Ann Rudd has created art for many years.
Subject: Moods -- especially moments of quiet reflection, peacefulness, contentment in the moment. In a world that's surging with activity, effort and angst, her paintings can be reminders of the quiet times that are available to all of us. Technique: Semiabstract combinations including oil, acrylic, charcoal, oil pastel, and graphite pencil. Ann is interested in paintings that combine the appearance of 3-dimensional depth and 2-dimensional flat surface. The design possibilities seem endless. Color palette: Grays, neutrals, soft palette colors Influences: Berthe Morisot, Alberto Giacometti, Alex Powers and others Awards: Ann loves a good contest and has won numerous awards at the local and regional levels in Charlotte, North Carolina, over the last decade. She was juried into two national shows in 2016, received a Merit Award from the national Art Muse Contest in 2018, was an Art Muse Contest Emerging Artist Finalist in February 2019, and has been listed in the Bold Brush Favorite 15% several times. She continues to exhibit in a variety of venues and competitions. Current direction: Since retiring from a 30 year career in psychology, Ann has pursued painting on a daily basis, creating many small works that explore subjects and process. She is currently interested in oil painting, figures and faces, with architectural elements in the background.
Subject: Moods -- especially moments of quiet reflection, peacefulness, contentment in the moment. In a world that's surging with activity, effort and angst, her paintings can be reminders of the quiet times that are available to all of us. Technique: Semiabstract combinations including oil, acrylic, charcoal, oil pastel, and graphite pencil. Ann is interested in paintings that combine the appearance of 3-dimensional depth and 2-dimensional flat surface. The design possibilities seem endless. Color palette: Grays, neutrals, soft palette colors Influences: Berthe Morisot, Alberto Giacometti, Alex Powers and others Awards: Ann loves a good contest and has won numerous awards at the local and regional levels in Charlotte, North Carolina, over the last decade. She was juried into two national shows in 2016, received a Merit Award from the national Art Muse Contest in 2018, was an Art Muse Contest Emerging Artist Finalist in February 2019, and has been listed in the Bold Brush Favorite 15% several times. She continues to exhibit in a variety of venues and competitions. Current direction: Since retiring from a 30 year career in psychology, Ann has pursued painting on a daily basis, creating many small works that explore subjects and process. She is currently interested in oil painting, figures and faces, with architectural elements in the background.
Painting and designing are daily essentials to me as an artist. I must greet the easel on a regular basis to unleash my creative stories. My stories change as I gather up new images within my experiences. I find that no matter what I paint, I handle and place my brushstrokes with deliberate movements, unique color families, and strong compositions. I often let go of details so that the audience has an opportunity to become part of my story intertwining their own experiences, emotions, and ideas.
I have been a huge believer in my Modus operandi “Everything has been painted, so paint it differently”.
I am a retired elementary teacher and I often ask myself how would a kindergartner begin and finish a story? Five year olds have the essential tool kit to create art with such a fresh, uninhibited, and sometimes hilarious approach. When I am researching and pondering my new story I often bring out the saved and treasured art from those five year olds so that it keeps me on my toes.
If I am not at the easel you can find me in my BB Fresh Cut Flower Farm, or in the Pacific Northwest spending time on the Columbia River with my immediate family and friends.
I have been a huge believer in my Modus operandi “Everything has been painted, so paint it differently”.
I am a retired elementary teacher and I often ask myself how would a kindergartner begin and finish a story? Five year olds have the essential tool kit to create art with such a fresh, uninhibited, and sometimes hilarious approach. When I am researching and pondering my new story I often bring out the saved and treasured art from those five year olds so that it keeps me on my toes.
If I am not at the easel you can find me in my BB Fresh Cut Flower Farm, or in the Pacific Northwest spending time on the Columbia River with my immediate family and friends.
Blythe Scott was born in 1969 in Glasgow, Scotland. In 2012, she moved to Vancouver Island BC Canada where she now works from her home studio as a full time mixed media artist.
Immediately after high school, Blythe was fortunate to be accepted as a student at the prestigious Glasgow School of Art where she graduated with an honours degree in 1991. A few years later, she achieved a post graduate with distinction in Art & Design Education from Strathclyde University.
Since then, she has travelled to and lived in various cities around the world and has worked as a decorative artist in Paris, gallery artist, gallery assistant and a passionate teacher of adults and children.
Today however, her time is entirely dedicated to producing original art.
She uses mixed media, collage and metal leaf to create textured and colourful artworks which exude positivity, visual intrigue and a dreamlike quality. Her work is underpinned by rigorous drawing on a variety of scales, focusing mainly on romantic dreamscapes, quirky harbour towns and dramatic cityscapes.
Blythe exhibits in galleries in Canada, the UK and the US and also sells directly. Her work is in private and corporate collections in North America, Asia, the UK, mainland Europe, Australia, New Zealand and Iceland.
Immediately after high school, Blythe was fortunate to be accepted as a student at the prestigious Glasgow School of Art where she graduated with an honours degree in 1991. A few years later, she achieved a post graduate with distinction in Art & Design Education from Strathclyde University.
Since then, she has travelled to and lived in various cities around the world and has worked as a decorative artist in Paris, gallery artist, gallery assistant and a passionate teacher of adults and children.
Today however, her time is entirely dedicated to producing original art.
She uses mixed media, collage and metal leaf to create textured and colourful artworks which exude positivity, visual intrigue and a dreamlike quality. Her work is underpinned by rigorous drawing on a variety of scales, focusing mainly on romantic dreamscapes, quirky harbour towns and dramatic cityscapes.
Blythe exhibits in galleries in Canada, the UK and the US and also sells directly. Her work is in private and corporate collections in North America, Asia, the UK, mainland Europe, Australia, New Zealand and Iceland.
