, and in a way that reflects his own experiences as a 21st Century painter living in California. To Brigham, the idea of the floating world describes the ephemeral and impermanent of our worldly existence. Brigham’s technique consists of layering paint and silk-screened images and then using sandpaper to reveal elements from previous layer. This layering technique not only contributes to the depth and texture but also captures the effect of the transitory nature underlying everything and making them appear in a state of flux. The background Brigham has created reflects how the bird might see the world — it is serene and magical and the bird seems at home there. One learns a landscape finally not knowing the name or identity of everything in it, but by perceiving the relationships in it — like that between the sparrow and the twig. — Barry Lopez, Crossing Open Ground
My paintings blend documentation of the real world with my own physically exercised psychology, and are often described as containing dualities: organic/linear, manmade/natural, ordered/chaotic, structured/amorphous. I believe that these dualities represent my striving for calm and balance in my life, and that the juxtaposition of my aggressive, abstractive energy with structured form consistently results in my most successful work.
My aim is to transcend the ordinary by means of the ordinary. Striving to reach this goal photographically, I use easily found subject matter, natural light and a minimum of equipment and chemicals when shooting and printing my black and white silver gelatin images. My style comprises simplicity of composition, the elimination of extraneous detail, and an intimate perspective. Images with strong value contrast as well as those with minimal contrast appeal to me. I want to design and capture moments of an enhanced stillness representing an opposing force to the freneticism of contemporary life.
Sheryl Daane Chesnut earned a Bachelor of Fine Art from UC Berkeley and UC Santa Barbara. After college she worked as a graphic and product designer for a number of years and has recently returned to painting. Her work is intuitive and focuses on shape and color. Details are unimportant and purposefully left unsaid. Most recently Sheryl has been concentrating on abstract figurative pieces. The figures integrate themselves as they seemingly float between the surface and the background. Her abstract landscape and non-representational work also play with color, shape and texture; Sheryl uses palette knifes, brushes and hand cut stencils to reduce images to the basic form in order to pull the viewer into each piece. Her artwork evokes a feeling of stillness and contemplation. Sheryl lives in San Luis Obispo on the central coast of California.
Through my paintings, I attempt to synthesize the long tradition of classical realist painting with the inspiration of the relatively new art medium of photography. By drawing on the skills from my previous photography work I utilize the camera to create intimate portraits of my still life subjects. In my paintings of fruits and vegetables, my goal is not only to provide a realistic image of the subject but also to capture the object’s uniqueness and character. I continue to build the layers of paint while exploring a diverse range of contemporary color fields and compositions frequently inspired from modernist painting. My objective is to develop these paintings until they express an emotive experience unique to subject and the medium oil of paint.
Abstract literally means to draw from or separate. In this sense every artist is abstract... a realistic or non-objective approach makes no difference. The result is what counts. – Richard Diebenkorn I think of my paintings as un-still lives, at once frozen and in motion. I focus on the concept of capturing a moment of thought, purely through my visual language. I strive to capture the fleeting memories and images that travel rapidly through the mind and represent these thoughts in the layers of color, texture and repeating marks within the work. My language is an abstract collection of marks, textures and color, repeating shapes and forms, with which I seek to find a balance of chaos and harmony. Often these marks will reflect architectural landscapes, roads, maps, repeated patterns, or colors as if seen from above or as recalled from within, a sort of visual record book of the mind.
Some days creating can be a battle, but then there is that moment when I layer on the paint just right — so that it dances in time and space. The canvas yields to my will, and I know I’ve just begun to capture something meaningful. That‘s when I have to catch my breath. It’s fascinating and wonderful, while at the same time, a struggle. That’s why I paint. My style is single-minded and focused on the simplicity of beauty in the moment. My goal is to drown out the noise and clutter to find a sense of calm. The end result is clean, fresh and modern.
I am very drawn to wax and its tactile qualities, the smell and viscosity of the medium are very different from other painting techniques. Creating organic forms is a natural extension of wax’s origin. Coming from a background in graphic design, I am drawn to certain color schemes and shapes, the repetition and placement being important to the composition. My paintings are made by layering multiple coats of wax which can completely obscure the under layers at times. I use collage or incised patterns and lines to show the translucency of the wax.
Sherry Czekus is a Canadian painter based in Waterloo, ON, who completed her MFA at University of Western Ontario in London, Ontario. She holds a Bachelor of Arts in Fine Art with Studio Specialization from the University of Waterloo and a Bachelor of Education from Wilfrid Laurier University. She has exhibited her work in private and public galleries in Canada and the US.
My works are about visual perception and the ways in which the face or body or sometimes even a simple cup responds to the color, line, texture or pattern. The "Thing" or "Subject" by itself, surrounded by "Great Nothing", is my excitement. I try to establish a very private dialog between the viewer and the subject matter of my painting. It is a simple and sincere conversation without any unnecessary details.
I first began to make cuts with a razor 15 years ago, shortly after reading an interview with Catalan artist, Joan Miro. In it, he said: “I want to assassinate painting.” That started the process and, from there, I created a series of works on canvas that involved large cuts on canvas filled with materials such as cardboard, old-t-shirts and paper. Six years ago, I decided to explore the combination of color and destruction of the working surface, and that was the beginning of “THREADS AND COLORS – FILS I COLORS.” In FILS I COLORS, I always start by working with paint, make cuts on the paper or canvas, and then fill those gaps by embroidering with cotton thread. This adds textures to the work, and is an attempt to find life and movement, and to a create a more dynamic surface. The embroidery is meant to represent those experiences as a part of our DNA. It is also essential that the different combinations of colors represent emotions and interpretations for each individual interacting with the works. I like to make people think. For the most part, people are hooked all day to a screen that is telling them what to do, what to watch, what to buy, etc. I want to make them think, feel, talk. For me, each work of the series represents many things: moods, people, moments, life experiences. I can remember the moment each was made and why I chose the particular colors I did. You have to feel what it represents for you.
Sabre is currently experimenting with subject matter that has an emotional quality. Some pieces have a relaxed and joyful appeal while others evoke a more complex and personal response. Overall, the artist would like to relay the joy of living and the calming affect of the environments she paints. Sabre's work has an atmospheric quality that results from the colors and textures that she builds up. She admires the spirit of the expressionist masters and seeks to create work that evokes an emotional impact. Her subjects include abstract landscapes and interior-scapes, as well as figurative imagery.
My work combines the simplicity of line, shape, and color to capture the flow of the living waters that exist deep within me. "I have a love affair with the light, the sea, and the suspension of time. When I drop down into present moment time I connect with SOURCE, the place where all things flow". This work requires a considerable investment of thought and effort in materials, colors and design, but it is deductive in nature, and aims at a simplicity that captures the essence of stillness and beauty. This exploration is minimalism at its best, as I refrain from filling the space with anything other than what is honest, natural, and free. When my work is going well, the studio ceiling opens up and I am connected with the vastness of all things. I can be totally alone, and yet BE profoundly connected. The patterns that emerge have been called spiritual calligraphy,’ a conduit for hope, sharing, and transformation.
