studio visit magazine vol. 31

volume thirty-one

volume thirty-one

A Juried Selection of International Visual Artists.

The juror for Volumes 31 and 32 of Studio Visit was Mary M. Tinti, Curator at The Fitchburg Art Museum in Fitchburg, MA. Mary has spent a good deal of her career in New England. She and the institution’s Director, Nick Capasso, have, in a short amount of time, done much to reenergize the institution and place it firmly on the map as one of New England’s most vital small museums.

The competition that yielded Volumes 31 and 32 drew more than 900 applicants working in a range of media. Of them, three hundred and fifteen artists were selected for publication and two hundred and fifty-five chose to participate. As in the past, and in the interest of producing volumes of Studio Visit that are not overwhelmingly large, we have split the winning artists into two separate books, Volumes 31 and 32. This division is intended to make the publication manageable for our readership, and, more importantly, to maximize the benefit for participating artists.

The artists featured in Volumes 31 and 32 represent a wide range of aesthetic viewpoints that I think accurately capture the pluralistic time we live in. Some of the artists featured in Studio Visit are self-taught, while others hold graduate degrees. Some have shown extensively, while others are at the beginning of their careers. Regardless of their respective backgrounds, all of the artists featured in Studio Visit are serious about and committed to their work. So, we hope that you take the opportunity to contact any artist that you feel may be appropriate for your gallery or collection. For your convenience, every artist has contact information provided.

In the interest of putting Studio Visit in front of the largest audience possible, I made the decision to make it available to anyone and everyone for free in digital format. To see the current volumes or any past ones that you might have missed, please visit www.studiovisitmagazine.com, and feel free to spread the word.

Steven ZevitasPublisher

Foreword

volume 312015$15

Editor and Publisher: Steven T. Zevitas

Associate Publisher: Andrew Katz

Design / Production: Kayelani Ortiz

Communications Manager: Alexa Kinne

Copyright © 2015. The Open Studios Press. All rights reserved. No part of this publication may be reproduced in any way without written permission from the publisher. PRINTED IN KOREA All rights in each work of art reproduced herein are retained by the artist.

Front Cover: Misia Armstrong, p.12Back Cover: Kate Fire Dedlow, p.44

www.studiovisitmagazine.com

Mary M. Tinti, Ph.D., Curator, Fitchburg Art Museum, Fitchburg, MA

Studio Visit: Volume Thirty-One

7 8

Braveryoil and acrylic, 16 x 20 inches

This painting is named Bravery, in which the pure innocence of imagination is abundantly sensitive and mysterious. The integrity it takes to be fearless and loyal with the wisdom and dignity of trusting the unknown is purely courageous. Astonished greatly with delightful senses of the mind, bravery in abstract form.

Rachel Abdelkereemwww.rachelsra.rocksSalem, [email protected] / 480 577 4711

GALLERY AFFILIATIONSalem Arts Association, Salem, MA

Ainaink, pigment, beeswax, and mixed media on panel, 48 x 48 x 2.5 inches

My abstract paintings reference my passion for travel and discovery. During a recent Artist Residency on Maui I became immersed with the language, culture and customs of native Hawaiians. Aina is roughly translated to mean “sacred homeland.” The raw natural beauty of the islands is magical and intensely physical.

Patricia Aaronwww.patriciaaaron.comGreenwood Village, [email protected] / 303 549 0709

GALLERY AFFILIATIONSSpace Gallery, Denver, COWilliam and Joseph Gallery, Santa Fe, NMWater Street Gallery, Douglas, MIGallery 212 Miami, Miami, FL

9 10

Groundless (detail)mixed media, acrylic carvings, and MDF fiberboard, 120 x 168 x 240 inches

Groundlessmixed media, acrylic carvings, and MDF fiberboard, 120 x 168 x 240 inches

The project Groundless is about transcending all boundaries into a space of one’s own from which one creates a new reality. It represents an identity that evolves from a hybrid of varied experiences, cultures, and ideologies, and transcends them, defying all categorizations.

Sarah Ahmadwww.sarahahmad.comMemphis, [email protected]

11 12

Here I ammixed media, 12 x 9 inches

Humanity and nature is what inspires me the most. I want to evoke profound emotion, hope, strength and beauty. My goal is to inspire ideas that lead to an active impact on people. Achieve positive change, through my art into the viewer’s own self. Inspired on: Rafal ziejewski photography

Aneliz Alvarezwww.aneartistic.wix.com/aneartistic / www.aneartistic.com Cancun, [email protected] / 998 577 0696

Everything Comes With a Cost To Your Soulinkjet print, 20 x 15 inches

My work looks at historical narratives in the hands of contemporary powers. I’m mainly interested in the manipulation of imagery and information. I work with the history of photography as a found object to explore themes of American identity and mythology.

Josh Alanwww.joshalanadm.comHouston, [email protected] / 281 781 9440

13 14

Secureacrylic on panel, 20 x 16.5 inches

Balancedacrylic on panel, 18 x 21 inches

Through the process of painting the figures start to emerge communicating specific feelings and attributes. I then bring out these characteristics searching for what draws me to one person over another. Eventually these portraits act as means for self-improvement as I hope to channel their individual traits, strengths and moods.

Misia Armstrongwww.misiaarmstrong.comLos Angeles, [email protected]

15 16

Almspigment, dye, ink, acrylic, and collage on raw canvas, 30 x 30 inches

Clouds and Other Diplomatsacrylic, dye, ink, and pastel on raw canvas, 46.5 x 55 inches

My work explores the unseen space that we navigate in our lives. As the space is actedupon, a conversation ensues between emptiness and fullness, stillness and movement. The compositions that emerge are built from these contrasting forces which together, create a sense of place and balance.

Karina Baniawww.karinabania.comSan Diego, [email protected]

17 18

Les Trois Mystèresacrylic and oil on canvas, 49 x 62 inches

Age: 27; Sex: M

Carlisle Bellwww.carlislebell.comShelby, [email protected] / 712 307 0403

Sheepheadoil on canvas, 58 x 50 inches

My work is focused on found pieces of organic matter that have evolved and grown over time —animals, bones and other earthly elements. It is my goal to understand my own connection to these life-forms and how they relate to my memories and experiences with the natural world.

Chrissy Baucomwww.chrissybaucom.comRichmond, [email protected]

19 20

This One’s About The Battle of Bunker Hilloil on panel, 48 x 48 inches

An American Whaling Epicoil on canvas, 44 x 72 inches

In painting, I explore American History in a manner that deviates from traditional representations. By appropriating canonized artworks I provide a structure with which I expand upon. Once mapped by composition, my interest lies in building out the space through complex compositions and color relationships.

Nathan Clark Bentleywww.nathanclarkbentley.comBrighton, [email protected] / 603 562 0354

21 22

Disco Queenacrylic on linen, 48 x 36 inches

Scarletacrylic on linen, 28 x 22 inches

I paint women real and imagined in the hope of capturing their essence and their mysterious, emotive, and highly unique stories. They are not passive subjects, but alive with minds racing. Hopefully, my art plays a vital role in the celebration of womanhood, of their mystery, and the human spirit.

