Events

13th Annual Holiday Salon

Featuring the work of Amber Brookman, Bill Chisholm, Brian Hibbard, Michael Hoffman, Karen Tusinski, and Allen Wynn.

Amber Brookman

This body of work is a meditation; quieting the mind in order to paint from the intuitive self, I start paintings with journal writing as a process to empty the mind, this can be a very personal journey entry, notes from a book, regurgitated philosophies or scientific ideas about reality and consciousness, from there I explore the structures and forms that relate to these philosophies from an intuitive level, leaving the mind to create a visual experience.

Bill Chisholm

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.

Brian Hibbard

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.

Michael Hoffman

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.

Karen Tusinski

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.

Allen Wynn

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.

Homestead

Featuring the work of Jean Jack, Craig Mooney, and Susie Pryor.

Craig Mooney

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.

Susie Pryor

A self-proclaimed art student for life, she approaches her work as an exploration of emotion and technique. Her paintings are often created with a palette knife and depict various interests in her life. Pryor manages to give her subjects boldness, approaching them with both passion and reflection. Greatly influenced by her studies with the late Quida Canady in the early 1990's and her recent workshop experience with Wolf Kahn, Pryor embraces the creative process while incorporating the classical training she received at the University of Georgia. "I now tend to let the color relationships begin the dialogue," says Pryor. "I enjoy building layers of color with a pallet knife and exploring techniques that allow the paint to have an uncontrolled life of its own." Pryor is continually inspired by the master works of Edgar Degas, Mary Cassatt and Paul Cezanne.

Translucent Vision

Featuring the work of Doug Foltz, Michael Hoffman, Meredith Pardue, and Allison Stewart.

Doug Foltz

A native of South Miami he has spent much of his life exploring alone, on or around the water and those elemental moments of sky and water -- and the edges between -- form the foundation for his exploration as a painter as well. Doug's expressive compositions and strong respect for light, attempt to say as much about the way a place feels, as the way it looks. His coastal roots and a lifetime designing in a broad range of mediums, drive paintings that push new views of both the expanse and the detail of the coastal landscape. Based in interpretive realism, his style intentionally and easily departs to explore more abstract or distant characters... usually returning once again to rest comfortably at home. His art is a collection of personal views associated with those experiences -- in life and in paint. Easy departure... and constant returns from open exploration to known edges and more familiar horizons. He holds a Bachelors of Environmental Design and a Bachelors of Architecture from Auburn University and has spent a near 30-year professional career as an architect, designer, visual communication strategist and consultant. He has been painting and drawing since childhood, and his work hangs in private and corporate collections from Seattle to the Bahamas. Currently, Doug splits his time between Atlanta, Georgia and the coast of Northwest Florida.

Michael Hoffman

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.

Allison Stewart

Time, nature, and the obsessive need to leave my mark... elements and energy flows... my work is a reflection on life processes and ecological cycles and the interdependence of things. I am particularly interested in the intersection of the natural world with the man-made environment and in recent years I have observed the many changes that man has brought to the natural terrain. I find myself rushing to record the moments preceding the changes, the moments just before the balance of life is altered irrevocably. The paintings become visual diaries, internal maps of vanishing landscapes and vanishing cultures. A painting evolves slowly, through layers of gesso, paint, charcoal and glazes. I often work on the floor, circling around, building up, scraping away, centering, focusing, performing the ritual gestures that are part of the process. It's an organic process, through which I become in touch with who I am and how the world is.

Bountiful

Featuring the work of Rebecca Kinkead, Wendeline Matson, Elise Morris, John Schuyler, and Karen Tusinski.

Wendeline Simpson Matson

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.

Elise Morris

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.

John Schuyler

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.

Karen Tusinski

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.

Summer Salon 2011

Featuring the work of Christy Bonneau, Sabre Esler, Brigitte McReynolds, Glen Scheffer, plus many others.

Christy Bonneau

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.

Sabre Esler

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.

