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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.