Dianne Bernsteinwww.thewomansart.comWest Palm Beach, [email protected] / 561 358 6061

23 24

Desert Island, 33 29’ 50.8” N 111 55” 34.1” Woil on found object, 23 inch diameter

Commute #1-25oil on found objects, 1.5 inch diameter each

Laura Spalding Best’s artwork documents and dissects the urban landscape of the contemporary American West. Exploring mundane iconography and infrastructure, these oil paintings on found objects emphasize and celebrate the strained overlap of the romantic southwestern desert and its modern support system.

Laura Spalding Bestwww.lauraspaldingbest.comPhoenix, [email protected] / 602 410 5804

25 26

BY what measure?acrylic on canvas, 24 x 18 inches

Converseacrylic on canvas, 30 x 40 inches

To know my art is to know me. My illustrations are manifested forms of my hopes, fears, and everything in between. My paintings are improvisational pieces that are a response to my immediate environment and inner feelings.

Jonathan Blackwellwww.gistofme.comCompton, [email protected]

27 28

Kirsten’s Glassesoil on canvas, 20 x 20 inches

Travis’s Glassesoil on wood, 14 x 18 inches

Miki Boni has had numerous one-person shows in both the US and Mexico, with works in private collections internationally. Over time, her classical portraiture morphed into more contemporary, sometimes surreal, versions. This latest series of facescapes, Selfies: Through The Looking Glasses, was inspired by her glass-wearing friends.

Miki Boniwww.mikiboni.comChattanooga, [email protected]

29 30

Red Dogoil on canvas, 36 x 24 inches

Targetoil on canvas, 36 x 36 inches

As artists we all have an opportunity to make some sort of statement about society, ourselves or art in general. Behind each painting lies a thread of meaning that made the piece worth painting. Though seriously rendered, a perceived innocence is just as important as the element of humor.

Michael Brennanwww.michaelbrennanart.comSan Francisco, CA

GALLERY AFFILIATIONWhite Walls, San Francisco, CA

31 32

Supposecharcoal on paper, 67 x 51 inches

My work explores the limitations and aesthetics of human memory through portraiture. The imagery calls attention to the ways remembering transfigures how we recall the past. There’s a yearning for clarity—an ambivalence attuned to the tensions of recall. As a result, meaning is made of nostalgia, partiality, and longing.

Tricia Butskiwww.triciabutski.comBuffalo, [email protected]

Flake White Hueoil and acrylic on canvas, 55 x 55 inches

Language is visible when searched in the white of night. Gestures form an image of total abstract. Some lines more correct than others, this does not matter. The value is the intent to form language with no meaning. Searching for what this painting is trying to say, it says nothing.

Eric Burwellwww.facebook.com/ericburwellstudioSt. Louis, [email protected] / 702 480 5180

GALLERY AFFILIATIONBrett Wesley Gallery, Las Vegas, NV

33 34

Trade (detail: 1 piece of 200)glicée print on aluminum, clay, paint, and found objects, 8 x 14 x 9

During a 2014 expedition in the Arctic Circle, the artist witnessed how extreme climate change has uncovered new routes for polar exploration and opened the floodgates to conflicts over natural resources. Casado identifies this transformation of natural resources into objects–for–trade as an act of violence against nature—a terrorism of sorts.

José Carlos Casadowww.josecarloscasado.comNew York, [email protected]

Untitled XXXI (Caesura Series)oil, dye, acrylic, and stitching on drop cloth, 72 x 60 inches

I seek to emphasize flaws, choreograph accidents, and exalt materials. I am not interested in perfection, but in coaxing beauty out of imperfection.

Steve Byrneswww.stevebyrnes.orgSt. Louis, [email protected] / 314 875 9430

GALLERY AFFILIATIONBill Lowe Gallery, Atlanta, GA

35 36

Shaadi Ki Doli (Urdu for “Wedding Palanquin”)pinewood, cedar, oak, spruce, fir, metal hardware, acrylic paint, fabric, and cushions, 84 x 70 inches

Tumare Zindagi Taand Rusti (Urdu for “May Your Existence Be Blessed”)repurposed ironing board, iron, and embroidery yarn, 12 x 30 inches

Asma is a Pakistani-American artist who recreates ideas of shelter, warmth, luminance, provisions, mobility, and intellectual growth. Her work includes grocery cart chairs, couture-like glove dresses, and sleeping bags to evoke innocence and crisis. Asma pays homage to handicrafts made by village artisans by using vibrant colors and intricate techniques.

Asma Chaudharywww.asmachaudhary.carbonmade.comAnnandale, [email protected] / 703 975 3500

GALLERY AFFILIATIONSMuskegon Museum of Art, Muskegon, MIDennos Museum Center, Traverse City, MIBuchanan Partners Art Gallery, Manassas, VABJ Spoke Gallery, Huntington, NY

37 38

Latin Jazz, #4oil on canvas, 12 x 24 inches

When painting, I take hold of the energy around me and focus it onto the canvas. This action celebrates existence.

Anne Corlettwww.annecorlett.comSaugatuck, [email protected]

GALLERY AFFILIATIONSTvetden Fine Art, Harbor Springs, MIMichigan Artists Gallery, Traverse City, MI

The Singing Tree Voil, wax pigment stick, and graphite on oil monotype on panel, 29 x 21 inches

My work begins with images of leaves, plants, and foliage. The imagery is the carrier for the process—to transmit stillness and the experience of listening with all my senses. The biology, fractal design, and stunning beauty of plant systems are what keep me coming back to these complex forms.

Debra Claffeywww.debraclaffey.comNew Boston, [email protected]

39 40

The Dream of Graduatesacrylic on canvas, 48 x 40 inches

Wingchun Planacrylic on canvas, 48 x 40 inches

Born 1983 in Tianjin, China. Mingfei Cui is an artist and painter currently based in Philadelphia, Pennsylvania. Mingfei works mostly in painting.Mingfei uses painting to deconstruct and express his living memory on account of the numb feeling caused by encountering sprawling complex imagery in his life.

Mingfei Cuiwww.cuimingfei.comPhiladelphia, [email protected]

41 42

Sirens of Annihilationacrylic and mixed media on canvas, 30 x 40 inches

I died when I was born. I was born one month premature, and my lungs collapsed. I survived, but my scars serve to remind me that life is fragile. I strive to thrive — my creativity is my journey, my joy, my sorrow, my hard evidence that I am alive.

Miles Daviswww.massiveburn.comAtlanta, [email protected]

GALLERY AFFILIATIONSHealium Center, Atlanta, GADogwood Gallery, Tyrone, GA

Celebrationacrylic and mixed media, 60 x 60 inches

I pour paint. I direct and manipulate multiple transparent layers of liquid acrylic paint, gels, additives, and paper. Most recently adding prints and found materials. This style of painting has very physical connections to me. The paint has unique reactions to the materials and is different every time.

Lisa Danielwww.lisastrauss.artspan.comAuburn, [email protected] / 253 886 2109

43 44

Little Yellowacrylic on panel, 12 x 12 inches

Catalina Bluesacrylic on panel, 16 x 16 inches

I use an additive and reductive process of application, combining marks created fromboth muscle memory and interactive play with the medium. The landscape that emerges from each image resembles a place I am connected to through either personal experience or family history.