Brigitte McReynolds

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.

Glen Scheffer

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.

Free Fall

Featuring the work of Sherri Belassen, Michael Moon, Karen Tusinski, Jenny Wunderly, plus tons of new artwork!

Sherri Belassen

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.”

Michael Moon

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.

Karen Tusinski

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.

Jenny Wunderly

Wunderly grew up in Switzerland on the shore of Lake Zürich. Her interest in art drew her to New York City at age 20, when she decided to move to the United States. After completing a degree in graphic design at California College of Arts, Wunderly worked as a graphic designer at Primo Angeli Inc in San Francisco for four years, and began painting full time in 1994. She works with Acrylic paints, oil pastels, plaster and collage. Since 2003 Wunderly has lived with her husband and two sons in the foothills of the Sierra Nevada mountain range in Northern California.

Revelation

Featuring the work of Suzanne Crocker, Barbara Flowers, Alison Golder, and Amy Maas.

Suzanne Crocker

The greatest challenge as an artist has been to find my own voice. It’s a process that evolves and changes just as I evolve and change. I have been expressing myself through drawing and painting since I was a toddler. At various ages, art has always been a source of joy for me. I have gone through many stages as an artist, and probably I will continue to evolve and explore for all of my days. There is something magical about creating something out of nothing but raw materials. I paint for many hours at a time, losing track of the clock...lost in the music and colors. Music is necessary; it helps to bring me away from thought and to that other place where creativity can take the lead. Thoughts fade as everything becomes about what I am seeing and hearing. Whether I paint a barn, landscape, people, or horses my objective is to create beautiful colors that work together; I organize colors in creative ways while also imbuing a peaceful mood and sense of calm. I like to use large areas of color where one can rest their eyes and mind, take a deep breath and imagine diving into that color. At the same time, I balance the larger areas of color with smaller more intense areas of color or happenings. Often that happens where there is a strong sense of light. That light makes me think of the interconnectedness of all things. The sunlight reaching out to the solitary buildings or people serves as a reminder that they are part of something larger...that there is a universal connection running through all of us. WIth my abstract paintings, they are also about interconnectedness but not so much about a source of light. The lines and colors are somewhat how I envision the invisible strings and energies that are all around us, both at the microcosmic and macrocosmic level. Sometimes that energy feels still. Sometimes it feels especially active, and probably this is most reflective of what music I have on at the time. Sinatra vs. Led Zeppelin lead to quite different outcomes.

Barbara Flowers

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.

Amy Maas

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.

14th Annual Holiday Salon

Featuring the work of Nathaniel Mather, John Ochs, Jill Ricci, Allen Wynn, and many others!

Nathaniel Mather

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.

John Ochs

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.

Jill Ricci

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

Allen Wynn

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.

Perspective

Featuring the work of Doug Foltz, Debby Krim, Lucille Marcotte, and Susie Pryor.

Doug Foltz

A native of South Miami he has spent much of his life exploring alone, on or around the water and those elemental moments of sky and water -- and the edges between -- form the foundation for his exploration as a painter as well. Doug's expressive compositions and strong respect for light, attempt to say as much about the way a place feels, as the way it looks. His coastal roots and a lifetime designing in a broad range of mediums, drive paintings that push new views of both the expanse and the detail of the coastal landscape. Based in interpretive realism, his style intentionally and easily departs to explore more abstract or distant characters... usually returning once again to rest comfortably at home. His art is a collection of personal views associated with those experiences -- in life and in paint. Easy departure... and constant returns from open exploration to known edges and more familiar horizons. He holds a Bachelors of Environmental Design and a Bachelors of Architecture from Auburn University and has spent a near 30-year professional career as an architect, designer, visual communication strategist and consultant. He has been painting and drawing since childhood, and his work hangs in private and corporate collections from Seattle to the Bahamas. Currently, Doug splits his time between Atlanta, Georgia and the coast of Northwest Florida.