Every day Barbara looks forward to creating art that will convey the same sense of beauty to the viewer that inspired the artist. She approaches her canvas with a concept and allows her mind, body and the inspiration found in her faith in God to bring the concept to fruition. Barbara's art may include energetic brushwork, palette knife work, soft passages of blended paint or a heavy build-up of paint. She strives for just enough variety without too much unity so as to capture the viewer’s attention.
As an only child born to creative parents (her mother sewed and her father painted realistic oils), Charlotte Foust developed a keen imagination and a desire to connect with others through self-expression. She is attracted to the ability of art to be both a highly charged internal process and a medium for sharing the resulting energy with strangers. Known for her love of texture and color, Foust’s heightened tactile sense allows her to trust a line or brushstroke to guide the direction of the work. As a result, both her abstract and figurative work lend themselves to both decorative and emotional impact. Foust tends to work in cycles. She will often work on a series of paintings until completion and then take a brief sabbatical. Early in her art career Foust was awarded a Regional Artist Grant for Emerging Artists. Her mixed media abstract and figurative paintings have won both awards and collectors alike. Foust holds a Bachelor of Arts degree from the University of North Carolina at Charlotte.
Transparency and flowing line, the play of cast shadows and light on a wall, sparkling, subtle states of being that invoke intimate, emotive responses. I imbue my pieces with an ephemeral presence and ability to catch and hold the light. Created from hand woven wire and glass, these pieces envelope viewers in a seductive, entranced space. Their transparent and intricate forms and jewel-like nature are unapologetic in their beauty. I am inspired by numerous varied sources, some of which include: Giacometti’s stretched and elongated figures, Judi Pfaff’s installations and deft use of material; and the sculptures of Anish Kapoor. My work explores the transient, poetic, and ephemeral experiences of our world—intimacy, emotion, and reflection, and offers a space for their consideration.
Drawing precedes painting in my work. Since 1998 I’ve used compasses to choreograph networks of circular form, based on sine waves, or ‘s’ curves. I’m interested in centrifugal/centripetal forces, & in edges setting up tension and flow. Color fleshes out these structures in gouache or oil. The surfaces are precise and uninflected, allowing spatial interaction to reveal itself. I want the images to act as suspended, yet connected slices of light, breathing, tense, emergent.
In his photographic series of "Bookscapes" the assembled libraries only exist in his photographs. From photos of different bookshelves, he reorganizes them into a creative digital composition of a new thematic "Bookscape". The relationship each viewer experiences is almost immediately personal depending on the theme of the particular assembled library and the viewers relationship to that theme. Some examples of "Bookscape" themes are Hollywood, Rock and Roll, Fashion, Architecture, Art, etc. His series "Seascapes" uses the same beach background, juxtaposed with another photograph to create a totally different physiological affect on the viewer. Some of the beaches have a semi truck located on them while others may have delapidated buildings. Some of the elements like the semi truck contain Grossman's other personal photographs such as the "Bookscapes" integrated into them. The final product is a photograph that makes us believe in something that would naturally be preserved as unlikely or impossible to be comprehended to be perfectly normal. It creates an escape from our realities.
William Guion has photographed the landscape and people of his native Louisiana and the South for more than 15 years. Through his camera’s lens, he explores the quiet presence, or spirit of place revealed in the changing moods of light on the landscape. This is seen most clearly in his ongoing series of images and writings of and about live oak trees. His highly detailed, large-format, black and white photographs of this species of oak indigenous to the Southern Gulf Coast, sensitively capture the tree’s spiritual nature. These images, often made in foggy, misty, settings, portray the oaks elegantly, revealing the mystical as well as the majestic qualities of these elder trees of the Southern landscape. A sampling of this body of work is contained in his first book, Heartwood, meditations on Southern oaks, published by Bulfinch/Little Brown Press.
Figures have always been an important part of Gustlin’s repertoire. Her characters are frequently set in an alien-like landscape, moody and brooding, yet at the same time, depicting a sense of future. Jylian has been influenced by a lifelong love of the Bay Area Figurative artists. For the last several years, Jylian has been working on a series of paintings, both abstract and representational, that are based on the Fibonacci mathematical theories.
In my current work I am involved with various gestural forms along with a variety of abstract language. I am also using the elements and energy of the landscape in some of the paintings which seems to enter into the work in an intuitive way. I live on a farm in Northern California with various livestock and beautiful surroundings. Breaking up the space differently in the current paintings than in previous works has created greater energy as well as interest for me with a new type of sensibility evolving with more emphasis on simpler more limited forms.
My Paintings draw from the landscape I have grown up with-mountains which give way to plains, beneath an open sky which has embraced me since I was small. That sense of space is what I am after… the space which allows me to breathe. -Karen Z Haynes
Two independently successful photographers, Richard Heeps and Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analogue technology, which reflects the artist practice within photography.
My paintings and sculptures bridge ancient and modern sensibilities. The subjects are often classical figures and portraits, but my use of materials is pure expressionism. I am most comfortable working in large scale. It is a great format for viewers to “step into” and experience. My approach to my work includes both tradition and intuition. I pay careful attention to proportions, values, scale, and especially contrast. I begin by capturing my subject in a representational fashion. Once this foundation is made I then switch to a more contemporary mindset. I begin to view the painting more abstractly focusing on form and surface. Design and linear elements, colors, metals, and patinas begin to work into the piece and often completely cover the substructure. I tend to experiment with various media like tar, metallic latex, and even resin. I view my work upside down or view them through a mirror to find harmony in the mix. This phase is rather spontaneous and intuitive. Some of my work comes together quickly while others evade me for months even years. There is a close relation between how I work and the way I live. My worldview is grounded in reality, guiding principles and what I believe to be true. If I live or paint by only what I can see or understand there is no room for invention. At the same time, the freedom and joy of exploring new potentials, if not grounded becomes lost and has no direction. There is a necessary balance between what is real and our freedom to create, interpret and explore within this reality. What really makes my art alive is both embracing this concept and exposing the contrasts.
Born in Hong Kong in 1979, Stephanie began her training in oil paintings at the early age of 11. After graduating from the London School of Economics in 2001, Stephanie continued to explore her potential in fine art, completing two postgraduate diploma courses at City and Guilds of London Art School and the prestigious Christies Education, as well as a Masters degree in Museum and Gallery Management at the London City University. Focusing on refining her skills in painting during the last five years, Stephanie continues to develop her highly recognizable Lowry style paintings of tiny human figures. Based mainly on photographs, sometimes Stephanie paints what she sees, and at other times she choreographs the picture. Appeared to be floating liberally on the canvas; every single figure is carefully positioned. Just like composing a piece of music, with notations hanging across the lines, creating enchanting melodies, conversing with the spectators.