Karen deClouetwww.karendeclouet.comLafayette, [email protected]

45 46

Connective Tissuestencils with spray paint on paper, 42 x 43 inches

Marrowstencils with spray paint on paper, 20 x 22 inches

Kate Dedlow comes from a printmaking background, working in woodcut, collage, andpainting. Her studio practice involves designing images through use of stencil, spray paint, and printmaking processes. She creates patterns and compositions by masking off areas with hand-cut stencils, to achieve a dynamic continuum of space and color play.

Kate Fire Dedlowwww.katededlow.comLos Angeles, [email protected] / 818 689 3056

47 48

Dripped Laceacrylic paint, 30 x 20 inches

Taughtacrylic paint, 31 x 30 inches

I am interested in exploring paint’s materiality, and stretching the boundary of the conventional perception of what a painting is. Instead of painting with the medium, my work consists of acrylic paint dried in drips or strips, and is layered, stacked, rolled, draped, hung, or wrapped around objects.

Monica Delgadowww.monicadelgado.comNew York, [email protected]

49 50

“PASSAGES- 1Barad, Karen. Meeting the Universe Halfway, Quantum Physics and the Entanglement of Matter and Meaning. Durham & London: Duke University Press, 2007. Page 29. Print.”prismacolor and inkjet, 40 x 26 inches

“PASSAGES- 1Barad, Karen. Meeting the Universe Halfway, Quantum Physics and the Entanglement of Matter and Meaning. Durham & London: Duke University Press, 2007. Page 28. Print.”prismacolor and inkjet, 40 x 26 inches

Passages conflates two kinds of passage: travel as a passage from one place to another, and a small passage of text within a larger text. It is the conflation of the two meanings of the word here, moving from one place to another, in the world or in the mind.

Jean A. Dibblewww.jeandibble.comSouth Bend, [email protected]

51 52

Dwelling of White Windsstoneware, stains, glazes, and china paint, 11 x 7 x 7 inches

Take Me Somewhere Safestoneware, stains, glazes, and china paint, 23 x 21 x 22 inches

My latest work explores that moment of sheltering—tuning out the buzz of electronicsand tuning into oneself. These shell dwellers enjoy the sounds of the sea echoing within their spiral homes. They experience a more primordial somatic connection with the world, feeling with their bodies instead of their minds.

Natasha Dikarevawww.dikarevart.comSan Francisco, [email protected]

53 54

Dialoguechewing gum on canvas, 30 x 39 inches

Double Bubblechewing gum, gum wrappers, and video, dimension variable

Chewing gum has existed since the Neolithic Period in various natural forms, but, in America, synthetic rubber replaced it during the boom of mass production. Distributed globally, gum became a gratification-dispensing commodity. Gum’s symbolic and physical properties enhance the artist’s expression in reference to pop culture,consumerism, packaging, and waste.

Zen Duwww.zenduart.comNovato, [email protected]

GALLERY AFFILIATIONMarin MOCA, Novato, CA

55 56

The Things We Are, The Things We See, The Things We Lovemixed media, 48 x 36 inches

Innocently Existingmixed media, 40 x 30 inches

Denise Duong was born on an early winter morning in Oklahoma City. She is a Vietnamese-American artist with a nomadic soul and a soft spot for nature. She’s obsessed with all things that encompass traveling. Adventure, exploration, and emotions of life are inspirations for each piece.

Denise Duongwww.deniseduongart.comOklahoma City, [email protected]

GALLERY AFFILIATIONSJRB Art at the Elms, Oklahoma City, OKVickers Collection, Aspen, COJGO Gallery, Park City, UTGalerie 124, Savannah, GA

57 58

Shots From the Skyoil on panel, 24 x 32 inches

Cathy Ellis’s projects in painting, sculpture and installation describe the Pacific Coast as a place of utopian beauty and optimism, with uneasy undercurrents created by disaster, poverty and an aging infrastructure. Originally from Virginia, Ellis lives and works in Southern California.

Cathy Elliswww.cathyellisprojects.comSanta Barbara, [email protected] / 707 304 0008

Editing Nature: That Girl, Hidingink, acrylic, and collage on paper, 22.25 x 27.25 inches

A topiary life.It’s a human quality, to edit nature.We can adapt, but more often manipulate.Here, nature is filtered into neat icons and theatrical scenarios.Wherein different sources converge, interact, hopefully with unpredictable results.

Christian Duranwww.christianduran.netFort Lauderdale, [email protected] / 786 547 1677

59 60

Rushing Watersplash color, 18 x 30 inches

Ming Franz specializes in Splash Color painting, She is Grand prize winner of International artist magazine challenge #86. Shibuyi award winner of Sumi-e Society of America. Professional Original Design award of Pampered Palette International. She conducts workshops around the nation and aboard.

Ming Franz NMWS GAEPwww.mingfranzstudio.comEdgewood, [email protected] / 505 281 4956

GALLERY AFFILIATIONSNew Mexico Art League, Albuquerque, NMThe Watermelon Gallery, Cedar Crest, NMBlue Lily Atelier, Albuquerque, NM

The Fall, from Paradise Lost, 2012paper, non-organic pigment, and acrylic medium on paper, 124.5 x 72 inches

Maura’s initial training as a photographer founded her interest in the idea of the vestige as a sign referring to an absence. Practically all her work has to do with this concept and has generated a production of works ranging from photography and painting to manipulations in architectural settings.

Maura Falfanwww.maurafalfan.comNew York, [email protected]

61 62

Ruthoil on canvas, 30 x 24 inches

Dorothy Hollymarker on paper, 11 x 8.5 inches

Freeman works from life, seeking depth and beauty in her surroundings. Her chosen imagery evokes mystery and darkness, while her technique employs bright colors and decisive, gestural mark making. When she is visually captivated, a race to record begins. Viewers can feel this urgency and personal connection to the subject.

Lila Freemanwww.lilafreeman.comBrooklyn, [email protected]

63 64

The Healing Spirit of the Streamdigital photography with encaustic medium, 24 x 30 inches

The Thunderous Roar of a Quiet Minddigital photography with encaustic medium, 18 x 24 inches

We are the personification of nature, and from its power and beauty we find understanding. Using photography with encaustic and mixed media, this art seeks to capture the union of the spiritual and the mundane from all over the world; to unveil the human spirit and its innermost abstract ideals.

Gail Gelburdwww.gailgelburd.comOtis, [email protected]

GALLERY AFFILIATIONSSt. Francis Gallery, South Lee, MAAedra Fine Arts, Jersey City, NJMeyart International Gallery, Online GalleryGitanjali Gallery, Goa, India

65 66

For the Roadcharcoal on paper, 9 x 9 inches

My drawings work at a description of the people around me as seen through a curtain of surrealistic light. Often they are distracted and set against a quiet but visually treacherous space. Over time I have come to rely on this format asa means to question what I know.

Mack Gingleswww.mackgingles.comWaco, [email protected]

Willows I – Essexencaustic on 3 shaped panels, each 30 x 8.5 inches

My sculptural paintings are active abstractions based on recollections of specific places, such as a stand of swaying willows on Cape Ann. I convey my enduring impressions of the motion and energy of the natural world by painting curvilinear motifs in rhythmic ribbons of saturated color, with molten surface textures.

Shelley Gilchristwww.shelleygilchrist.comEvanston, [email protected]

67 68

Sofiamixed media, 40 x 65 inches

The Things We Gather #2quink and gouache on paper, 30 x 40 inches

June Glasson uses portraiture and found objects to create work that explores gender and ideas about the “American West.” Through drawing, painting, and installation, her work often deploys iconic “western” imagery—buffalo, weaponry, truck nutz, etc.—to investigate dominant narratives about the region, narratives that often ignore its complicated and violent history.