Susie Pryor

A self-proclaimed art student for life, she approaches her work as an exploration of emotion and technique. Her paintings are often created with a palette knife and depict various interests in her life. Pryor manages to give her subjects boldness, approaching them with both passion and reflection. Greatly influenced by her studies with the late Quida Canady in the early 1990's and her recent workshop experience with Wolf Kahn, Pryor embraces the creative process while incorporating the classical training she received at the University of Georgia. "I now tend to let the color relationships begin the dialogue," says Pryor. "I enjoy building layers of color with a pallet knife and exploring techniques that allow the paint to have an uncontrolled life of its own." Pryor is continually inspired by the master works of Edgar Degas, Mary Cassatt and Paul Cezanne.

Aerial

Featuring the work of Sabre Esler, Christy Kinard, John Schuyler, and Johnny Taylor.

Sabre Esler

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.

Christy Kinard

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.

John Schuyler

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.

Johnny Taylor

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

Previous Events

Kaleidoscope III

Featuring the work of Doug Kennedy, Mark Andrew Allen, Elise Morris & David Kidd

Mark Andrew Allen

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.

Doug Kennedy

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.

David Kidd

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.

Elise Morris

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.

Silhouette

Featuring the work of Brian Hibbard, Craig Mooney, Jeanne Bessette & Yury Darashkevich.

Jeanne Bessette

At the heart of it, I’m a storyteller. Painting is like therapy. When I enter the studio wrapped in my emotional blanket, it’s as if in that moment, the external world disappears. There is only my experience and I’m jazzed to share that story.

Yury Darashkevich

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.

Brian Hibbard

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.

Craig Mooney

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.

Speak!

Featuring the work of Susan Morosky, Wendeline Matson, John Schuyler & Sherri Belassen.

Sherri Belassen

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.”

Wendeline Simpson Matson

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.

Susan Morosky

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.

John Schuyler

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.

Wonderland

Featuring the work of Johnny Taylor, Amy Maas, Michael Dickter, Jylian Gustlin.

Michael Dickter

My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new thought, an old memory, I am often stuck by the duality of permanence and impermanence all around us. My work engages the natural world through this lens. Images of birds or flowers talk to me of connection, of beauty, of freedom, and of the precarious and profoundly precious nature of our world. Making marks on a surface, choosing colors, dripping, obscuring and replacing images talk to this through the act of painting. Paintings are made of hundreds of distinct moments and of small decisions; each has its own “no” or a small ecstatic “yes”. The finished piece is a history of those fleeting, but profound moments.

Jylian Gustlin

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.

Amy Maas

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.

Johnny Taylor

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

Holiday-Celebrating 16 Years

Featuring the work of Christy Kinard, Liz Barber, Duy Huynh, and Chuck Voelter.

Elizabeth Barber

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.”

Duy Huynh

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.

Christy Kinard

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.

Chuck Voelter

In coming to terms with my compulsion to make art I’ve sifted through a lifetime of observing the world and tried to make images that conveyed the yearning I feel, to connect with the minutiae and the marrow and make something of intrigue and lasting beauty. As with many others, my process has centered around nature and the processes of decay and re-birth; there is nothing iconic in any of my paintings other than might appear in nature; I specifically eschew the balanced aspects of nature to focus more closely on the odd, the asymmetrical, the shapes and spaces that are dimensionally created by light and mass, the reflections in moving water and how we perceive them.

Full Spectrum

Featuring the work of Charles Walker, Barbara Flowers, Doug kennedy, and Tracey Lane.

Barbara Flowers

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.

Doug Kennedy

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.

Tracey Lane

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."

Charles E. Walker

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.

Kaleidoscope Too!

Featuring the work of Nathaniel Mather, Andrzej Karwacki, Jennifer Rasmusson, Tim Hahn and Stephen Shellenberger .

Andrzej M. Karwacki

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.

Nathaniel Mather

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.

Jennifer Rasmusson

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.