My paintings are meditative studies done with rich color and bold graphic compositions-I often incorporate circles, grids, and stripes. The universality and appeal of this symbology pulls the viewer in and holds them there to explore the subtle details. I try to create work that both captivates and calms. I work with abstractions because I want to put forth something universal that can be open to interpretations that are unique to each individual and can continue to evolve over time.
Duy Huynh’s poetic and contemplative acrylic paintings symbolically reflect geographical and cultural displacement. Drawing inspiration from a variety of storytellers in formats that range from music and movies to ancient folklore and comic book adventures, Duy creates his own narratives of the human condition with ethereal characters maintaining a serene, precarious balance, often in a surreal or dreamlike setting. With his figures, Duy explores motion along with emotion in order to portray not just the beauty of the human form, but also the triumph of the human spirit. Images that recur, such as boats, trains, suitcases, and anything with the ability of flight relate to travel, whether physical or spiritual. His work creates a mood for the viewer to explore. While much of Duy’s work is deeply personal, his clever and often times humorous use of symbolism and wordplay invites the viewer to create their own storyline.
I find myself collecting traces of people's lives. Memories misplaced in need of recognition; old letters; vintage matchbooks; boxes of aging paper treasure. Using vintage ephemera in my work is a way to pay homage to those memories, those lives. In a world that is becoming more digital each day, I'm driven to bring new life to objects that may otherwise be lost and deteriorated in time. The challenge I seek is to maintain a balance between working with such old objects and recreating them in a contemporary artwork that holds the test of time.
In my painting, I aim to create a visual grammar that all people and languages can understand. Paintings should resonate with a quick intuitive understanding and bring joy to the viewer, and this can happen when both the physical and spiritual worlds are given a more equal emphasis. I paint with striped diagonal or circular bands of color which forces illusionistic space out of my painting. I want the flatness of the painting, color and geometric shapes to be the subject rather than to create false illusions of things like representational art does when it draws from nature or fabricated worlds. Initially, I spend a great deal of time drawing to come up with a design that is stable and fixed, then use color quite freely and randomly and call my working process "ordered chaos". Music plays an essential part of my painting process. Music, like painting, reaches within to react directly upon the emotions. Color vibrates for me on the canvas just like music does in my ears. When I paint, I cannot distinguish between what I hear and what I see, it's like a blending of the senses.
My painting process is one of spontaneity and intuition. It begins in a familiar place; the layering of washes of color with line and loose organic forms. I make mistakes and don’t paint with a precise plan. Having worked for several years in the field of graphic design, I liken painting to my opportunity to step outside the lines, experiment and take risks. As is the case with many artists, I am captivated by light touching and altering the form and how to translate that which is in my head, heart and hands to the canvas. Flowers are the main subject to my work, though they sometimes become abstracted and fairly unrecognizable. My compositions are created from life, memory, my photographs, or purely imaginary.
As an artist, I find difficult to answer: is it I who defines painting or is it painting that defines me... Either way, it is both a transpersonal and a narcissistic relationship. The process of painting creates a state of Liminality, which leads to the discovery of my own essence. It is like writing a fable, one without words and one that is rather suggestive in nature. In that progression, I forget all that I know, for originality can only be achieved by reaching into my infinite possibilities. The abstract mechanics of art are same as making music, where the musician by use of an instrument transcends the process of playing; a painter transcends the limitation of medium, thus creating work that can produce an emotional response. And when that happens, art completes life, bringing to focus what nature cannot bring to finish.
I use traditional methods of painting, oil, acrylic, pencils, sometimes collage, to capture moments of action that lead me to a place of visual harmony. I start with the canvas outside on the ground and work as I walk around it. I then stretch the canvas in my studio, then there is a long process of work and examination. The piece is complete when it reaches its own harmony.
My paintings are process driven. The physical act of applying paint has a strong influence on the direction that the painting will ultimately take. While I may have a general concept of what I hope to convey, my goal is to not allow that preconceived idea to limit or restrain the creative process. The repetitive and random application and removal of paint creates elements and patterns that serve as a visual road map. This layering, editing and re-editing functions as a meditative dialogue between me and the painting. I want the act of painting to be a journey of discovery, a balance between the urge to control the surface of the painting and the desire to allow mystery and unpredictability to enter into the process. By not assigning meaning, I hope to find meaning.
The work of Atlanta artist Christy Kinard is an expression of her soul, selflessly sharing her unique vision in spirited works that evoke a refreshingly youthful sense of hope, happiness, and joy. Christy Kinard has enjoyed a life-long success both as a nationally acclaimed artist and household favorite. Kinard showed her first pieces by age 18, and has been celebrated in major publications. She has continued to be popular with collectors across the United States and Europe.
My work is about creating a feeling of deep calm, soft stillness, expansive space and tranquility, a sense of equanimity, a secret to take rest. The process is one of transmuting paint into lyrical expressions of color and mood. I see color and composition as my primary modes of communication. My studio in Santa Fe looks out to the Sangre de Christo Mountains; recently I have been exploring the shapes of clouds in all of their many moods, bathed in rose reflected sunset light as well as the lavenders and deep blues of dusk I am interested in simplifying the landscape forms of ground plane, sky plane and horizon line to achieve a sense poetic abstraction.
My work is exclusively black and white and toned images influenced by my environment. Residing in Boston, Massachusetts, with close proximity to the ocean, provides excellent photographic opportunities for architectural and coastal studies. My prints have an image size of 8x8 inches or 13x13 inches and use Cranes Museo Silver Rag, one of the finest photographic papers available. Primarily self-taught, I have studied the works and techniques of masters such as Michael Kenna, Ansel Adams and Hiroshi Sugimoto. My photographic tools consist of 4x5 large format view and pinhole camera as well as full frame digital. Along the way, I have been fortunate enough to be encouraged and influenced by many fine photographers throughout the world. Many of whom I consider my friends. There are three loves in my life, my wife Deborah, photography and surfing, all of which help to keep me centered. Ten percent of all purchases benefit The Surfrider Foundation, whose mission is the protection of the world’s oceans and beaches.
The time Peter spent living near the beach influenced his subtle palette of cool blues and greens, warm golds and rich reds, hues that are complicated by the atmospheric clarity he finds in the arid southwest. His excellent training as an illustrator is evident in the dimensional sophistication of his paintings. He approaches each canvas with a keen technical acuity while simultaneously yielding to the spontaneous development of the work. Peter’s strong foundation in drawing also affords him the luxury of retaining a formality of line while articulating a broad range of expression in his paintings. His attention to detail is a primary concern. He hand finishes each canvas, resolving every painting to a very particular level of complexity.
Age 11, I think. That’s about the age when I decided adults were wrong: magic does exist. As I lay in the grass watching pre-tornado skies, I realized it was all around me, hidden behind the sciences of meteorology, botany, astronomy... the warmth of miracles suppressed by experiments and equations and proofs. It became clear that the beauty of science, nature, and magic was indeed one in the same, and it saddened me that the miraculous nature of it all had been dismissed so irresponsibly over time. Photo compositing allows me to create metaphorical reminders of the magic and miracles in an attempt to bring humanity back home to its roots: kin of the Earth. So with a nod to Mother Nature and her fairytale existence, I work to seek out equal beauty in the storm as in the sunrise.