June Glassonwww.juneglasson.comLaramie, [email protected]

69 70

Beach Rugacrylic on canvas, 69 x 39 inches

Derby Rugacrylic on canvas, 65 x 72 inches

This series of paintings deals with themes of American wealth and leisure within a carpet format. They blindly appropriate pattern and structure from several rug producing cultures for their own Western themes, exposing themselves as plastic, acrylic paintings, not authentic carpets.

Brock Gordonwww.theplasticcity.comHouston, [email protected]

71 72

La La La Lollipopacrylic on canvas, 24 x 18 inches

Tectonic Shiftacrylic on canvas, 36 x 36 inches

I paint mysteries, especially into the subtleties. I want people to look into the shadows and find the little, unexpected gems of texture and shape. They involve the viewer and help him see what he wants to see, so he can make up his own story.

Gwen Granzowwww.gwengranzow.comOak Creek, [email protected]

73 74

Lake Ontario 2acrylic on canvas, 48 x 48 inches

Lake Ontario 1acrylic on canvas, 48 x 48 inches

These works aim to express the dualities of life experiences, spanning vibrant luminosity to palpable darkness, and all expressions in between.

Barry Grose resides in upstate New York. He trained briefly at the School of the Art Institute of Chicago, and is largely a self-taught artist.

Barry Grosewww.barrygrose.comSyracuse, [email protected]

75 76

Sweet Williamoil on canvas, 24 x 30 inches

Savage Bloomsoil on canvas, 24 x 36 inches

This body of work is informed by the history of science, in particular how humans classify information about the natural world. It also references painting as an activity through time, with a rich parallel history of explaining our perceptions, yet also our ideas and projections of that which we see.

Sarah Gutwirthwww.sarahgutwirth.comNew Concord, [email protected]

77 78

The Floating World - Floating World Seriesoil on canvas, 72 x 60 inches

Have an Ice Day - Floating World Seriesoil on canvas, 72 x 60 inches

The Floating World series was inspired by the everyday tsunami of plastic trash found on Pacific Northwest beaches. The pleasure-seeking aspect of Ukiyo-e (The Floating World) from Edo-Period Japan merges with visions of current-day Fukushima tsunami debris, in my wry painted metaphors for humankind’s love affair with shiny seductive plastics.

Karen Hackenbergwww.karenhackenberg.comSeattle, WA

GALLERY AFFILIATIONTreason Gallery, Seattle, WA

79 80

Development Arena (Recreation Area)mixed media, 16 x 20 inches

Development Arena (Black Box #1)mixed media, 16 x 20 inches

A Model for Asylum deals with two sociological concerns. The first is the impact of brutalist European modernist architecture that was developed within the early 1960s. The second is the migratory path of asylum seekers or refugees who form part of the current population of residents within these housing developments.

Andrew HairstansMontgomery, [email protected] / 334 262 3420

81 82

Tonal Towerearthenware with underglaze and majolica, 18 x 8 x 8 inches

Everyone Wore Khakisolar plate intaglio on paper, 16 x 16 inches

Using humor and metaphor I visually describe the vagaries and challenges of being human. I work quickly and with a sense of urgency. When I draw onto a twodimensional surface or scratch into clay, I’m trying to make sense of the world, onefigure at a time.

Mia Haltonwww.miahalton.comBaltimore, MD

83 84

Fukushima: My Master, My Saviorcold wax medium and mixed media on board, 24 x 24 inches

Estehot and cold wax and mixed media on board, 24 x 24 inches

I now work exclusively in cold wax medium and hot beeswax, often collaging it with oil sticks, pastels, found objects, beads, foil, papers and more. Using stencils, heat guns, torches and carving tools, I explore wax’s ability to reveal, obscure, preserve, and layer in infinite combinations.

Ritch Hannawww.ritchhanna.comIndianapolis, [email protected]

85 86

Crossing Overacrylic on transparent vinyl, 30 x 58 x 2 inches

Hasche-Vasquez plays with windows as metaphors throughout his artwork. He uses clear vinyl on stretcher bars in the traditional shape of a painting canvas to conceptually and physically role-play as window emphasizing the similar attributes, such as transparency, shape, clarity, edge, illusionary view, perspective, color, texture, and vibrancy.

Nils Hasche-Vasquezwww.nilshasche.comBrooklyn, [email protected] / 917 399 8254

87 88

Pendingoil on panel, 36 x 24 inches

To me a painting should look like a painting. Whether it’s an object or figure in the work, I’m trying to make the viewer “feel” the subject. I’m interested in the physical qualities of paint along with exploring space with line and texture.

Daren HenrySt. Paul, [email protected] / 612 251 7914

Passages Xmixed media, pulp, bark, and acrylic on canvas, 32 x 28 inches

In Passages I use the color white to suggest purity and simplicity, and to act as a unifying field for deliberately juxtaposed disparate images. The forms and exaggerations of color choices are metaphors for a search, with clues to content andinterpretation, representing different layers of life.

Sirarpi Heghinian-Walzerwww.swalzer.comLexington, [email protected] / 781 307 7306

GALLERY AFFILIATIONSGallery Z, Providence, RIGallery 263, Cambridge, MAMovimiento Gallery, Boston, MACazarti Gallery, Berlin, Germany

89 90

Hintacrylic and thread on canvas, 48 x 60 inches

Jiang’s paintings mingle Western and Eastern elements, focusing on acrylic in a linear fashion. In Hint, allusions to Chinese calligraphy connect with a subtle use of mixed media, resulting in a work that is both historical and immediate. She is a featured artist in NUE Magazine (2015).

Zelene Jiangwww.zelenejiang.comChicago, [email protected]

James Earl Ray as Judas Versus Martin Luther King Jr. As Messiahoil on board, 48 x 72 inches

The Judas-Messiah Complex Collection was created because of my quest in God. Throughout history, some individuals embody the spirit of Jesus Christ. There are others who fit the Judas profile. James Earl Ray Versus Martin Luther Jr. Booth Versus Lincoln. Godse Versus Ghandi and Oswald versus President JFK.

Wilfredo Argueta Hernandezwww.saatchiart.com/willarguetaTampa, [email protected] / 813 390 4838

91 92

Silver Run Falls, NCmixed media, 24 x 24 inches

The primary intention is to utilize the basic elements of visual language to create maximum visual impact, beckoning the viewers into an enormous space of color, line and light. Concepts of time, space, concentration, and the meditative energies of motion are expressed in this work.

Sand T Kallochwww.sandtworks.comMalden, [email protected]

Red Babyoil on canvas, 24 x 21 inches

Sarah Best Johnson will receive her MFA in painting from the University of Memphis in the spring of 2016. Johnson is a portrait artist that creates drawings and paintings inspired by images from obstetrics books, and sculptures that she creates from second-hand dolls.

Sarah Best Johnsonwww.sarahbestjohnson.comMemphis, [email protected]

93 94

Hagia Sophiaink and acrylic on paper, 55 x 40 inches

St. Pauls Cathedralink and acrylic on paper, 50 x 39.5 inches

Strip away all thoughts and meaning. Feel the tension between lines and search for what it means to exist there. Extend these searches into spaces designed to instill meaning and wonder whether they can exist together as objects expressing both, neither, something else, or nothing at all.