Cool and Calm Summer Salon

Featuring the work of Mark Andrew Allen, Tracey Adams, Jill Ricci and Michael Hoffman.

Tracey Adams

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.

Mark Andrew Allen

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.

Michael Hoffman

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.

Jill Ricci

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

Leap of Color

Featuring the work of Paul Brigham, Brian Hibbard, Rebecca Kinkead.

Paul Brigham

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

Brian Hibbard

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.

Daydreams

Featuring the work of Sherri Belassen, Sabre Esler, Craig Mooney, and Elise Morris.

Sherri Belassen

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.”

Sabre Esler

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.

Craig Mooney

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.

Elise Morris

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.

Spectrum

Featuring the work of Alicia Lachance, Wendeline Matson, Allen Wynn, and James Zwadlo. Click on a thumbnail to view an artist’s page and full portfolio.

Alicia Lachance

I am inspired by ancient, worn temple walls and the virtue of, Japanese print maker, Utamaro's design fluency. I am equally inspired by minimal purities of the power of color, color's reaction to other color, and pure mark-making. Mark-making represents to me a record of time and activity while exposing the artistic process and its vulnerabilities. The spontaneous scraping and layering in these works impart energy and capriciousness atop a weathered undertone. My work intends to create a story of continuity between the past and present by collaging small bits of, what I consider contemporary graphic symbolism with nature references. This lexicon is meant to bridge the healthy, tangibility of nature with a certain positivity regarding our modernity. Ultimately, I hope these paintings resonate with a broad spectrum of people, engaging the viewer in present time with a modern beauty created through worn surfaces and contemporary imagery.

Wendeline Simpson Matson

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.

Allen Wynn

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.

James Zwadlo

I paint the urban pedestrian from the aerial point of view. This choice of subject and point of view make it possible for me to present complex abstract ideas using only simple, realistic imagery in a familiar, recognizable context. I am inspired by the realist/surrealist tradition in painting, and challenged to find new ways of seeing based on a close study of the ordinary. Some subtexts implied: challenging privilege ("looking down" at people vs. looking at them), finding the extraordinary in the ordinary (random movement becoming 'found choreography'), technical issues of the materials (flat canvas, flattened space), and the difficulty of really changing our habits, illusions, and ways of seeing.

Wrap It!

Featuring the work of Christy Kinard, Jill Ricci, Russ Schleipman, and Johnny Taylor. Click on a thumbnail to view an artist’s page and full portfolio.

Christy Kinard

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.

Jill Ricci

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

Russ Schleipman

His love of travel and the passion to create a visual testimony too his adventures led him to a lifetime of photography. As his vision matured he discovered the same satisfaction from working in his studio. In his words "The rules are always the same; no matter what I'm shooting, I'm driven by design. It comes down to a pleasing combination of composition and content. It's either right or wrong, there's no middle ground. I know when I have to keep pushing, and when I've got it. My goal is to create images that tell unmistakeable and memorable stories, and to make the journey a delight. Regardless of a job's size, location or budget, I will always bring the same enthusiasm, and I hope it will be contagious."

Johnny Taylor

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

Elevate

Featuring the work of Duy Huynh, Shane Snider, Allison Stewart, and Karen Tusinski. Click on a thumbnail to view an artist’s page and full portfolio.

Duy Huynh

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.

Shane Snider

Each of Shane Snider sculpture begins with a wire substructure, which is wrapped into the body with steel wool. The raw sculpture is then thoughtfully worked with multiple cement layers bringing forward to subtle nuances of the female form. The pristine whiteness of the Portland Cement is then hand polished. Much of the steel wool element peeks through – giving a slightly rusted patina in areas on each piece. A native of upstate New York, Shane Snider relocated to Asheville from Columbus, Ohio where he graduated from the Columbus College of Art and Design. With his BFA in Anatomical Drawing, Shane has morphed his talent for the figure into becoming a master of sculpture using Portland Cement as his medium. The artist lives with his wife and young son working from his studio in Black Mountain, NC.