Carl White was born in Liverpool, England in 1969. Carl studied at the Alberta College of Art & Design from 1989-1992 in Calgary, Alberta. His paintings and drawings have been featured in many solo and group exhibitions across Canada since 1992 and reside in numerous private collections nationally and internationally. White currently lives and works in Calgary, Alberta where he is exceedingly active in the art scene, as well as the community.
I was born in post-revolutionary Cuba in 1987, and educated in an academic
setting heavily governed by the Russian Academy. This frame of reference is
evident in all of my work. To deny my experiences, perceptions and the
impact of history would be disregarding my own existence. These influences are
the lens through which I create and the motivation that propels me.
Cuban history has guided me in a variety of ways. On the one hand, it
allows me to rethink the way storytelling is part of our memories. On the other, it
allows me to question the accuracy of history and its telling. This conflict
absorbed me during my early years and continues to engage me as I complete
my artistic education. Currently, this near-obsession with the past translates into
figures, scenarios, and most importantly, the recreation of my own stories.
In Cuba, I was exposed to figurative arts by the presence of
the Russian Academy. This presence, as well as the censorship of contemporary
art and the limited access to information, was the accepted dogma.
Consequently, I understood that decontextualizing epochs and artistic symbols
was the tool I could use to establish a connection between the present and the
past. The resulting work provides an escape from reality and creates an illusory
world. I am more fascinated in altering history than depicting it accurately.
setting heavily governed by the Russian Academy. This frame of reference is
evident in all of my work. To deny my experiences, perceptions and the
impact of history would be disregarding my own existence. These influences are
the lens through which I create and the motivation that propels me.
Cuban history has guided me in a variety of ways. On the one hand, it
allows me to rethink the way storytelling is part of our memories. On the other, it
allows me to question the accuracy of history and its telling. This conflict
absorbed me during my early years and continues to engage me as I complete
my artistic education. Currently, this near-obsession with the past translates into
figures, scenarios, and most importantly, the recreation of my own stories.
In Cuba, I was exposed to figurative arts by the presence of
the Russian Academy. This presence, as well as the censorship of contemporary
art and the limited access to information, was the accepted dogma.
Consequently, I understood that decontextualizing epochs and artistic symbols
was the tool I could use to establish a connection between the present and the
past. The resulting work provides an escape from reality and creates an illusory
world. I am more fascinated in altering history than depicting it accurately.
Cheryl Elmo is an artist painting with watercolor since 1970. She is a signature member of the Pennsylvania and Baltimore Watercolor Societies, has shown nationally and internationally. Cheryl’s watercolors give the medium a new visual quality. She focuses on everyday situations and balances the fluidity of watercolor with subtleness in color changes. Cheryl’s unique handling of the medium has evolved over the years creating an unusual style reminiscent of the impressionists and influenced by modern-day masters. The reoccurring theme is recognizing the beauty that others may pass by without a notice. Each painting has a story. Cheryl is influenced by people, the emotional interactions, and their everyday life stories.
If a Southerner talks music, weaving symphonies of vibrant wordplay, I would like to think that I paint similar, creating rich compositions with impressions of Southern life. The abundant flowers and unique cultural traditions of the South sing through me, into my hands and onto the materials that shape my visual song. I attempt to capture the joyful, layered character of the South, working from both childhood memories and life.Flowers are the main subjects of my work, which reflects the bounty of colorful plant life both outside and in the homes of the South. In keeping with Southern tradition, there was almost always a fresh bouquet of flowers on the table of my childhood home. The frequent presence of flowers made a lasting impression—so much so that the floral still life would become the central focus of my work.
The boldness of my work can also be related to the Southern character. Beyond the well-kept exterior and femininity of a Southern woman, like my work, the women of the South can be strong, creative and playful.
I first started painting at a very early age, I was always creating something at the kitchen table making sculptures out of colored homemade play dough, I loved playing with spin art and water colors. I use to put food coloring in my lemonade to sell at my lemonade stand. I loved playing with color!
I knew at a young age I would be an artist the path had chosen me I can’t imagine doing anything else. In high school I had more paintbrushes in my back pack then pencils! I was awarded to attend governors honor’s program in high school, I was also rewarded a scholarship to SCAD and then went on to attend Atlanta College of art. I sold my first paintings at age 18 to IBM a huge milestone for me.
I also had the opportunity to live and paint in England for four years I had my own studio and worked with other international artist. I was exposed to many museums and gallery’s. The Tate Modern and Saatchi Gallery were some of my favorites I would visit them frequently. And although the work there was edgy It helped me loosen up my own work. I started going to fabric stores and wonderful paper shops and it was there that I started really layering my work with these materials.
I am grateful everyday that I have the oppurtunity to get up each morning and paint and have been able to make it a full time career.
The boldness of my work can also be related to the Southern character. Beyond the well-kept exterior and femininity of a Southern woman, like my work, the women of the South can be strong, creative and playful.
I first started painting at a very early age, I was always creating something at the kitchen table making sculptures out of colored homemade play dough, I loved playing with spin art and water colors. I use to put food coloring in my lemonade to sell at my lemonade stand. I loved playing with color!
I knew at a young age I would be an artist the path had chosen me I can’t imagine doing anything else. In high school I had more paintbrushes in my back pack then pencils! I was awarded to attend governors honor’s program in high school, I was also rewarded a scholarship to SCAD and then went on to attend Atlanta College of art. I sold my first paintings at age 18 to IBM a huge milestone for me.
I also had the opportunity to live and paint in England for four years I had my own studio and worked with other international artist. I was exposed to many museums and gallery’s. The Tate Modern and Saatchi Gallery were some of my favorites I would visit them frequently. And although the work there was edgy It helped me loosen up my own work. I started going to fabric stores and wonderful paper shops and it was there that I started really layering my work with these materials.
I am grateful everyday that I have the oppurtunity to get up each morning and paint and have been able to make it a full time career.
My identity, universal personages, and surreal images are part of a search for my dream to travel, share and have fun with my work.