Tracey Lane's richly, textured paintings in acrylic are a celebration of the mystery of nature, and the promise and complexity of life that exists in nature. "I'm mostly inspired by the quiet drama of nature – trees bending toward the light, silent reflections, sunlight breaking through clouds," says Lane. "More recently, I've begun to explore the 'flesh and blood' wildness of nature through birds" and other wildlife, which, says the artist, are ubiquitous reminders of our important and often shunned responsibilities as stewards of the earth. Lane approaches her mixed media works on panel with energy and brisk movement. Paint is sometimes left dripping on the panel to dry, and other times applied with palette knives in a rich impasto. "My paintings are about the experience of light and shadow, color and texture – the play between the seen and the unseen, and memory and imagination," says Lane. A resident of Atlanta, Lane earned her bachelors and masters degrees in art history from Emory University in Atlanta. She began painting a series of studies of trees following time spent in the North Carolina mountains near Asheville, though Lane says these works are not intended as literal interpretations of the landscape but rather symbols of life itself. "Even though I'm painting trees they're all self-portraits in a way," says Lane, who quotes the late German romantic painter Casper David Friedrich, who said: "The pure, frank sentiments we hold in our hearts are the only truthful sources of art."
My definition of art is that which keeps us connected and reflects the highest and most nobel ideas and intentions of mankind. I am most closely aligned to Mahatma Gandhi who said: “All true art must help the soul to realize its inner self. True art must be evident of the happiness, contentment, and purity of its author.” This is how I strive to express the deep appreciation and respect I have for being an artist. My paintings are also the attempt to integrate my profound respect for individuality with the process of making art. I work with-in an introspective, intuitive fashion and strive to bring a personal sensibility to the work. The process in which I work relies on developing a dialogue with the work. This dialogue allows the work to unfold in a non-judgmental way. Imposing my will upon the work does not allow the work to tell me how it wants to develop and where it wants to go. Control is not the issue in the development of the work, listening with respect is. Standing back and entering into a relationship with the work based on respect and trust, allows for this inner dialogue to take place. I work at not trying to determine a specific outcome or predetermined idea, but through dialogue allowing for the emergence of the individuality of each painting. This is the only way I can create art. The personal aspects of the work are the many influences that affect the relationship with the work. The aspect of layers is one that surfaces time and time again. Layering creates both a sense of personal emotional, physical and spiritual history in the work. Each layer reflects its own statement, compounded by the subsequent layer that adds to the visual story. Together a collective passage of time and place emerge to represent a collective idea that can only emerge from the viewer.
The new series is called "Soundtracks." Painting to music has always been integral to my work. I need the music to clear my mind - to make room for my thoughts and emotions to express themselves. By combining my two great loves of music and painting, I am able to concentrate and lose myself in the moment. I decided to paint to music I listen to this time, instead of using it as background. Therefore each painting is a direct result of an actual soundtrack I listened to while painting.
Since I was a kid I always wanted to go to places where I could look very far away, be it the mountains, the ocean or the never ending horizon of the Argentinean Pampas. I never knew what to say when people asked me what was I looking at. I guess that what I liked was precisely that there was nothing in particular to look at, it was a great feeling of liberation. When I start a painting my first motivation is to develop a space that presents no barriers for the eyes. That is why depth is so important to me. For many years I've been developing a technique that more than creating an illusion of depth, it rather transforms the space of the painting into a semi-three-dimensional space. This technique consists of innumerable layers of translucent acrylic colors applied between several coats of clear epoxy resin. One coat of the resin equals around fifty coats of varnish. After a few coats of resin you can build up the surface of the painting up to half an inch thick or more. The interaction of all these layers of colors between the coats of clear resin not only increases the depth, it also creates a much more vibrating final effect than the one you get when the colors are applied one on top of the other, without anything in between. When I finish a painting It is difficult sometimes to tell which is the dominant color. You can say it is green or red but if you look carefully you see that whatever color you are looking at it is not just that color, but the result of multiple interactions instead. I place the human beings that appear in my paintings very far away from the viewer, usually so close to the horizon that they frequently look on the verge of disappearing. I do that not only to further increase the depth but also because I want those human beings to be surrounded by a vast , naked and mysterious universe that presents no distractions, very different from the urban environment where most people spend their lives, an environment that is hopefully more conducive to explore our selves.
My process may be complex but my images are simple. They are a slice of life past and present that tell a story. As I develop a montage of images a story emerges which invites the viewer to experience the tale. The creative process I use comes from my skill set and life experiences. I use vintage images and my own photos always choosing images that I connect with. I hope the viewer finds a connection that either evokes a feeling or thought. My topics are iconic imagery mixing the current with the past, may times I use images of women to give a voice and sense of empowerment. A universal connection is what I strive for. My art is a metaphor for life, the complexity of everyday life reveals that we are all simply human.
Lucille Marcotte has created a world on canvas, in which her characters are formed by minimal and energetic lines. These characters come to life in a sea of the white canvas, that invites the viewer to feel rather to see, and to experience rather than to appropriate. With movement, colors ans space Marcotte takes us in the soul and the mystery of the characters that inhabit her paintings. This absence of detail, the viewer allows himself to see his owns reflection in her work. From the very beginning, the body has appeared as a privileged representational subject and it still reappears often as a theme. To breathe life into this state of tension, the body is seized in its movement while the space around it seems to stay still. You can feel the texture of rough surfaces that press against the empty spaces, silent and fragile where light emanates from deep within. Against matter, nothingness is a living entity, they penetrate each other in the work.
Nathaniel Mather has been producing colorful, whimsical and thought provoking art for over 20 years, with a unique style that combines his love of color and texture, and a passion for telling a story. Nathaniel's images reflect his joy and ability to illustrate emotions and concepts. Expressive painterly, mixed media paintings composed with a graphic flavor available for editorial, advertising, children's books, book covers and corporate market.
I paint everyday. I do studies. I paint walls. My studio is canvas, wood, tools and paint. It is my laboratory. It is a place for me to paint fresh and allow my inspiration to flow. I bring ideas here. Ideas for my paintings evolve from the experiences I have, colors that inspire me, and the objects that surround me everyday. I take these and put them together as a still life. The still life setting is my outlet. As a still life painter, I abstract elements in each painting allowing other qualities to take on a stronger role. I combine these abstracted forms with realistic and expressionistic views of objects, shapes and color. Part of my inspiration is pushing the boundaries of what can be done from a two-dimensional perspective. I need objects to exist figuratively to the extent that they define the space of a setting. I am fascinated with this space and the way that it can hold objects together or pull them apart. It is with color and texture I shape the focus of a painting and frame the essence of a still life setting with the feeling of a place.