Allison Stewart

Time, nature, and the obsessive need to leave my mark... elements and energy flows... my work is a reflection on life processes and ecological cycles and the interdependence of things. I am particularly interested in the intersection of the natural world with the man-made environment and in recent years I have observed the many changes that man has brought to the natural terrain. I find myself rushing to record the moments preceding the changes, the moments just before the balance of life is altered irrevocably. The paintings become visual diaries, internal maps of vanishing landscapes and vanishing cultures. A painting evolves slowly, through layers of gesso, paint, charcoal and glazes. I often work on the floor, circling around, building up, scraping away, centering, focusing, performing the ritual gestures that are part of the process. It's an organic process, through which I become in touch with who I am and how the world is.

Karen Tusinski

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.

Color Meditation

Featuring the work of Tracey Adams, Mark Andrew Allen, Charlotte Foust, Doug Kennedy, and Amy Maas.

Tracey Adams

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.

Mark Andrew Allen

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.

Charlotte Foust

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.

Doug Kennedy

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.

Amy Maas

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.

Magnificent Summer

A Salon Featuring the Bold Colors of Summer. Featuring the work of Sherri Belassen, Michael Hoffman, Allison Stewart, and Jenny Wunderly.

Sherri Belassen

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.”

Michael Hoffman

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.

Allison Stewart

Time, nature, and the obsessive need to leave my mark... elements and energy flows... my work is a reflection on life processes and ecological cycles and the interdependence of things. I am particularly interested in the intersection of the natural world with the man-made environment and in recent years I have observed the many changes that man has brought to the natural terrain. I find myself rushing to record the moments preceding the changes, the moments just before the balance of life is altered irrevocably. The paintings become visual diaries, internal maps of vanishing landscapes and vanishing cultures. A painting evolves slowly, through layers of gesso, paint, charcoal and glazes. I often work on the floor, circling around, building up, scraping away, centering, focusing, performing the ritual gestures that are part of the process. It's an organic process, through which I become in touch with who I am and how the world is.

Jenny Wunderly

Wunderly grew up in Switzerland on the shore of Lake Zürich. Her interest in art drew her to New York City at age 20, when she decided to move to the United States. After completing a degree in graphic design at California College of Arts, Wunderly worked as a graphic designer at Primo Angeli Inc in San Francisco for four years, and began painting full time in 1994. She works with Acrylic paints, oil pastels, plaster and collage. Since 2003 Wunderly has lived with her husband and two sons in the foothills of the Sierra Nevada mountain range in Northern California.

Kaleidoscope

Featuring the work of Don Estes, Tracey Lane, Craig Mooney, and Jane Park Wells.

Tracey Lane

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."

Craig Mooney

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.

Jane Park Wells

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.

Aerial

Featuring the work of Sabre Esler, Christy Kinard, John Schuyler, and Johnny Taylor.

Sabre Esler

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.

Christy Kinard

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.

John Schuyler

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.

Johnny Taylor

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

Perspective

Featuring the work of Doug Foltz, Debby Krim, Lucille Marcotte, and Susie Pryor.

Doug Foltz

A native of South Miami he has spent much of his life exploring alone, on or around the water and those elemental moments of sky and water -- and the edges between -- form the foundation for his exploration as a painter as well. Doug's expressive compositions and strong respect for light, attempt to say as much about the way a place feels, as the way it looks. His coastal roots and a lifetime designing in a broad range of mediums, drive paintings that push new views of both the expanse and the detail of the coastal landscape. Based in interpretive realism, his style intentionally and easily departs to explore more abstract or distant characters... usually returning once again to rest comfortably at home. His art is a collection of personal views associated with those experiences -- in life and in paint. Easy departure... and constant returns from open exploration to known edges and more familiar horizons. He holds a Bachelors of Environmental Design and a Bachelors of Architecture from Auburn University and has spent a near 30-year professional career as an architect, designer, visual communication strategist and consultant. He has been painting and drawing since childhood, and his work hangs in private and corporate collections from Seattle to the Bahamas. Currently, Doug splits his time between Atlanta, Georgia and the coast of Northwest Florida.