Mison Kimwww.misonkim.comGreenville, NY

GALLERY AFFILIATIONSDavid McCune International Art Gallery,Fayetteville, NCTheo Ganz Studio, Beacon, NY

95 96

Elixir Courtesy Sam Himmelrich Collectionmixed media, 70 x 40 inches

Cardboard Factory Courtesy Robert Fontaine Gallerymixed medium, 37 x 62 x 3 inches

My palette is unlimited. I utilize my photography and materials that enhance aesthetically, symbolically, and conceptually. I strive to engage the viewer into a visual dialogue that speaks from the alphabet of the collective unconscious The artwork conjures up a connection thus centering them, if only for a moment.

K. Kissikwww.kathy-vamb.format.comMiami, [email protected] / 786 282 9107

GALLERY AFFILIATIONSAlpha Gallery, Boston, MAElaine Fleck Gallery, Toronto, CanadaLawrence Fine Art, East Hampton, NYRobert Fontaine Gallery, Miami, FL

97 98

2015 – No. 2ink on canvas, 48 x 36 inches

2015 – No. 4graphite on canvas, 30 x 40 inches

Working with a predetermined group of hand-cut stencils and limiting both forms and colors, I’m confronted with a prolonged series of improvisational decisions. While executing these decisions I’m seeking rhythmic and spatial harmonies, balance, and tonal dissonances, much like a performing jazz musician, but in very slow motion.

Robert Klewitzwww.klewitzstudio.comWoodland Hills, [email protected]

99 100

Hotel Lobbyassorted punched paper hand-stitched together, 33.5 x 28.5 inches

Chargehand embroidery, latex paint, and spray paint on rag paper, 8.25 x 8.25 inches

Every stitch made, knot tied, or circle punched physically marks the passing of time. Using an array of mixed media techniques, including hand embroidery, painting, and methods of probability, Kozma creates work that shows this growth and transition.

Kelly Kozmawww.kellykozma.comPhiladelphia, [email protected]

GALLERY AFFILIATIONParadigm Gallery + Studio, Philadelphia, PA

101 102

Unveiloil, egg, and sanding processes on panel, 60 x 48 inches

Inventoryoil, egg, and sanding processes on panel, 48 x 36 inches

I create images that cross spatial binaries, such as intimate bed spaces that double as aerial landscapes. I look to surfaces that preserve absence; a tangible kind of presence that engages memory, participation, and favors remembering. I seek action in paint as tension filled expressions of place.

Emily LaCourwww.emilylacour.comBaton Rouge, [email protected] / 281 798 2012

GALLERY AFFILIATIONContemporain Bankston/Adams Gallery, Baton Rouge, LA

103 104

Swath 2mixed media on paper, 8.25 x 10 inches

Swath 1mixed media on paper, 7.5 x 12.75 inches

My drawings borrow the grammar of botany, garden architecture, and agriculture to create artworks that inspire saudade, a nostalgic longing to be near again to someone or something that has become distant or has been loved and then lost.

Lauren LakeBirmingham, AL

105 106

Acid Massphotography, 20 x 30 inches

My photographs portray a series of contorted body parts, juxtaposed with ordinary yet highly stylized props. Using color as my narrative, I take the viewer on an eerie trip through staged, fairytale crime scenes. My ritualistic images draw from my own childhood memories, exploring themes of isolation, detachment and self-identity.

Joanne Leahwww.joanneleah.comBrooklyn, [email protected] / 917 499 3001

GALLERY AFFILIATIONKim Foster Gallery, New York, NY

Mariannegraphite on 100lb canson bristol board paper, 11 x 8.5 inches

I find Illustrating coins and commemorative Medals Challenging due to the Mechanics, layout and detail that each requires. My current works include graphite renderings of Mint and Circulated coins from around the world along with various commemorative medals as well as Celebrity portrait work.

Fred Larucciwww.fred-larucci.artistwebsites.comWoodstock, [email protected] / 815 701 7533

GALLERY AFFILIATIONSArt Space Gallery, Elgin, ILThe Night Gallery, Woodstock, IL

107 108

My Heavy Heartcharcoal and graphite on paper, 84 x 96 inches

Just as geologic time incorporates millions of years of subtle changes, an immediate rupture in the earth’s crust can drastically alter the skin of our landscapes. By reimagining concepts such as erosion and plate tectonics through drawing, I unearth layers of my heart, which feels dislocated at the moment.

Daniel C. Levinsonwww.danlevinson.netBrooklyn, [email protected]

Untitled 2 (Group 2)acrylic and oil on canvas, 60 x 48 inches

I make paintings that celebrate impermanence and imperfection, fueled by an attitude open to impulses, additions, and edits. I play with self-referential brushstrokes, resulting in exuberant and awkward paintings that document decisions, convey a sense of time, and respond to the current availability of information with casual and optimistic amusement.

Laura Lemnawww.lauralemna.comSouth Bend, [email protected]

109 110

A Block (CCII)watercolor and toner transfer on paper, 45 x 45 inches

A Brick (CXII)watercolor and toner transfer on paper, 15 x 20 inches

A brick is a brick is a brick is a brick.

Rendering a series of bricks plays with notions of semantic association and semantic fatigue through an object that is seemingly ever-present and yet has unconsidered poetic significance.

A brick is a vessel, a bathtub, a coffin, a monolith, etc.

J. Myszka Lewiswww.myszkalewis.comMadison, [email protected]

111 112

Won’t Get Fooled Againoil on panel, 6 x 6 inches

What we see depends on how we view the world, and how it returns our gaze. My paintings use the tension of that moment to show us the worlds, and the visions, we might otherwise miss.

Rick Liederwww.silentburn.comDetroit, [email protected]

An Apple in Central Park IIIoil on canvas, 24 x 24 inches

My purpose is to build many-faceted structures to explore the boundary between INTENSITY & SUBTLETY: How can pulsating metamorphoses suggest the infinity of variables in real world alongside subtle interactions between visual elements? The searching is based on the structure of subject-matter and walking the tightrope between visual dynamics and pandemonium.

Fei Liwww.feili.usNew York, [email protected] / 408 616 9532

113 114

Searching the Landscape of the Unknownacrylic on linen, 14 x 14 inches

...and yet, things continue to unfoldacrylic on duralar, 48 x 300 x 36 inches

I make artwork that contemplates how individual and collective experiences are constructed through our perceptions of what is known and unknown, familiar and unfamiliar. I seek to express the sense of wonder and uncertainty that I feel when reflecting on the elusive and fluid nature of reality.

Erika Lizéewww.erikalizee.comWest Hills, [email protected]

115 116

Garden in the Skyacrylic on canvas, 48 x 36 inches

Let Your Freak Flag Flyacrylic on canvas, 36 x 36 inches

This series merges our fictional and literal worlds through a joyful discovery. Through this exploration I can create landscapes and imaginary spaces using color and shape. I’m interested in discovering unique spaces and rhythms.

Kárin Lowney-Seedwww.twobluechairs.comSparta, [email protected] / 973 534 0456

GALLERY AFFILIATIONSJersey Artist Registry, NJZatista, Yardley, PA U Gallery, San Francisco, CAArt Finder, London, England

117 118

Tourist Destinationacrylic and ink on tarpaper, 48 x 36 inches

Harlan Mack places aspects of his own experience and understanding into a fictional world. This liminal space introduces an epic narrative about hybrid personal identities, modes of labor, and death.