At the age of 13, he began painting to win the heart of a young girl. Since then, David Silva H has taken the artistry of the traditional Mexican painting very seriously; sharing his work in a revolutionary, political, and social context of the past and the present.
The work of this young Zacatecano painter, now living in the city of Rosarito, forces the spectator to turn and observe with profound interest. When observing David Silva's paintings, we find Don Quixote's with a look of surprise, of anguish or of wonder.
We see free gestures, dynamic vitality, and Quixote's that emerge from their meditations, not always optimistic about the condition of humanity. David Silvah, in his relentless effort to express himself, reunites Zapatas, Cristos, Villas, and Don Quixote at the same table. He uses narrative and literary content, as well as many colorful artistic effects, allowing us to enjoy the originality in his fine works.
Each work is a synthesis in which the painter gives free reign to his imagination, without being judged by other different and present pictorials. This allows David Silvah to approach his painting with absolute artistic freedom.
At the age of 13, he began painting to win the heart of a young girl. Since then, David Silva H has taken the artistry of the traditional Mexican painting very seriously; sharing his work in a revolutionary, political, and social context of the past and the present.
The work of this young Zacatecano painter, now living in the city of Rosarito, forces the spectator to turn and observe with profound interest. When observing David Silva's paintings, we find Don Quixote's with a look of surprise, of anguish or of wonder.
We see free gestures, dynamic vitality, and Quixote's that emerge from their meditations, not always optimistic about the condition of humanity. David Silvah, in his relentless effort to express himself, reunites Zapatas, Cristos, Villas, and Don Quixote at the same table. He uses narrative and literary content, as well as many colorful artistic effects, allowing us to enjoy the originality in his fine works.
Each work is a synthesis in which the painter gives free reign to his imagination, without being judged by other different and present pictorials. This allows David Silvah to approach his painting with absolute artistic freedom.
Born in 1969 in Pennsylvania, Eric received a Bachelors of Science in Art Education from Millersville University of Pennsylvania in 1992. He continued his education at The University of the Arts, Philadelphia, and the Pennsylvania Academy of Fine Arts. During this time he began an interest in the study of the strength and textures of birds, especially domestic fowl for which he has become well-known.
My paintings, and now soft sculptures, bring out the magical wonder of the humble rooster and rabbit. The rooster/chicken has always been my spirit animal. I love the colors, textures, and glorious strength of such a common bird. But is it such a common bird? They feed us with their eggs and meat, decorate us with their beautiful feathers, and are used as a religious spirit throughout the world. They are clever and brave, fast and strong. Their colors, pattern, and textures show brilliance and shine that I love to try and repeat in my painting.
My paintings, and now soft sculptures, bring out the magical wonder of the humble rooster and rabbit. The rooster/chicken has always been my spirit animal. I love the colors, textures, and glorious strength of such a common bird. But is it such a common bird? They feed us with their eggs and meat, decorate us with their beautiful feathers, and are used as a religious spirit throughout the world. They are clever and brave, fast and strong. Their colors, pattern, and textures show brilliance and shine that I love to try and repeat in my painting.
Born in Palo Alto CA and now a long-time resident of Maine, I paint with oils on canvas or linen.
Coming from an artistic family background and exceptional high school art program there was no lack of encouragement to create. I studied sculpture and design at Moore College of Art in Philadelphia and have continued my education through classes and painting groups and occasionally teach students individually.
Returning to painting after many years of developing an interior and landscape design business, I focus my work on capturing the likeness and emotions of animals, especially the relationship between man and his canine best friend. I paint other animals as well, inspired by my deep feelings for the Maine countryside, the horses on our farm, and my 7 devoted Labrador Retrievers.
I convey the motion, shape, and love for the animal with loosely applied sweeping brushstrokes or pallet knife. Using glazing mediums, wax, chalk dust, and thick over painting to sculpt subjects on the canvas, I bring them to life in an unconventional form.
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Coming from an artistic family background and exceptional high school art program there was no lack of encouragement to create. I studied sculpture and design at Moore College of Art in Philadelphia and have continued my education through classes and painting groups and occasionally teach students individually.
Returning to painting after many years of developing an interior and landscape design business, I focus my work on capturing the likeness and emotions of animals, especially the relationship between man and his canine best friend. I paint other animals as well, inspired by my deep feelings for the Maine countryside, the horses on our farm, and my 7 devoted Labrador Retrievers.
I convey the motion, shape, and love for the animal with loosely applied sweeping brushstrokes or pallet knife. Using glazing mediums, wax, chalk dust, and thick over painting to sculpt subjects on the canvas, I bring them to life in an unconventional form.
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STATEMENT ABOUT WORKING
The work of contemporary artist Georganna Lenssen looks to the natural world as a muse then steps into a realm so unique it cannot be bound by the representational. Filled with vitality and complexity, her paintings invite engagement and interaction with the viewer. While constantly referencing nature, she creates images which are ambiguous, sensual and evocative. Paintings which invite connection on a deeply personal and individualistic emotional level.
While her subject matter varies widely, including urban scenes, waterscapes, desserts, and animals, it is unified by a painterly richness of technique. She uses her subject as a point of departure, a vessel providing unique suggestive characteristics which she can transpose into color, marks and a landscape of painted surface. Treatment of the paint is her vocabulary. Transparency and translucency both foil and complement areas of opacity and impasto. A variety of bold painterly strokes and areas of delicately applied paint, created with brush, palette knife, rag or cardboard merge to create a symphony of expression. Restlessness and a quest to push boundaries set the stage for paintings which are constantly evolving and morphing—sometimes even as they hang upon a gallery wall.