Casey creates rich paintings with multi-media surfaces that are both visually intriguing, and full of energy; incorporating expressive color, movement, and strong elements of design. The work combines emotional content, technique, exploration, and reinvention. It is a form of vague communication in an attempt to achieve balance and beauty. Her studio is located in historic downtown Fernandina Beach, FL.
My neon, decorative paintings and installations use contemporary phrases, which reflect the thoughts we all share. My art reflects my fascination with how our relationships take place in our everyday life, hovering between humor and desperation. My work has been described as contemporary multidisciplinary with a conceptual twist.
We live in fast times, where mystery is hard to believe. Everyday life is my inspiration. My work is like a visual diary. Events become timeless happenings. Color, symbols and archetypes resonate in us, creating a sense of wonder about life. Painting is magical, transforming internal abundance. Events become timeless happenings. Symbols, archetypes and beauty resonate in us, creating a sense of wonder about life. My love for creating is unconditional.
"My photography is foremost about bold color and composition. Often tightly cropped and composed in a straightforward manner which is intended to focus attention to the main subject, my photographs can almost be heard saying “here I am, I bet you didn’t look at me in this way before.” Cultural artifacts, signs and structures that would often be overlooked form a core part of my subject matter, and bring to mind questions about the cultural origins and uses of these objects. Printed in acrylic, my photographic prints reflect and illuminate the vibrant colors and depth within."
Whenever I start a painting it is with passion, excitement and anticipation as I am both participant and observer as color, shape, and form evolve onto a blank canvas. Color for me comes from a joy of having hues interplay with each other--light to dark, soft to strong, muted to bold, blended to contrasted. This use of color becomes an alchemist's palette--with a result not predetermined--but with bits and incidents of color unfolding on their own terms. Often I see myself in this process as a vessel or conduit where form, color and shape take their own journey and take their deserved place on a surface. Consciously or not, there is always a conversation among the tools and materials used and myself. The result, when successful, is a hopefully recognizable and enduring mystery that resonates a deep-seated familiarity from the viewer.
Craig Mooney’s paintings translate the emotional impact of a places that he has visited. His imagery feels familiar but is not specific. The sky, most notable for the weather, is a dominant force in most of his works. In Vermont, his current home, Craig witnesses drastic shifts in weather in a single day that results in storms to sun and back again. The shifts of lights across the surface of valleys are captured beautifully in his landscapes. In addition to expressive landscapes, Craig also creates elegant figurative paintings that allow the viewer to observe someone deep private thoughts.
My art develops from an abstract vocabulary inspired by the properties of water, fields, and their boundaries. I work to create a natural rhythm as a means to reflect spontaneous effects and the underlying forces as witnessed by the human spirit. In my work, the analysis takes place on the surface of the painting. Layers are continuously reformulated by adding and removing material. My surfaces are candidly penetrated revealing consequences, which become embedded to varying degrees in the final form. I find this process akin to natural forces upon the physical world. For me, making art is a journey to understand the natural world through the observance of movement, form, and color. It’s my approach to visual discovery.
The shapes of nature are so much more surprising than what I imagine them to be. And so, I start with something tangible. In drawing the curves and winding trails of a branch in bloom, I have learned that beauty is in the unexpected and momentary. I consider the fleeting images that represent change: a sequin of light, a passing shadow, tangles of blurred lines, the places where growth blooms and withers along an otherwise bare branch. I am interested in exploring nature’s point of view - how nature might perceive itself on the inside. From this perspective, I imagine a chaotic tumble of change and growth, a relentless and overwhelming surge of interconnected events. Painting takes the form of inquiry where my process is made visible. I want to hold a moment in my focus, noticing the fragility of its current state before it quickly becomes something completely different. In this way, I am watchful of my surroundings. There is beauty in unexpected places, not just waiting to be found, but waiting to really be seen.
I’m constantly striving to spend less time with each painting. To represent form with fewer brush strokes and a simpler palette. To rely on the minds eye to do the work for me. I work from sketches, photographs and scrap. After creating a rough composition, I execute the painting quickly, avoiding overworking and overthinking. I draw my inspiration from many different sources. The Bay Area figurative artists, the colorist approach of Fairfield Porter and the abstraction of Nicolas de Stael. In my most recent body of work, I’ve returned to my roots on the Maine coast. The water has always been a central theme in my life. I never tire of the endless combinations of color and form. Its meditative effects always juxtaposed with its underlying ferocity. While the repetition of horizontal bands and geometric shapes abstract the scene and calm the mind — the aggressive handling of brush and paint mimic the fluidity and raw energy of the subject matter.
Three things motivate and shape my work: pure pleasure, challenge, and the attempt to engage in a visual and critical dialogue with other painters, past and present. The pure pleasure I derive from painting is just that: complete and utter expressive gratification, akin to faith in its steadfastness. The challenge comes in many forms, particularly in not knowing exactly where a work is going to go. My conceptual dialogue may best be understood in the context of a child who may be structured and guided by his parents when he is young, then follows his own path, independent of his parents but still shaped by them as he grows I was shaped and guided by those before me (Motherwell, Diebenkorn, and Pollock, among others), giving me a solid foundation—studying, copying, experimenting, then working more independently. As this relationship grows, it allows me to follow my own path, all the while enjoying their continuing influence through an evolving dialogue with them, as well as with my contemporaries working in the same bent. My work is an expression of this dialogue, a spontaneous intuitive reaction that is itself a sort of conversation with my medium. I agree with Jackson Pollock when he said, “I want to express my feelings rather than illustrate them.” My physical reaction comes from my intuition, both ordinary and esthetic. Clement Greenberg clarifies that distinction in his essay Intuition and The Esthetic Experience: “The intuition that gives you the color of the sky turns into an esthetic intuition when it stops telling you what the weather is like and becomes purely an experience of the color.” The work in this show challenges viewers to use their own intuition to experience the essence of these essays of a silent medium.
I am interested in conveying a “state of possibility,” where everything in the atmosphere pulsates with life, on the verge of movement and change. My paintings are not about what is seen, they are about the forces of energy that surround us. How one motion affects the next is a continuing source of fascination for me. I’ve been exploring abstraction more and more over the years, but–even with my representational pieces–I am focusing on the vibration of matter and how our world exists right on the edge of chaos, in almost constant flux. That’s why retaining a sense of gestural animation in my work is important to me. I also use a lot of glazes and scribbles to convey the depth of space wherever I can. Inspired by the landscape and water that surrounds me in Marin county, California, I’m also drawn to the figure, especially ones that are active (or actively thinking). I play rock music while working, and hope the rhythm of the sounds I hear are also part of the viewer’s experience.