Harlan Mackwww.harlanmack.comJohnson, [email protected] / 802 793 9110

GALLERY AFFILIATIONVermont Studio Center, Johnson, VT

Untitledgouache and graphite on paper, 40 x 22 inches

My work uses botanicals as both metaphor and as a study of their structure and space. Perspectives are in transition and are often left in-between states of being. Color is used in small amounts to play with forms and texture.

Ashley Machacekwww.ashleymachacek.comDenver, [email protected]

119 120

28151S1oil, dye, petroleum, glycerin, mixed, acetate sheet on panel, 40 x 40 inches

28155S1oil, dye, petroleum, glycerin, mixed, and acetate sheet on panel, 40 x 40 inches

Experimenting with processes of chance and visual abstraction, I create moments by means within rules and set parameters, which formalize the coincidental and emphasize the conscious process of composition in the seemingly random works. The results deconstruct meaning and interpretation becomes multifaceted.

Parker Maniswww.parkermanis.comBrooklyn, [email protected]

121 122

The House of The Colorsoil on canvas, 84 x 84 inches

The Farmer’s Daugtheroil on canvas, 80 x 96 inches

My process consists of appropriating images whose authorship and authority become less important (ordinary, everyday) via the web or print media, atomizing the citation, a process made evident through a procedure of pictorial distancing. It is a distortion of a distortion, until the original reference is totally lost.

Armando Marinowww.armandomarino.comNew York, [email protected]

GALLERY AFFILIATIONS532 Thomas Jaeckel, New York, NYChristoffer Egelund Gallery, Copenhagen, DenmarkFernando Pradilla Gallery, Madrid, Spain

123 124

Silencemixed media and acrylic on canvas, 20 x 20 inches

Shardmixed media, acrylic, and plexiglas, 9 x 16 inches

Robust visuals in common surroundings inspire my work. Using original or vintage photographic images, I deconstruct the originals as I rip, paint, transfer, scrape, layer, smash, reposition, and collage, creating personal landscapes. Each idea has its own dialogue with identifiable images peeking through an abstract surface.

Elyse Martinwww.elysemartin.comNorthbrook, [email protected] / 847 498 5383

125 126

Robertacarpet padding, novagel, house paint, and tape, 80 x 75 inches

Jenifercarpet padding, novagel, house paint, and tape, 60 x 60 inches

I am interested in examining places that evoke an emotional and visceral reaction and engender safety or danger. My work explores the values and distinctions between the relationships we form within spaces and the contrast between the temporary and permanent connections we attach to places, objects and people.

Morgan McAllisterwww.morganmcallister.comSanta Barbara, [email protected]

127 128

First & 14thaerosol paint, acrylic paint, string, hardware, mesh tape, joint compound, wood filler, and wood frame, 54 x 34 x 1.5 inches

171 Canal Streetaerosol paint, acrylic paint, string, hardware, mesh tape, joint compound, wood filler, and wood frame, 72 x 48 x 1.5 inches

My attention is on the deconstruction of the canvas and its framework, the process of handling the materials, and letting the color happen. The relationship of the stretcher angles, their interaction with the wall behind, the tension of the canvas creating a surface to carry the paint; are all considered.

Tom McFarlandwww.tom-mcfarland.comNew York, [email protected]

129 130

Sequence of Beingmanipulated photography, 24 x 18 inches

My Heart Only Ever Had One Thoughtmanipulated photography, 15 x 15 inches

There is no single occurance or incident that defines us but an unconsious combination that reinterprets all we’ve gathered. Similarly, my work is created through thoughtful and extensive juxtapositions of seemingly random imagery. None of them entirely exposed but interwoven fragments composed to create unique and beautiful beings.

Bobbi McMurrywww.bobbi-mcmurry.squarespace.comPhoenix, [email protected] / 602 653 6739

131 132

HotHeadcast iron, 14 x 8.5 x 8 inches

Iron Tribe Performance Pour; Las Vegas, NM 3/5/15 (casting of HotHead)digital photographic documentation, dimensions variable

HotHead was created by performance casting molten iron into a reactionary mold, in this case a naturally hollowed log. The intent behind performance casting is to create an immediate visual spectacle similar to that of fireworks. The resulting sculpture is somewhat unpredictable and requires relinquishing some control over the process.

Christopher MeyerVermillion, [email protected]

133 134

I’m Your Green Honeycreeper, Babyhand-sewn human hair, watercolor and thread on canvas, 25 x 31 inches

One Bourbon, One Scotch, One Beerhand-sewn human hair, watercolor, and thread on canvas, 25 x 31 inches

These artworks, I Love You, Man: I Think This is the Beginning of a Beautiful Friendship, examine intimacy in heterosexual, same gender friendships through imagery derived from contemporary American cinema, television and art history. Hand-sewn human hair with accents of watercolor and thread are used to create these works.

Rosemary Meza-DesPlaswww.rosemarymeza.comDallas, [email protected] / 972 358 1670

GALLERY AFFILIATIONARC Gallery, Chicago, IL

135 136

Polaroidesoil on canvas, 48 x 48 inches

Rabbit Maskoil on canvas, 18 x 18 inches

My paintings are an examination of common objects that are metaphors for identity, self-preservation, and mortality. The personal subjectivity of this work are not a grand statements of typical romantic artwork, but more closely related to Genre type statements of the mundane used as symbols for grand ideas.

Pj Millswww.pjmills.infoMiami, [email protected] / 716 698 9319

137 138

Swellgraphite on paper, 54 x 180 inches

My work explores systems and the drawing process. This installation, Swell, is comprised of over 30 modular drawings which are organized into a large mass. Each drawing is made, cut from the paper and then assembled into a free-standing installation where both sides of the work are visible.

Zach Morywww.zachmory.comGlen Ellyn, IL

Queen Mother Helen Mooreoil on copper, 36 x 24 inches

Mario Moore is a Detroit native, currently residing in Brooklyn. Moore received a BFA from CCS and an MFA in Painting from Yale. He has shown internationally, which include the N’Namdi Center and the Charles H. Wright Museum. Moore was the recent recipient of the artist residency at Knox College.

Mario Moorewww.mariomoorestudio.comBrooklyn, [email protected] / 313 575 1651

139 140

Heron Nestacrylic on canvas, 60 x 60 inches

Raven on a Wireacrylic on canvas, 30 x 36 inches

In this world reeling with complexity, I create a realm of magic and mystery. My paintings emerge from childhood experiences throughout the western hemisphere. I feel a deep connection with birds, animals and landscapes, walking a thin line between science and fantasy into a more connected world.

Liza Myerswww.lizamyers.comSanta Fe, [email protected] / 802 236 8062

GALLERY AFFILIATIONSTrue West Gallery, Santa Fe, NMGallery in the Woods, Brattleboro, VTBrandon Artists Guild, Brandon, VT

141 142

Waiting Room (installation view)inkjet, oil, acrylic, ink, xerox, paper on multiple unstretched canvases, wood, door hardware, and light with motion-sensor, dimensions variable

Born from a background in figure drawing, my work considers the definitions and uses of representation. My meandering studio process mixes drawing, painting, photography, sculpture, digital manipulation, and CGI renderings. Individual pieces rarely stand independently and instead act as single elements within larger networks of art objects.