Georganna’s style of working is best described as phenomenological. It facilitates results both surprising and unpredictable. She continually challenges herself by putting herself in uncomfortable, unfamiliar territory and by pushing her boundaries. Randomly choosing colors when beginning a piece combined with an intentional lack of order on her palette, she remains keenly receptive to the freshness of surprising results . She varies her surface choices, sizes and proportions. Mostly using canvas, board and paper, sizes range from 4 by 6 inches to 4 by six feet. She often works a painting for weeks only to turn it 180 degrees to finish it. She interacts with the painting, adding and subtracting, until the image begins to emerge. If an image becomes too articulated, she deconstructs it, creating chaos so she may create a different kind of organization. Scraping down entire works, or painting over previous paintings, increases the depth and complexity of the painting’s story. Georganna Lenssen’s painting journey is engaging and intense - the result is unanticipated and surprising. Her work stands out for its intensity, mood, and the complexity of its painted surface.
“Painting is my life and my passion. It is through paint that I process my world.”
Originally from Seoul, Korea, Georganna graduated from Pennsylvania Academy of Fine Arts and Villanova University.
She has shown most recently with J. Cacciola gallery in Bernardsville, NJ. renowned for contemporary art.
An avid plein air painter, when not outdoors working, she paints from her studio in Historic Yellow Springs.
Georganna lives in Honey Brook, PA with her husband, her cats and her German Shepherd.
The work of contemporary artist Georganna Lenssen looks to the natural world as a muse then steps into a realm so unique it cannot be bound by the representational. Filled with vitality and complexity, her paintings invite engagement and interaction with the viewer. While constantly referencing nature, she creates images which are ambiguous, sensual and evocative. Paintings which invite connection on a deeply personal and individualistic emotional level.
While her subject matter varies widely, including urban scenes, waterscapes, desserts, and animals, it is unified by a painterly richness of technique. She uses her subject as a point of departure, a vessel providing unique suggestive characteristics which she can transpose into color, marks and a landscape of painted surface. Treatment of the paint is her vocabulary. Transparency and translucency both foil and complement areas of opacity and impasto. A variety of bold painterly strokes and areas of delicately applied paint, created with brush, palette knife, rag or cardboard merge to create a symphony of expression. Restlessness and a quest to push boundaries set the stage for paintings which are constantly evolving and morphing—sometimes even as they hang upon a gallery wall.
Georganna’s style of working is best described as phenomenological. It facilitates results both surprising and unpredictable. She continually challenges herself by putting herself in uncomfortable, unfamiliar territory and by pushing her boundaries. Randomly choosing colors when beginning a piece combined with an intentional lack of order on her palette, she remains keenly receptive to the freshness of surprising results . She varies her surface choices, sizes and proportions. Mostly using canvas, board and paper, sizes range from 4 by 6 inches to 4 by six feet. She often works a painting for weeks only to turn it 180 degrees to finish it. She interacts with the painting, adding and subtracting, until the image begins to emerge. If an image becomes too articulated, she deconstructs it, creating chaos so she may create a different kind of organization. Scraping down entire works, or painting over previous paintings, increases the depth and complexity of the painting’s story. Georganna Lenssen’s painting journey is engaging and intense - the result is unanticipated and surprising. Her work stands out for its intensity, mood, and the complexity of its painted surface.
“Painting is my life and my passion. It is through paint that I process my world.”
Originally from Seoul, Korea, Georganna graduated from Pennsylvania Academy of Fine Arts and Villanova University.
She has shown most recently with J. Cacciola gallery in Bernardsville, NJ. renowned for contemporary art.
An avid plein air painter, when not outdoors working, she paints from her studio in Historic Yellow Springs.
Georganna lives in Honey Brook, PA with her husband, her cats and her German Shepherd.
James is a contemporary figurative painter located in Lawrenceville, NJ. His home, a 1920s center hall Colonial, is also the location of his studio where he paints daily. Doherty believes that a painting should look like it has been painted and not like a photograph. You should see each brush stroke, each drip of paint and each layer of color. Many of his paintings seem like he captured a moment- the delicate lines of a woman, the last to leave the party, her fancy dress now the worse for wear as she casts a subtle glance about the room, searching for something unknown. James’ paintings are often characterized by softened drips, smears, or unfinished edges. James believes his process should be visually accessible. Among his personal favorites and influencers are the painters, Gainsborough, Sargent, and Degas. Doherty's education includes: 2008-2012, Pennsylvania Academy of Fine Art, 2009, Studied portrait painting with Theodore Xaras, 2012, Masterclass with Stuart Shils, 2010-2012, Studied figurative painting with David Shevlino, 2012, Studied cold wax painting with Rebecca Crowell.
I am often asked concerning my paintings of the source of my subjects. In reply, I should say they are portraits of us. We as travelers on new journeys and seen with a more than a touch of whimsy. We as saints and sinners, as fools, in love and out. The subjects are familiar and the journey is discovery.
An AJC reviewer once said ” Jane creates dreams in stone”.
My stone sculptures are mystical in nature.The art reflects the coexistence of the conscious and subconscious, the symbolic and literal, and the ancient and modern.
Being a direct carver, I draw directly on the stone. With an idea in my mind, I start chiseling. I usually start with an idea that revolves around the human form. It may be a piece of wood that inspires me because it suggests a drapery or a broken stone that looks like a silhouette.
It is a discovery of the unconscious. Your hands follow what your creative self dictates. My art evolves usually as I create it.
I am especially interested in combining various materials. I pay homage
to the Greco-Roman roots of stone in sculpture. I incorporate broken torsos like in Greco Roman ruins. From the Romans, I borrow the combining of different stones in one figure .
Lately I have been creating full figure images from cypress and stone. The figures are about the gesture of the figure and the various combinations of the different stones. Contrasting the angular with the curvilinear shapes is of interest to me.
My stone sculptures invite the viewer to interpret thus creating their own stories
The Cypress Series combines Cypress wood and various stone elements to create standing figures. I choose wood that already suggests drapery and then carve elements to further enhance the female form. Movement is very important to me. The stones chosen for the head and torso either create contrast or harmony. The sculpture is about gesture.