Susie Pryor

A self-proclaimed art student for life, she approaches her work as an exploration of emotion and technique. Her paintings are often created with a palette knife and depict various interests in her life. Pryor manages to give her subjects boldness, approaching them with both passion and reflection. Greatly influenced by her studies with the late Quida Canady in the early 1990's and her recent workshop experience with Wolf Kahn, Pryor embraces the creative process while incorporating the classical training she received at the University of Georgia. "I now tend to let the color relationships begin the dialogue," says Pryor. "I enjoy building layers of color with a pallet knife and exploring techniques that allow the paint to have an uncontrolled life of its own." Pryor is continually inspired by the master works of Edgar Degas, Mary Cassatt and Paul Cezanne.

14th Annual Holiday Salon

Featuring the work of Nathaniel Mather, John Ochs, Jill Ricci, Allen Wynn, and many others!

Nathaniel Mather

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.

John Ochs

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.

Jill Ricci

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

Allen Wynn

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.

Revelation

Featuring the work of Suzanne Crocker, Barbara Flowers, Alison Golder, and Amy Maas.

Suzanne Crocker

The greatest challenge as an artist has been to find my own voice. It’s a process that evolves and changes just as I evolve and change. I have been expressing myself through drawing and painting since I was a toddler. At various ages, art has always been a source of joy for me. I have gone through many stages as an artist, and probably I will continue to evolve and explore for all of my days. There is something magical about creating something out of nothing but raw materials. I paint for many hours at a time, losing track of the clock...lost in the music and colors. Music is necessary; it helps to bring me away from thought and to that other place where creativity can take the lead. Thoughts fade as everything becomes about what I am seeing and hearing. Whether I paint a barn, landscape, people, or horses my objective is to create beautiful colors that work together; I organize colors in creative ways while also imbuing a peaceful mood and sense of calm. I like to use large areas of color where one can rest their eyes and mind, take a deep breath and imagine diving into that color. At the same time, I balance the larger areas of color with smaller more intense areas of color or happenings. Often that happens where there is a strong sense of light. That light makes me think of the interconnectedness of all things. The sunlight reaching out to the solitary buildings or people serves as a reminder that they are part of something larger...that there is a universal connection running through all of us. WIth my abstract paintings, they are also about interconnectedness but not so much about a source of light. The lines and colors are somewhat how I envision the invisible strings and energies that are all around us, both at the microcosmic and macrocosmic level. Sometimes that energy feels still. Sometimes it feels especially active, and probably this is most reflective of what music I have on at the time. Sinatra vs. Led Zeppelin lead to quite different outcomes.

Barbara Flowers

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.

Amy Maas

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.

Free Fall

Featuring the work of Sherri Belassen, Michael Moon, Karen Tusinski, Jenny Wunderly, plus tons of new artwork!

Sherri Belassen

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.”

Michael Moon

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.

Karen Tusinski

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.

Jenny Wunderly

Wunderly grew up in Switzerland on the shore of Lake Zürich. Her interest in art drew her to New York City at age 20, when she decided to move to the United States. After completing a degree in graphic design at California College of Arts, Wunderly worked as a graphic designer at Primo Angeli Inc in San Francisco for four years, and began painting full time in 1994. She works with Acrylic paints, oil pastels, plaster and collage. Since 2003 Wunderly has lived with her husband and two sons in the foothills of the Sierra Nevada mountain range in Northern California.

Summer Salon 2011

Featuring the work of Christy Bonneau, Sabre Esler, Brigitte McReynolds, Glen Scheffer, plus many others.

Christy Bonneau

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.

Sabre Esler

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.

Brigitte McReynolds

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.

Glen Scheffer

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.

Bountiful

Featuring the work of Rebecca Kinkead, Wendeline Matson, Elise Morris, John Schuyler, and Karen Tusinski.