Ken Nurenbergwww.kennurenberg.comColumbus, [email protected]

Kyotowatercolor, 21 x 21 inches

My primary interest is capturing fleeting light. I want to involve the viewer in discovering color and light as I perceive it. Watercolor lends itself perfectly to this exploration. By glazing and layering colors I create a dimensional interpretation of light. My paintings are in both private and corporate collections.

Marlies Merk Najakawww.watercolorart.comNew York, NY

143 144

Lion Dancersoil on board, 6 x 6 inches

My paintings portray familiar subjects in a contemporary style. Many of these works suggest an Asian influence, which may come from the subject itself, or from the composition and use of color and symbol. I want to inspire viewers to appreciate the vitality in the ordinary objects that surround us.

Patricia Ojiwww.patriciaoji.comFairfax, [email protected]

Life of the Partypapier-mâché, 108 x 108 x 108 inches

This installation contextualizes social anxiety in the form of deflating balloons. The balloons, commonly seen at parties, are deflating to symbolize how draining parties are for people who suffer from this disorder. Some balloons are decorated with phrases said by people who do not understand the distorted thoughts anxiety causes.

Maura Oateswww.mauracaitlyn.weebly.comOld Tappan, [email protected]

145 146

Holorectanglefiberglass, wood, and steel structure, 157 x 108 inches

Unfolded Toroidfiberglass, wood, and steel structure, 138 x 90.5 inches

Her deep journey in the Nicaraguan visual arts became an axis for the art of women in Central America. Her process of affirming herself in the early seventies as an intellectual artist beyond decoration and technical maneuvers, revealed her talent to create volumetric symmetries between aboriginal cultures and contemporary science.

Ilse Ortiz de Manzanareswww.ilseortizmanzanares.comManagua, [email protected] / +00 505 2276 1134

GALLERY AFFILIATIONSThe Americas Collection, Miami, FLFundación Rozas Botrán, GuatemalaArtRom, Rome, ItalyMaria Elena Kravetz Gallery, Argentina

147 148

Conflictoil on canvas, 22 x 20 inches

Growth Structurecollage and pencil, 8 x 10 inches

Biomorphic shapes, colors, patterns and systems reflecting the chaos, complexity, serenity and vastness of the world, the universe and all living things at all visual levels, energizes my creative spirit. My work is usually rendered in a very linear, symbolic and surrealistic manner reflecting my unique personal vision.

Ron Ownbeywww.ronownbeyartist.comSouth Pasadena, [email protected] / 626 403 1705

149 150

The Tree Spiritacrylic on canvas, 36 x 18 inches

I believe the most inspired work comes from a place of passion. If you love what you do, it will shine forth in your creations. My paintings often carry the message of connection among all living things as well as significant interdependence.

Boglarka Pataki-Barothiwww.bogistudio.comSan Anselmo, [email protected]

Tatianaacrylic on canvas, 12 x 12 inches

Tatiana is artwork from new series Memories of Hillwood (The Hillwood Museum in Washington, D.C.) The artwork was inspired by orchid flower I saw in the Hillwood’s Greenhouse. I named it after Tatiana who headed Red Cross committees during World War I and was the second daughter of Tsar Nicholas II.

Natalya Borisovna Parriswww.linkedin.com/pub/natalya-parris/18/a1b/820Washington, [email protected] / 301 602 1758

151 152

Wabi-Sabi 8paper on wood panel, 60 x 60 inches

Wabi-Sabi 1paper on wood panel, 48 x 48 inches

This body of work is an examination of letting go — of attitudes, old beliefs, dreams and emotions. A clearing of all things unnecessary in order to strip bare to the essential. Within this context, the emptiness is full, and holds potential for all unfolding moments.

Silvia Polotowww.poloto.comSan Francisco, [email protected] / 415 305 7470

GALLERY AFFILIATIONSSFMOMA Artists Gallery, San Francisco, CAJulie Nester Gallery, Park City, UTButters Gallery, Portland, ORAberson Exhibits, Tulsa, OK

153 154

Daybreak IIacrylics, charcoal, and oil sticks, 60 x 36 x 2 inches

Daybreak Iacrylics, charcoal, and oil sticks, 60 x 36 x 2 inches

These are two of three works created as a study depicting the first light of daybreak, chronicling the movement of the sun.

Candace Sweet Primackwww.candaceprimack.comPortland, [email protected] / 503 348 9458

GALLERY AFFILIATIONSElizabeth Gordon Gallery, Santa Barbara, CAJules Place, Boston, MAArt Design Consultants, Cincinnati, OHCaplan Art Designs, Portland, OR

155 156

Heron and Monarchsoil on canvas, 36 x 36 inches

Melodee Martin Ramirez, MFAAs a professor of art history and painting, I use symbols and techniques from cultures past to present to depict my experiences of beauty and mystery in the natural realm: water, woods, and the transcendent symbolism of birds in flight are created with luminous oil glazes.

Melodee Martin Ramirezwww.melodeemartinramirez.wix.com/paintingFlower Mound, [email protected]

GALLERY AFFILIATIONSXanadu Fine Art Gallery, Scottsdale, AZMarie Park Studio, Dallas, TX

Out the Window at Westbourne Terracecollage, 13 x 10 inches

I have always been fascinated with the mystery of physical movement. My 2D cut paper collages are created from preprinted papers; their original intent repurposed as my “paint” tool. The resulting artworks are an attempt to capture and interpret what movements in space might look like to the naked eye.

Lauri Rakoff-ChertokBeverly, [email protected]

157 158

Red State, Blue Stateoil and acrylic on canvas, 42 x 42 inches

Torrid Interval, Fallen Angel Series #7oil on canvas, 36 x 36 inches

My process begins as intuitive and instinctive but becomes more intentional. My art practice includes chance, letting go, knowing, not knowing, losing control and getting it back. My interest is the balance point between the raw and the primitive, and the refined. I seek the counterpoise between chaos and discipline.

GG Reidwww.ggreid.comDallas, [email protected] / 203 470 3997

159 160

Confirmation Biasoil on canvas, 60 x 72 inches

My current body of work is an exploration of belief systems, and culture clash in America. I explore the impact of radical differences in political and religious ideologies as well as issues that are affected by the intangible societal barriers we put in place for ourselves.

Izik Sahagúnwww.iziksahagun.comNapa, [email protected] / 707 266 4506

Women’s Work – 07fabric fused to fabric, 30 x 40 inches

Clothing has direct implications of our inner nature. This language of patterns and colors is one way we speak to the world and the vocabulary is infinite. Bring these materials together in this form allows the viewer to discover new ways of conversing with their tactile and emotive properties.

Dana Robinsonwww.alphabetparty.comGainesville, [email protected] / 352 415 5686

GALLERY AFFILIATION/protocol/, Gainesville, FL

161 162

UNTITLEDoil on canvas, 60 x 72 inches

In the process of executing this work, I “de-painted” the original composition. There are four standing figures in the underpainting. I eliminated the original content as a challenge to my long established comfort in being a figure painter. If painting is to reflect the struggle in living this killed me.