My stone sculptures are mystical in nature.The art reflects the coexistence of the conscious and subconscious, the symbolic and literal, and the ancient and modern.
Being a direct carver, I draw directly on the stone. With an idea in my mind, I start chiseling. I usually start with an idea that revolves around the human form. It may be a piece of wood that inspires me because it suggests a drapery or a broken stone that looks like a silhouette.
It is a discovery of the unconscious. Your hands follow what your creative self dictates. My art evolves usually as I create it.
I am especially interested in combining various materials. I pay homage
to the Greco-Roman roots of stone in sculpture. I incorporate broken torsos like in Greco Roman ruins. From the Romans, I borrow the combining of different stones in one figure .
Lately I have been creating full figure images from cypress and stone. The figures are about the gesture of the figure and the various combinations of the different stones. Contrasting the angular with the curvilinear shapes is of interest to me.
My stone sculptures invite the viewer to interpret thus creating their own stories
The Cypress Series combines Cypress wood and various stone elements to create standing figures. I choose wood that already suggests drapery and then carve elements to further enhance the female form. Movement is very important to me. The stones chosen for the head and torso either create contrast or harmony. The sculpture is about gesture.
From biology student to owning and running a creative agency in London to a career as a fine artist, life has taken Jon Davenport on a rewarding and unconventional journey. Despite his scientific beginnings, he’s always had a strong artistic streak weaving its way through his different career paths.
Growing up in Ipswich, UK, Jon was always an avid drawer, and could often be found with a pencil and paper in hand. With the arrival of his first computer, he embraced the new frontier of digital art, and had work published in one of those early computer magazines. The stage was set!
His creative urges took a backseat to getting a biology degree at Brunel University in London. It was afterwards, in his first job working at Archant newspaper group in Ipswich, that he quickly progressed from plate maker to becoming an integral member of the art studio. It was during this time that he taught himself photoshop, desktop publishing and graphic & web design.
After a few years he setup a design agency, and eventually went full time and moved to London. This proved to be a successful move, working for a number of clients such as Nike and Virgin, and gaining praise from the likes of Richard Branson and Tony Blair.
It wasn’t until Jon moved to the USA to marry his wife, Atlanta artist Christy Kinard, that he began indulging his pure creative urges, with her constant encouragement. Thanks to all the previous twists and turns, as well as embracing a new found love for photography and the paintbrush, it was only then that he could truly begin to create artworks that he was proud of.
Growing up in Ipswich, UK, Jon was always an avid drawer, and could often be found with a pencil and paper in hand. With the arrival of his first computer, he embraced the new frontier of digital art, and had work published in one of those early computer magazines. The stage was set!
His creative urges took a backseat to getting a biology degree at Brunel University in London. It was afterwards, in his first job working at Archant newspaper group in Ipswich, that he quickly progressed from plate maker to becoming an integral member of the art studio. It was during this time that he taught himself photoshop, desktop publishing and graphic & web design.
After a few years he setup a design agency, and eventually went full time and moved to London. This proved to be a successful move, working for a number of clients such as Nike and Virgin, and gaining praise from the likes of Richard Branson and Tony Blair.
It wasn’t until Jon moved to the USA to marry his wife, Atlanta artist Christy Kinard, that he began indulging his pure creative urges, with her constant encouragement. Thanks to all the previous twists and turns, as well as embracing a new found love for photography and the paintbrush, it was only then that he could truly begin to create artworks that he was proud of.
Marlin’s work is all about the process. For him, getting there is more than half the fun…it’s all the fun. To see a record, the act of creating and not just the final product, that is his end goal. Marlin has been exploring the use of circles both large and small for the last ten years having been influenced and inspired by the paintings of Yayoi Kusama.
Currently he is working with metallic paints and how his work is affected by changing light. Marlin has worked as an artist and architectural illustrator for over twenty-five years. He divides his time between documentary film making and painting. Marlin lives in Lancaster, Pennsylvania and continues to get lost in the process in both a home studio and in a 19th century building in Columbia, Pa near the banks of the Susquehanna River.
Currently he is working with metallic paints and how his work is affected by changing light. Marlin has worked as an artist and architectural illustrator for over twenty-five years. He divides his time between documentary film making and painting. Marlin lives in Lancaster, Pennsylvania and continues to get lost in the process in both a home studio and in a 19th century building in Columbia, Pa near the banks of the Susquehanna River.
My journey as an artist has been a winding road with peaks and valleys. That has been life’s way of shaping me and my art, bringing me to where I am today. Born in Duluth, Minnesota, I grew up in a house filled with art. My father is a painter, and under his tutelage, I developed a passion for this creative outlet. At a young age I worked by his side in our studio sketching and exploring various mediums.
I went on to graduate from the University of Minnesota with degrees in graphic design and fine art, married shortly thereafter, and had the gift of raising four children. A career in marketing soon followed as my family moved on to their own pursuits. During these years my painting went on hold, and after twenty years, I began to question who I was as an artist.
In 2017, with the loving support of my husband, I made the decision to paint again as a full time artist. I had no idea what my style or focus was going to be. I painted landscape, still life, loose interpretations, detailed work, and I felt lost. Then I went to Santa Fe to visit friends and something happened that I cannot explain. The night we arrived, I woke to see in my mind with such clarity, who I was to be as an artist. I knew exactly what type of subject matter was inside of me and just how to paint it. My identity as a painter was found.
- Mary
I went on to graduate from the University of Minnesota with degrees in graphic design and fine art, married shortly thereafter, and had the gift of raising four children. A career in marketing soon followed as my family moved on to their own pursuits. During these years my painting went on hold, and after twenty years, I began to question who I was as an artist.