When she discovered painting she knew that she had to express herself through color. A quote from Vincent Van Gogh, “The only time I feel alive is when I am painting.”, comes close to how Terry feels. She is constantly striving to find just the right value and hue to capture the loveliness that she sees in everyday life. She draws from her spiritual feelings about beauty and love to bring warmth, and even whimsy to her viewers. Her delicious dessert paintings are an example that whimsy and her joyfulness. One subject of her dessert paintings are contemporary images of donuts. The paintings are fun and colorful but they represent more than just “sweet confections”. The circle is a symbol of eternity and each donut has a single bite taken from different sections. This is like a clock’s hands showing the passing of time. Recently she had a health problem that made her rethink the time we have on earth. The experience brought her a personal insight. Her motto now is “Life is sweet, take a bite”
As an abstract painter, I am often torn between two worlds, feeling that I am most fulfilled and balanced when working in both of them. The first is the world of color, texture and movement. Using a number of mediums, I can manipulate them in a variety of ways, being led to create pieces that I feel are kinetic and energetic, instilling within the viewer a sense of hope and joy. Simultaneously I am also drawn to the monochromatic and contemplative, desiring a large canvas filled with no more that two or three colors, but invites a more methodical approach without compromising sophistication and method. The process for these two styles of painting is quite similar, creating multiple layers of paint amidst mark making and texturing. Whatever style I am working in, I find it to be a focused and meditative practice, allowing me to follow my intuition. Rather than clashing, these two styles lend a complimentary blend to my work, satisfying the need to communicate bold energy as well as quiet reflection.
My work is a visual record of the world around me; capturing those moments that have become rooted in my memory. I am not interested in replicating nature, but rather the bits and pieces that have struck a cord with me. I tend to work large, starting with bold black ink sketches that reference organic shapes. I then obscure parts with multiple layers of broken color. I work back and forth in this manner developing a thick build up of paint in some areas while others remain thin and open. Washes contrast with impasto and interplay with the loose drawings within the piece. The essence of my work is exploring the beauty that is present in the natural world. In this process I take in what draws me to nature and bring it back to the canvas via my own voice.
Through the past 25 years as a glass artist I have explored the idea of garden through my work. As an avid gardener I have a passionate interest in flowers. In the summer I spend each morning wandering amongst the new blooms to cut a flower from the chaos of the garden display for the bouquet in the house. During the winter months I focus on my imaginary garden, expressing the joy of flowers in my blown glass objects. Beginning with the my original ‘Flower Vase’ series through the ‘Flowering Vine Vessel’ series and again in the body of work titled ‘Epergne’, I sought to examine how glass has been used historically and how it could be brought forward in a contemporary way to continue to adorn the home. My latest project extends this exploration to the ‘Large Flower Vase’ pieces. When I think of gardens I think of something larger than life. They are a physically manipulated, living space that can, not only surround you, but also overpower you. These ideas have fed into the new blown vessels as they take on a larger, more voluptuous form. These pieces capture the beauty of the blooming on vessels, which reference historic forms that have evolved with a contemporary style. We are all constantly surrounded by something. The landscape that surrounds us shapes us and influences us as we function within it. In my continuing series of ‘Wired Forms’ the wired landscape, in its complexity, transforms the simple glass form. The ‘Wire Form’ series explored the combined use of glass and metal in a more sculptural format. This series liberated my work from the constraints of the functional vessel and has lead to the development of the ‘Garden Columns’. I have worked with scale to create a presence; they demand that observers engage with them in a more physical and direct way. Using numerous columns to define a space, I incorporate light through the multiple transparent or opaque glass elements. Drawing on natural and abstracted forms I have created a series of work, which is harmonious and compelling through the seasons.
Painting is a conversation. I may have an idea of what I want to say but there is a process of give and take between myself and the marks on the canvas… there are always unexpected turns. My textural, painterly works examine ever-changing relationship in life. I work on a body of five or more paintings at a time. Working on these paintings together I begin with quick layers of acrylic paint, allowing me to build up texture. In some works I will apply a plaster scratching back and painting over again. These first layers always show through somewhere in the finished work. They are where the conversation begins. Next I draw with charcoal, oil pastel or pastel, these marks will not be the final drawing, there are many times during the work to draw again. Drawing is coming to shape conclusions. My favorite part is oil paint. The rich creamy texture and luminous color begin to tell the real story. The canvas and I understand each other and are better for the conversation we have had.
One of the most arresting visuals for me is an old wall layered with papers, graffiti and text- our modern hieroglyphics. I try to re-create this beauty in my work, the layers of time and decay are what interest me. I hope that the person viewing my work will linger, trying to discover hidden imagery and text and depending on their life experience, find their own meaning or interpretation. Found images and objects function as signifiers of both individual and collective experience. By incorporating materials that are linked to the realities of daily life, I strive to establish an immediate identification between the viewer and the work of art. I am exploring the place between “high art” and popular culture, text and image, figuration and abstraction, past and present , and two and three-dimensional space. I begin working without a final vision in mind: I use collected materials and allow pattern, texture, color and structure to emerge organically
I love to combine vintage ephemera and photos with the modern aspects of paint, surface design and even imagery of the graffiti on trains that pass by our farm. I'm able to write my own story, or interpretation, of the vintage photo with the composition and design choices I make. I layer paper and paint; distress with sandpaper; and allow the layers of the collage process to show. I have a collection of photos from estate sales, yard sales, auctions and abandoned family photo albums that comprise the archive of my vintage images. Many of the photos I use show people having a good time - or expressing a sense of humor. I like that. I want people to smile when they look at my work. I want them to feel a connection with - or a curiosity about - the person in the photo. The expressions and nostalgic details of the photographed subjects, when enlarged to 3 or 4 feet, make a big impact on the viewer. It saddens me that in 50 years there aren't going to be boxes of vintage photos and handwritten letters at estate sales for someone to buy. Photos are kept on phones and computers today, and emails have replaced handwritten letters. Until then, I'll keep adding photos to my collection and making collages to give a story and second life to these vintage images.
My photographs are about finding interesting qualities from subjects that have been saved, forgotten or discarded. Objects that may no longer serve their initial function but become beacons for faded memories or will find new uses through recycling. I find the history of an object fascinating, even more important than their original function. They hold keys to our past both on a personal level and to our existence as a whole. Objects move beyond their primary use continually changing to serve a new purpose. We give them the ability to become new again, to become art.
John Schuyler was born in Long Island, NY in 1965. After early success as a business entrepreneur, Schuyler looked toward Europe for inspiration. He found it in the Old World art technique of fresco and in the colors, smells, and textures of the Tuscan countryside. Schuyler began experimenting with fresco techniques when he returned to the United State. As he explored the possibilities of fresco, Schuyler became absorbed in the coarseness created by different applications of the plaster to his canvas. Thus, he is able to produce very rich and dynamic textures. Looking at any of his pieces, you are given to a sudden urge to run a hand over the surface of his paintings. As Schuyler's captivation with texture progressed, the content and form of his paintings became simpler. Color, studies replaced traditional forms of content in his pieces, and the balance and contrast of color became the second focal point of Schuyler's paintings. He infuses pigment into wet plaster so that color becomes part of the texture, rather than being applied to it. Schuyler strenuously scrapes acrylic paint and pigmented plaster from the surface of the linen in a style known as scraffito. This technique produces very deep and luminescent colors that heighten the effect of Schuyler's composition. Warm, earthy tones dominate his most recent work, the Paesaggio series, a reflection of his memories of a Tuscan summer. Schuyler's unconventional approach to fresco culminates in paintings that leave a powerful impression on the viewer. His rough texture alludes to a passionate physicality while its simplicity in form reflects a cool logic, a balance inherent in all his pieces.