Wendeline Simpson Matson

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.

Elise Morris

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.

John Schuyler

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.

Karen Tusinski

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.

Translucent Vision

Featuring the work of Doug Foltz, Michael Hoffman, Meredith Pardue, and Allison Stewart.

Doug Foltz

A native of South Miami he has spent much of his life exploring alone, on or around the water and those elemental moments of sky and water -- and the edges between -- form the foundation for his exploration as a painter as well. Doug's expressive compositions and strong respect for light, attempt to say as much about the way a place feels, as the way it looks. His coastal roots and a lifetime designing in a broad range of mediums, drive paintings that push new views of both the expanse and the detail of the coastal landscape. Based in interpretive realism, his style intentionally and easily departs to explore more abstract or distant characters... usually returning once again to rest comfortably at home. His art is a collection of personal views associated with those experiences -- in life and in paint. Easy departure... and constant returns from open exploration to known edges and more familiar horizons. He holds a Bachelors of Environmental Design and a Bachelors of Architecture from Auburn University and has spent a near 30-year professional career as an architect, designer, visual communication strategist and consultant. He has been painting and drawing since childhood, and his work hangs in private and corporate collections from Seattle to the Bahamas. Currently, Doug splits his time between Atlanta, Georgia and the coast of Northwest Florida.

Michael Hoffman

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.

Allison Stewart

Time, nature, and the obsessive need to leave my mark... elements and energy flows... my work is a reflection on life processes and ecological cycles and the interdependence of things. I am particularly interested in the intersection of the natural world with the man-made environment and in recent years I have observed the many changes that man has brought to the natural terrain. I find myself rushing to record the moments preceding the changes, the moments just before the balance of life is altered irrevocably. The paintings become visual diaries, internal maps of vanishing landscapes and vanishing cultures. A painting evolves slowly, through layers of gesso, paint, charcoal and glazes. I often work on the floor, circling around, building up, scraping away, centering, focusing, performing the ritual gestures that are part of the process. It's an organic process, through which I become in touch with who I am and how the world is.

Homestead

Featuring the work of Jean Jack, Craig Mooney, and Susie Pryor.

Craig Mooney

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.

Susie Pryor

A self-proclaimed art student for life, she approaches her work as an exploration of emotion and technique. Her paintings are often created with a palette knife and depict various interests in her life. Pryor manages to give her subjects boldness, approaching them with both passion and reflection. Greatly influenced by her studies with the late Quida Canady in the early 1990's and her recent workshop experience with Wolf Kahn, Pryor embraces the creative process while incorporating the classical training she received at the University of Georgia. "I now tend to let the color relationships begin the dialogue," says Pryor. "I enjoy building layers of color with a pallet knife and exploring techniques that allow the paint to have an uncontrolled life of its own." Pryor is continually inspired by the master works of Edgar Degas, Mary Cassatt and Paul Cezanne.

13th Annual Holiday Salon

Featuring the work of Amber Brookman, Bill Chisholm, Brian Hibbard, Michael Hoffman, Karen Tusinski, and Allen Wynn.

Amber Brookman

This body of work is a meditation; quieting the mind in order to paint from the intuitive self, I start paintings with journal writing as a process to empty the mind, this can be a very personal journey entry, notes from a book, regurgitated philosophies or scientific ideas about reality and consciousness, from there I explore the structures and forms that relate to these philosophies from an intuitive level, leaving the mind to create a visual experience.

Bill Chisholm

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.

Brian Hibbard

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.

Michael Hoffman

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.

Karen Tusinski

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.

Allen Wynn

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.

Jules Place

1200 Washington Street #204
Boston, MA 02118
(617) 542-0644

We are open daily from 10am to 5pm, evenings and weekends by appointment.

Enter Jules Place Gallery at 433 Harrison Avenue or 1200 Washington Street, Buzzer #0111. Street parking is available and a parking lot is conveniently located at 500 Harrison Avenue.