In 2017, with the loving support of my husband, I made the decision to paint again as a full time artist. I had no idea what my style or focus was going to be. I painted landscape, still life, loose interpretations, detailed work, and I felt lost. Then I went to Santa Fe to visit friends and something happened that I cannot explain. The night we arrived, I woke to see in my mind with such clarity, who I was to be as an artist. I knew exactly what type of subject matter was inside of me and just how to paint it. My identity as a painter was found.
- Mary
"My process begins long before any paint hits the canvas." ~ Michael Bartmann
Michael studied from 1982 -1987 at The State University of New York, Syracuse, NY, where he received his BA in Landscape Architecture. From 1995 -1999 he continued at Pennsylvania Academy of the Fine Arts, Philadelphia, PA, in the Certificate Program.
Artist Spotlight: MICHAEL BARTMANN
I begin by exploring an inspirational location and visit many times before starting. I am drawn to non-designed, left-over places. When I was young, I spent a greater amount of time playing in and exploring the vacant lots rather than the professionally designed playgrounds. As an artist, I am still drawn to those abandoned, derelict spaces where the imagination is free to roam. It's the lack of obvious beauty and not knowing where these spaces will lead me artistically that draws me to them. After visiting several times I paint on site and explore the site through the lens of a camera. I also research the history of the site and look for any old photographs. I do all of this "getting to know the site" in order to allow a more personal artistic vision to develop rather than just capturing its essence.
After getting to know the site, I then move the ideas into the studio to further remove myself from its innate meaning. I like the idea of the painting being "site-specific", but I want it to evolve into something more personal with a new "sense of place." In the studio, my process starts with a drafted line drawing in which a new place is constructed- much the same way that an architect would create. However, many times the drawing is a combination of several different places and possibilities overlaying and overlapping each other that will be further explored, changed or decided during the painting process. The drawing creates the underlying structure. This underlying drawing eventually gives way to the paint. I am more of a searcher with paint. Often the paint is doing one thing and the drawing doing another with a precarious connection between the two. I enjoy this tension. I paint as much for paint sake instead of for just the image. There is a fine line between the love of paint, the material itself, the mark making versus the definition of the image. My painting process involves scraping, staining, dragging, and a re-invention of the space. A new space evolves from the process. My paintings are as much about the architecture of the paint as it is about an architectural scene.
I want the entire process to show through in the final painting. The residue of the previous drawing/painting comes through in final version.
The painting titled Passages has a “sense of place” inspired by an actual location which then evolves through ideas that come from multiple sources, real and imagined as well as through the process of painting. This process is a dynamic interaction with the surface, the space, the layering and taking away of paint.
Tension exists between the use of traditional one-point perspective, the flat abstract two-dimensional canvas world and the surface world of paint.
Like many artists, I use light to turn the ordinary and everyday into something more, something greater.
I evoke emotion using spatial dimension, atmosphere and defining architecture. There are many paintings within the painting. Typically there is not just one straightforward view, but many spatial directions and abstractions of space to move through. I am interested more in a journey through the space and paint than a particular fixed image. I create a space that the viewer is free to roam around in. There are no figures in the paintings because I want the figures in the paintings to be the viewer.
Michael studied from 1982 -1987 at The State University of New York, Syracuse, NY, where he received his BA in Landscape Architecture. From 1995 -1999 he continued at Pennsylvania Academy of the Fine Arts, Philadelphia, PA, in the Certificate Program.
Artist Spotlight: MICHAEL BARTMANN
I begin by exploring an inspirational location and visit many times before starting. I am drawn to non-designed, left-over places. When I was young, I spent a greater amount of time playing in and exploring the vacant lots rather than the professionally designed playgrounds. As an artist, I am still drawn to those abandoned, derelict spaces where the imagination is free to roam. It's the lack of obvious beauty and not knowing where these spaces will lead me artistically that draws me to them. After visiting several times I paint on site and explore the site through the lens of a camera. I also research the history of the site and look for any old photographs. I do all of this "getting to know the site" in order to allow a more personal artistic vision to develop rather than just capturing its essence.
After getting to know the site, I then move the ideas into the studio to further remove myself from its innate meaning. I like the idea of the painting being "site-specific", but I want it to evolve into something more personal with a new "sense of place." In the studio, my process starts with a drafted line drawing in which a new place is constructed- much the same way that an architect would create. However, many times the drawing is a combination of several different places and possibilities overlaying and overlapping each other that will be further explored, changed or decided during the painting process. The drawing creates the underlying structure. This underlying drawing eventually gives way to the paint. I am more of a searcher with paint. Often the paint is doing one thing and the drawing doing another with a precarious connection between the two. I enjoy this tension. I paint as much for paint sake instead of for just the image. There is a fine line between the love of paint, the material itself, the mark making versus the definition of the image. My painting process involves scraping, staining, dragging, and a re-invention of the space. A new space evolves from the process. My paintings are as much about the architecture of the paint as it is about an architectural scene.
I want the entire process to show through in the final painting. The residue of the previous drawing/painting comes through in final version.
The painting titled Passages has a “sense of place” inspired by an actual location which then evolves through ideas that come from multiple sources, real and imagined as well as through the process of painting. This process is a dynamic interaction with the surface, the space, the layering and taking away of paint.
Tension exists between the use of traditional one-point perspective, the flat abstract two-dimensional canvas world and the surface world of paint.
Like many artists, I use light to turn the ordinary and everyday into something more, something greater.
I evoke emotion using spatial dimension, atmosphere and defining architecture. There are many paintings within the painting. Typically there is not just one straightforward view, but many spatial directions and abstractions of space to move through. I am interested more in a journey through the space and paint than a particular fixed image. I create a space that the viewer is free to roam around in. There are no figures in the paintings because I want the figures in the paintings to be the viewer.
Stoltzfus’ primary use of circular patterns excites and engages the eye, subtly changing as both the light and the perspective of the viewer moves. His paintings create an opportunity to slow down a bit, which can lead to seeing something unexpected.