I make large-scale abstract gouache paintings on paper. In each of my BLOCK STACK and OVOID series different arrangements of blocks, ovals and colors create a feeling of transcendent order. These images are anti-chaos. All strive for a connection to a moment for reflection, a moment of resolution and calm. My gouache works feature luxuriant protean color and are infused with sublime soft texture. In painting each piece there is an experience of exhilaration and renewal. In each painting I stack and pile simple shapes, placing then sizing and creating visual relationships that build to larger rhythms. My best paintings work like Japanese haiku; each image is paired down to its essentials and each becomes a complete world of its own. In these paintings I aim for an effect deeper than the joy of beautiful surface and color; I want to generate visual places, points of departure for states of serenity and contemplation. In my OVOID series, squares without edges, I enjoy the play of organic shapes against the white of the background creating tension as the ovals touch or separate in varying degrees. These images reflect velvety textures such as moss covered earth as well as disparate edges, sizes and patterns coexisting in nature. Each shape is drawn and carved out by the edge of the brush. I use gouache paint on Reeves printmaking paper, achieving a translucency and depth of color; I blot and dab myriad hues to create complex and delicate surfaces. It is the thrill of potential in each new piece that keeps me exploring in the studio.
My work has been firmly rooted in the landscape tradition, but it has always stretched well beyond literal references. The paintings, drawings, and works on paper are the result of an ongoing interest in contradictions and dualities. Initially a direct response to place, the work develops into a dialogue between dense accumulations of paint and drawing materials and open passages evoking light, air, and water. The accreted marks in both the paintings and drawings also tell their own histories with a sense of urgency and vulnerability as they collide, dissipate, and reassemble. The working title of the two current series, “Soundings” and “Water Marks” loosely refer to measuring depth. In these images, depth is plumbed as passages ”sound” water, air, and my interior landscape. Using the metaphorical implications of layering material, memory of place and experience is addressed.
Andrew Sovjani (b.1967) is a visual artist recognized for blurring the boundaries between photography, printmaking and painting. Raised in a family of working studio artists, art making is in his blood. Andrew has drawn from his life experiences in the scientific world and living in Asia to create transcendent bodies of work that are often extremely peaceful. His award winning photographs have been shown in exhibitions throughout the U.S., Europe and Japan and are held in many public and private collections. He has won over 20 awards of distinction at many of the top fine arts festivals in the nation and was a finalist for the Critical Mass book awards in 2010. Information on Sovjani's Series: From the “Folding Light” series: These images are about the study of light and it’s nuances. I have chosen ordinary paper as a blank canvas in order to explore the interactions of light, shadow, line and space. Illuminated by the natural light filtering through a north window, simple paper can be transformed into the curves of a figure, the movement of a wave or the buildings of a city block. From the “Blue Highways” series: The images in this series are gathered from my last few years crisscrossing the US. On my way to various shows around the country I try to get off the interstates and wander without the guidance of GPS. I often find myself traveling along the old rural routes, marked blue on the Rand McNally atlases of the past. These images capture my quiet encounters with places and structures. In many ways they are made like portraits. I am attempting to capture their essence, something that is hard to put into words. reAction printing technique: The process I use to create each print is a combination of traditional, alternative, and digital methods. Each image is captured on large format B&W film then silver-gelatin prints are made in the darkroom. Over several days the B&W print is altered by hand using bleaches, acids, toners, and various homemade concoctions. This reworking changes the silver in the paper and creates beautiful colorations, mark making, and spontaneous effects. It also allows me to post-visualize and alter the straight image to reflect how I feel about the subject. These unique prints are then brought into the computer and further altered until the final visual image is realized and printed using archival pigment inks on 100% rag Baryta coated paper.
Strickfaden works with the artistry of color, line and texture to portray a singular interpretation of her connection with nature and the ocean in her Abstract works. The pieces show principles of design, composition and texture, translucent and opaque dripped color, and layering. She draws inspiration from the colors of the ocean and landscape, yet interprets them in an organically shaped abstract application. These pieces are a mixed media of recycled house paint, ink and pastel and/or oil stick either on wood panel or canvas. Strickfaden is constantly perfecting her art, always pushing, changing, and trying new approaches to her work. She looks for inspiration in the beauty and color of everyday life. She feels that without this constant change, her work would be lifeless.
My recent work is a study in order and structure, based on the simplest of geometric forms. There is a great deal of freedom involved in the imposition of strict rules – within the structure of the grid, the confines of the cube, spheres and jacks. There is the possibility of endless variation. Abstract geometry and color create the illusion of form and space, and the awareness of the importance of these elements emerges from their presentation on the wall. The architectural cube series reflects my interest in geometry, light, shadow, and architecture itself. I address the ordered system of a grid through the play of opposite words and color schemes, which give way to the free expression of sensuality, movement, and energy. My work is used in both commercial and residential installations.
“My work always begins with drawing. Originally my mark making on paper was by using graphite and charcoal because of my love of the line quality that it gives. I then began experimenting with brush and ink which enabled a new boldness and simplicity. I then began to go out into the landscape with just Chinese ink and a paintbrush to create drawings. My aim was not to draw literally what I saw before me but to capture some essence of the patterns of man’s mark on the land. Studies of plant structures and plant cells were the inspiration behind the Seedprint series of twelve screen prints. These were made using translucent ink on squares of Chinese silk paper and had titles of Seedprint, Leafprint, Stem and Magnify. The square format enabled whole sets to work together beautifully either in a grid format or side by side in a single row. The Encounter Series of nine lithographs relates to the Silk Print series with the same square format but with larger and stronger brushstrokes. Each image is not contained but goes beyond the edge and is part of something bigger. Some of the images are calm and contained and others have a tension and energy. The title Encounters comes from the experience of moving through a space whether urban or rural.”