The circular marks in Stoltzfus’ paintings are patterns that allow images to emerge and then disappear. This patterning resonates because it mirrors the physical structures of the eye in several ways. To expand these simple circular brushstrokes, he paints highlights and shadows around some of the circles. This creates a tromp l'oeil texture that can be touched only with the eye. Stoltzfus spikes some of his paint with raw pigment while adding small amounts of gold leaf further develops its texture. Although the paintings are colored by the grit and glitz that surround him in Brooklyn, they remain ghosted by the rural Virginia landscape he knew as a child.
Randall Stoltzfus has shown at exhibitions from Virginia to New York City and as far away as Pyeongtaek, South Korea. He studied at American University in Washington, DC and has since received a number of fellowships and artist in residence awards. He was Artist in Residence in Perugia, Italy, where his work is in the public collection at the Centro Pari Opportunitá. Two of his paintings were selected for the art bank program at the DC Council of the Arts & Humanities in Washington, DC. Some of Stoltzfus’ most recent exhibitions were at the Union Theological Seminary, Great Pop-Up Art Sale and LIMN Gallery respectively in Manhattan, Brooklyn and San Francisco.
The circular marks in Stoltzfus’ paintings are patterns that allow images to emerge and then disappear. This patterning resonates because it mirrors the physical structures of the eye in several ways. To expand these simple circular brushstrokes, he paints highlights and shadows around some of the circles. This creates a tromp l'oeil texture that can be touched only with the eye. Stoltzfus spikes some of his paint with raw pigment while adding small amounts of gold leaf further develops its texture. Although the paintings are colored by the grit and glitz that surround him in Brooklyn, they remain ghosted by the rural Virginia landscape he knew as a child.
Randall Stoltzfus has shown at exhibitions from Virginia to New York City and as far away as Pyeongtaek, South Korea. He studied at American University in Washington, DC and has since received a number of fellowships and artist in residence awards. He was Artist in Residence in Perugia, Italy, where his work is in the public collection at the Centro Pari Opportunitá. Two of his paintings were selected for the art bank program at the DC Council of the Arts & Humanities in Washington, DC. Some of Stoltzfus’ most recent exhibitions were at the Union Theological Seminary, Great Pop-Up Art Sale and LIMN Gallery respectively in Manhattan, Brooklyn and San Francisco.
René Romero Schuler is one of the most important and well-collected, contemporary artists to emerge out of the Midwestern United States. Now living in both Chicago, IL and Carmel, CA, this artist is creating powerful images of strength and vulnerability that speak to the heart of the human condition: love, sorrow, solitude, and heartbreak; yet, through these depictions of difficult subjects, she inspires her viewers with hope, fortitude, and ultimately, enduring strength. The figures Schuler captures are equal parts self-portraiture and portraits of the range of human emotions that she has experienced in her all-too-colorful life. Her approach is personal yet universal, and essentially intimate. The work is visually and emotionally affecting; it powerfully reveals her appreciation for the struggle and triumph of the human condition and speaks to global and societal issues that continue to impact daily lives.
Schuler’s work is in the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art, and St. Thomas University Museum of Art – Sardiñas Gallery in Miami. Her work is in public and private collections around the world and has exhibited internationally in Paris, Rome, Paxos, Singapore, and Beirut. A musical production, Jolere, was wholly inspired by Schuler’s works, with five original scores composed by Lee Kesselman and accompanying contemporary dance choreographed by Joanna Lees. Jolere performed to sold-out audiences in Minneapolis, 2013 and Chicago, 2015.
A book, René Romero Schuler: Life and Works, showcasing images of the artist’s thick impastos and striking figural canvases in addition to providing readers a look into her artistic process, was released in 2013. A book, simply titled René Romero Schuler, was released in August 2016, and a second hardcover book, also titled René Romero Schuler containing personal essays and poetry alongside her most recent works, shown, was released Summer, 2019. Signed Copies Available.
**Note: Due to the overwhelming response surrounding René 's artwork her valuations increased and therefore pricing was increased in early 2020. You may see price differences from pieces sold before that time.
*** As of late Spring 2020, René is now collected in all 50 of the US states and more than 15 countries.
Schuler’s work is in the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art, and St. Thomas University Museum of Art – Sardiñas Gallery in Miami. Her work is in public and private collections around the world and has exhibited internationally in Paris, Rome, Paxos, Singapore, and Beirut. A musical production, Jolere, was wholly inspired by Schuler’s works, with five original scores composed by Lee Kesselman and accompanying contemporary dance choreographed by Joanna Lees. Jolere performed to sold-out audiences in Minneapolis, 2013 and Chicago, 2015.
A book, René Romero Schuler: Life and Works, showcasing images of the artist’s thick impastos and striking figural canvases in addition to providing readers a look into her artistic process, was released in 2013. A book, simply titled René Romero Schuler, was released in August 2016, and a second hardcover book, also titled René Romero Schuler containing personal essays and poetry alongside her most recent works, shown, was released Summer, 2019. Signed Copies Available.
**Note: Due to the overwhelming response surrounding René 's artwork her valuations increased and therefore pricing was increased in early 2020. You may see price differences from pieces sold before that time.