Based on the ephemera of modern urban life, my paintings explore the things we look at each day without seeing. Though everything is game imagery-wise, I am drawn to advertising images and glyphs, the visual shorthand of contemporary culture. As a painter, I have as an objective to explore the subtexts and uncover the possibilities of seemingly innocuous marketing imagery. The chief ambition of art, I believe, is to change the way we look at the world around us. Bright colored blocks compose my acrylic paintings. I enjoy the look and feel of loose, graffiti-like marks, text, and “noise” against these vividly hued planes. Usually I paint with layers, with each new layer showing a bit of the one beneath, either by transparency, an unpainted “window” area, or by a scraping away of recent layers. Often this process yields unexpected colors and forms. Similarly, I use corrugated cardboard, bubble wrap or other common materials to apply paint in tightly striped registers, creating texture, space, and still more unintended forms. Played against this pictorial depth are images that are hard edged and, at times, almost aggressively flat. A vibrant tension is produced by the interplay between these forthright, graphic forms and the painterly, almost old world concern for surface qualities
Karen Tusinski lives and works in the Cape Ann region of Massachusetts. She graduated with her B.F.A. in Painting from Montserrat College of Art in 1998. Her first passion in her work is color relationships. Her palette is balanced, earthy and vibrant. With flat space as her agent, Karen paints images that remind us of the comforts of home. Bowls, vases, bottles, flowers, and textile design serve as shapes to inform/inspire color dynamics. While in the process of painting, Karen challenges herself by playing with the space between and around her subjects; composition is a playground where relationships between space, color, and form develop. In her work, she often calls upon one of her favorite muses; the fleeting, red bloom of the Poppy flower. Karen uses her imagination to create whimsical and wild arrangements of poppies, grounding them in hearty vessels. Often, she’ll use geometric patterns acting as banners at the base (and occasionally up the sides), of her paintings to further anchor her subjects in space. Her paintings easily tap into joy and the effervescent quality of hope.
My work is primarily interested in some of the more intangible aspects of the human experience - mood, tone, and the atmospheric nature of how we as humans perceive the world. I don't look to art to tell a story, to take up issues - whether social or political. All I look to art to do is to simply exist and in so existing to express something in the simplest and most direct manner possible.
My work explores mark making, patterning, gesture, momentary awareness and paring down to essentials. The connection between place, process, materials and abstract form in relation to consciousness is of interest. The work is inspired by architecture, primitive art, metaphysics and the practice of yoga. I am concerned for the state of the earth, the feminine wave and the reflective slow revolution of expanding consciousness.
A delicate visual sensitivity is at the core of all of Jane Park Wells’ paintings. Working on square and rectangular wooden panels or on similarly shaped canvases, she stains, rubs, masks, over-paints and sands layers of color into rich layers of transparency, building a luminous surface of sensuous visual depth or sheer atmosphere. Wells then floats a variety of colored, loose and incredibly lively lines onto these shifting and colorful grounds. For Wells color is an ongoing exploration of mood. Each of her series of paintings uses color to explore a variety of emotional atmospheres and to construct visual nuance and texture. In Wells’ paintings, color and line build emotional networks that can be intense or delicate, vibrant or restrained. At times the color uplifts us; at other times we are subdued by it. Sometimes the color and her application emphasize the inherent grain or flaws of the underlying material; at other times the ground is obscured completely.
Photographer, Jim Westphalen has always had an affinity for the built landscape; those features and patterns reflecting human occupation within the natural surroundings. His current body of work entitled, Vanish is an ongoing narrative that speaks to the decay of iconic structures in rural America. Inspired by such painters as A. Hale Johnson, Andrew Wyeth and Edward Hopper, Jim’s photographs open like windows to a world that is rapidly disappearing before our eyes. He captures his dynamic landscapes using a vintage 4x5 (film) view camera that has been adapted for digital capture. He then processes his imagery using proprietary methods that create a unique painterly feel. The effect is further enhanced by employing matte finish rag papers for the prints themselves. Largely self taught, Westphalen has been a professional photographer for over 30 years. His work is widely published and collected both nationally and abroad.
I have always been intrigued by the beauty, flow and elasticity of the human body. To see a figure bend, stretch, pull and twist is a true wonder of nature that has always stimulated my imagination. To make the transition from imagination to reality, I began to study with Peter Pacquette, who taught me the techniques of working with clay and metal, as well as welding, soldering and shaping rigid materials, the basic skills necessary to create a work. I was then privileged to come under the tutelage of Frank Eliscu. He is an internationally known sculptor who has many important municipal, commercial and private commissions to his credit, including the Heisman Trophy. I have studied at the Museum of Fine Arts School in Boston, MA and am a member of the National Sculpture Society. For me, the action and interaction of the body is the primary force that I try to convey. To achieve this I am continually working on my techniques and knowledge of the anatomy, body motion and fluidity. Each of my sculptures is cast in bronze at the Bronzart Foundry in Sarasota, Florida, and at the New England Sculpture Service in Boston. The edition limits are between seven and twelve pieces to assure that the detail of each piece is properly rendered. I hope you will enjoy seeing these works and share in the pleasure I’ve had in creating them.
"I think working with Charcoal is magical. The vine itself is so light it seems as though it is weightless, the dust flies as the sound of its wonderful scratching against the canvas fills the air, and it melts into the canvas so quickly. Figurative work follows me and challenges me. I feel my gift is being able to capture traces of what my imagination lets go of. Then I bring out the best qualities in the lines by giving and taking away, creating a form that is at once ethereal and evanescent. In the end, I hope to create something that keeps pushing me to move forward."
"Inspiration for my work is both selective and completely random. I’m certain that influences must come, to a certain degree, from things that enliven and excite me - imperfections, flaws, rust, asymmetry, the texture of concrete, peeling paint from something old, the principles of wabi-sabi - and artists such as Louise Bourgeois, Cy Twombly, Eva Hesse, Hans Josephsohn and Louise Nevelson. Despite all that stimulus, I find that approaching a blank canvas and simply beginning with no preconceived notions of the end result provides greater gratification. I endeavor to find balance within the work, light vs dark, expressionism vs minimalism, and in that process must instinctively recognize when it feels complete. Using varied elements in my work - acrylics, oils, sand and pure pigments - and applying these to different substrates - canvas, metal, Plexiglas, wood and clay, I eliminate any self- imposed constraints in the creative process. Not confining myself to one medium enables me to experiment, explore and evolve- invariably refining my craft. Through primarily non-representational imagery, the observer is left with only abstract emotions and instinctual responses towards the painting - feelings and memories are free to manifest based on actual life experiences. If I am able to engage the observer, make a connection which couldn’t be conveyed verbally and ultimately elicit a visceral reaction - my work is done."
Allen Wynn's tough, graceful sculptures represent the inner beings of working people that he has known throughout his life. They are usually women, sometimes accompanied by a child whose role is that of a clear-eyed observer. Occasionally he will add a bird or a fish, not as an overt symbol but as a simple evocation of rural existence. The figures are reserved yet accessible. Suzanne Deats, Santa Fe arts writer Often mistake for bronze sculptures, Allen Wynn has developed a unique process which incorporates wooden frameworks, paper pulp from natural and recycled materials mixed with sawdust, resin, and sand from the nearby Red River. He applies thin layers of this substance to the armature, adding and subtracting and modeling until the contours and the texture are right. In the final step, Allen applies multiple coats of paints as well as resin to give each piece a unique patina and as well as a protective seal.