*** As of late Spring 2020, René is now collected in all 50 of the US states and more than 15 countries.
Born in Milwaukee, Wisconsin in 1925; Dr. Nelson studied at the Art Institute of Chicago where he received his B.A.E. degree in 1950, and his M.A.E. degree in 1951. He taught at his Alma mater as well as the University of Manitoba in Winnipeg, and the University of North Dakota, before returning to school at New York University where he received his Education Doctorate in 1971. The next year he began teaching at Cleveland State University, where he stayed until 1975 when he joined the faculty of the University of North Carolina at Chapel Hill. He then joined that of Millersville University and in 1997 Millersville University granted him the rank of professor emeritus. Nelson’s art is included in the permanent collections of many major museums: The Museum of Modern Art, New York, the Smithsonian Institution, Washington, DC, the National Gallery of Art, Washington, DC, the University of Texas, Texas, the Seattle Art Museum, Washington, Ohio University, Ohio, the Walker Art Center, Minneapolis, the DeCordova Museum, Boston, the Brooklyn Museum, New York, the North Carolina Art Museum, North Carolina, the Minneapolis Institute of Art, Minnesota, the University of Minnesota Morris, Minnesota, the Cleveland Museum of Art, Ohio, the University of Maryland, Maryland, the Rourke Art Museum, Minnesota, Millersville University, Pennsylvania, George Mason University, Virginia, the University of Manitoba, Canada, the Plains Art Museum, North Dakota. He was also the recipient of the prestigious Purchase Prize in the 31st National Exhibition of Boston Printmakers and was awarded the Cezanne medal from the government of France, in 1961. You can see the things that influence Bob including past Presidents and historical figures, the Wizard of Oz, Flash Gordon, classic fables, and mythology. You can also find many animals, including some from his homestead in Lakeside, Oregon which he shares with his lovely wife Louise. "Drawing is the First Art- Everything else springs from that." ~ Robert A Nelson. *** Many museums are suspected, both Nationally and Internationally, and we are convinced this list is incomplete. If you would like to add to the list, please contact the Gallery.
Born and raised in Honesdale, PA, Sheila O'Keefe Braun lived a dibble of her adult life in Brooklyn, N.Y., California, and eventually landed in Lancaster. Born to create, in the past few years her work has transitioned from using brushes, portraying an intentional defined object or scene, to reaching for an unknown while provoking the eye. O'Keefe Braun paints from a spiritual perspective while listening and then using her fingers, at times, along with palette knives as her brushes. She layers paint, removes paint, and layers yet again. She hides stories as one story builds into another. Sheila believes that in the rapid movement and stillness happening simultaneously on the earth there is an underlying continuous shifting between the seen and unseen realms. Unnoticed, this can occur so swiftly that our resplendent dreams may drift away and that which touches deepest falls asleep. O'Keefe Braun prefers viewers "visit with her work" and largely view from the perspective of what they are experiencing. She appreciates hearing others insight in order for her to have a greater understanding of what, she calls, the continuous river running through. Sheila teaches listening art in an addiction recovery facility, paints in her studio, during weddings, events, in worship services and by commission. She is also composing a TBI (traumatic brain injury)/PTSD series as well as a series on Jerusalem / Israel.
This series takes the viewer on a journey to the worlds of one's dreams.
My landscape collages are made from handmade papers collected over the years from around the world.
A studio full of hundreds of patterned and textured papers provide inspiration for the compositions while the tactile feel of tearing paper and intuitive process reflects spontaneity. In this post-pandemic world, my hope is that these colorful works reflect a bright and hopeful time.
My landscape collages are made from handmade papers collected over the years from around the world.
A studio full of hundreds of patterned and textured papers provide inspiration for the compositions while the tactile feel of tearing paper and intuitive process reflects spontaneity. In this post-pandemic world, my hope is that these colorful works reflect a bright and hopeful time.
Trevor Mikula is a self-taught, contemporary artist from Nashville, TN. Before settling down in Nashville, Mikula owned his own art gallery in Provincetown on Cape Cod for four years. His unmistakable style of painting has the ability to put a smile on anybody's face, due to the whimsical yet sophisticated style that his art portrays. Taking inspiration from the people and things around him, Trevor paints with a vivid imagination, vibrant paint and a palette knife. Trevor has been a full time artist for the past fifteen years. His work can be seen throughout the Nashville area, galleries in Scottsdale, Santa Fe, Tucson, Charlotte, Asbury Park, and Lancaster, PA. He is back living in Provincetown ,exploring and painting daily. His zest for life can be seen in his work through his signature style.
Sherri Andrews is a fast-rising, award-winning artist, a local philanthropist and community leader, and a well-regarded hedge fund manager. Yet it is her success as a mixed media artist that has been most stunning to her. In less than six years, Sherri has sold more than 100 paintings, curated a highly successful solo exhibition and received recognition, including the prestigious Ben Whitmore Purchase Award from the Trenton City Museum at Ellarslie.
As a self-taught artist, Sherri is best known for her bold landscapes, colorful flowers, graceful dancers and abstract images, which she creates using a mix of inks, acrylics and collage. The vivid colors and spontaneity of her paintings convey energy and joy. She is passionately committed to sharing her vision—and her talents—in a way that inspires personal growth in others and helps to support causes that are important to her. She has donated a number of pieces of artwork to support local arts organizations and local charities, including the Arts Council of Princeton, the West Windsor Arts Council and Art-Jam’s Homefront.
As a finance professional with a Harvard MBA, Sherri draws upon her artistic instincts to bring creative problem-solving to her work. While it may seem that these two worlds are far apart, each reward “out of the box” thinking, attention to detail and bold, contrarian approaches. Painting also serves as a meditation and a source of positive, restorative energy for Sherri.
In addition to Sherri being honored by the Ellarslie at Trenton City Museum in May 2018 as Emerging Artist of the Year, her painting called Abstract Poppies was purchased for the museum’s permanent collection. Her work has been displayed at juried venues, including Phillips’ Mill, Trenton City Museum at Ellarslie, D&R Greenway, BSB Gallery, and West Windsor Arts Council. Sherri has participated in juried art fairs and had her work shown at Third Street Gallery’s “Embodiment: Figure in Art” in Philadelphia. She has taught workshops at the Arts Council of Princeton and the New Jersey State Council of the Arts. Sherri was honored to have her first solo show at the Plainsboro Library in August 2019 and is currently represented by Karen Anderer Gallery in Lancaster, Pennsylvania.
Sherri resides in Plainsboro, New Jersey, with her husband and 21-year-old son, who is also an artist. She is the former president of the West Windsor Art Council.