Constance Edwards Scopelitiswww.constanceart.comIndianapolis, [email protected] / 317 414 1925

GALLERY AFFILIATIONLong Sharp Gallery, Indianapolis, IN

Mystic Havenoil on canvas, 28 x 32 inches

My landscapes are inspired by walks on a nature trail near my home in western Georgia. From twisting and turning vines to natural objects morphing into new forms, playfully observing nature allows me to explore color and reexamine the process of painting.

Clint Sampleswww.clintsamples.comCarrollton, [email protected]

163 164

Transfigure 9.oil on canvas, 72 x 60 inches

Transfigure 1.oil on canvas, 31 x 24 inches

These figurative paintings arise out of a process that sets the subject matter and the paint on a collision course. Painting transmits a psychic reality and elicits themes of boundary dissolution: between material and spirit, the body and space; between the violent and the ecstatic, the concentrated and the diluted.

Ben Seamonswww.benseamons.comKnoxville, [email protected]

165 166

Confetti Curtainconfetti, acrylic, and vinyl, 132 x 53.25 x 26 inches

Crystalline Paneltinsel, scotch tape, and mirrored plexiglass, 96 x 48 x 12 inches

Seykora’s work mimics industrial manufacturing, executed through her labor-intensive process. Closer investigation reveals the slight irregularities of her handwork. Upon this discovery the audience is asked to reconcile their initial assumptions with the reality before them, calling into question prescribed values of material and the physically engaged processes of making.

Angie Seykorawww.angieseykora.comOmaha, [email protected]

GALLERY AFFILIATIONArt-St-Urban, St. Urban, Lucerne, Switzerland

167 168

141oil and ink on canvas, 126 x 144 (quad-diptych) inches

Blending contemporary with classical approaches to art and spatial relationships, 141 explores the perception of place and color while investigating the intimacy found within shared public spaces.

Marna Shopoffwww.marnashopoff.comIndianapolis, IN

GALLERY AFFILIATIONJonathan Ferrara Gallery, New Orleans, LA

Youth Nightoil on canvas, 48 x 42 inches

My work focuses on youth identity, group relations, and the spirit of the outsider. Narrative scenes set against a wild landscape explore the experiences those go through to connect, either internally or externally. Scenes are heightened to reflect the balance of reality in which this process happens.

Mike Shatzwww.mikeshatz.comBrooklyn, [email protected] / 917 929 2213

169 170

From Here to Where We Startedoil on linen, 72 x 48 inches

Completely one-sided.

If You Don’t, I Willoil on canvas, 60 x 60 inches

Shea Slemmerwww.sheaslemmer.comSavannah, [email protected]

171 172

Western Vistahigh density pigment on birch, 46 x 46 inches

Monarchshigh density pigment on birch, 46 x 46 inches

Inspired by the landscape and images of the earth’s delicate surface, paint is applied with brushes, blades, water and jets of air, mimicking geological forces. I feel remarkably connected to the landscape and free to explore the fluid relationships of paint, color, and the shear joy of the process.

Mark Stephen Smithwww.marksmithstudioart.comArgyle, [email protected] / 940 391 2299

GALLERY AFFILIATIONCraighead-Green Gallery, Dallas, TX

173 174

Self Portrait: study of movement of head #2oil on panel, 48 x 36 inches

Self Portrait: study of movement of headoil on canvas, 40 x 30 inches

In movement there is life. For now, my intentions as a painter are to record the movements of the human figure unveiling the beauty in its distortions as it moves through space.

Andrew Spanglerwww.andrew-spangler.comChicago, [email protected] / 630 913 2727

GALLERY AFFILIATIONWalker Art Gallery, Kearney, NE

175 176

Canyon Rhythms XVIIacrylic on canvas, 30 x 40 inches

Canyon Rhythms Vacrylic on canvas, 30 x 40 inches

Born in Vermont, Stancell grew up in rural New England. Her painting is inspired by the natural world and an interest in exploring color and texture. Works evolve over time. There is a rhythm of color masses and brush strokes that may be discerned in Stancell’s paintings reflecting favorite music.

Connie Newton Stancellwww.connienewtonstancell.comGreenwich, [email protected]

177 178

We Interrupt This Programoil on canvas, 48 x 64.5 x 1.5 inches

My paintings are embellishments of personal experiences with family, as I complete my holes in the awareness of the loss of their stories. By putting my characters in these normal settings with such unusual circumstances, I create my own stories, both familiar and fantastic at the same time.

Kerra Lee Taylorwww.kerrataylor.comCarbondale, [email protected]

Stirring Up Ghostsencaustic on panel, 24 x 24 inches

My paintings are windows into worlds not quite ours but still shrouded with familiarity, so you can imagine yourself in it experiencing the uncertainty which that might bring. With beauty comes darkness. My work is a reflection of my struggles to find inner peace with the dark and the light.

Leslie Stonerwww.lesliestoner.comSeattle, [email protected]

GALLERY AFFILIATIONSAbmeyer+Wood Fine Art, Seattle, WAFriesen Gallery, Ketchum, ID

179 180

Chrysalis No. 13wax crayon, acrylic inks, oil pastel, graphite, and custom glazes on canvas, 48 x 48 inches

Chrysalis No. 5wax crayon, acrylic inks, oil pastel, graphite, and custom glazes on birch, 36 x 80 inches

I begin my mornings with meditation and then to my studio to paint. The Chrysalis Series is about a new stage of being or growth, a transformation. The paintings begin with an automatic drawing in graphite, then translucent layers, followed by more mark making, and more layers. Visual poetry.

Cat Teslawww.artbycat.comAtlanta, [email protected] / 770 715 3573

GALLERY AFFILIATIONSArt on Centre, Fernandino Beach, FLChicago Art Source, Chicago, ILMuse Gallery, Hilton Head, SCStellers Gallery, Ponte Vedra, FL

181 182

Alien Conversation #1oil on canvas, 70 x 96 inches

Orange and red palettes are consistent throughout my work with figurative overtones, and oval shapes representing the egg or breast as the soul of life. My current paintings are inspired by recurring dreams that I often have about traveling into the endless dimension of space.

Terry Thompsonwww.thompsonstreet.comBaltimore, [email protected] / 410 627 0090

GALLERY AFFILIATIONSGalerie Francoise, Baltimore, MDAlex Gallery Dupont Circle, Washington, DC

Studio View, South WestLED monitors, mixed media, and oil on canvas, 9,600 cubic feet

Paul Theriault lives and works in New Haven Connecticut. His practice lies primarily within the idiom of abstraction but produced through the medium of computers and digital technology. Theriault has been exploring the possibilities of new media within the context of artistic production for the past two decades.

Paul J. Theriaultwww.paultheriault.netNew Haven, [email protected]

183 184

8.6.07 (after Watteau)commercial enamel on aluminum, 80 x 60 inches

Super Collider v.8commercial enamel on aluminum, 45 x 60 inches

My ideas about art-making express a combination of concepts: the material nature of painting and how the viewer perceives its surface, painting’s history, abstraction, memory, and technology. The paintings play upon the idea of revealing the unseen and the relationship between observation, representation, and interpretation.

Timothy Tompkinswww.timothytompkins.comLos Angeles, [email protected] / 562 212 9320

185 186

Cupiditas: Desireencaustic, shellac, and ink on panel, 18 x 14 inches

Specimen Studyencaustic, shellac, and ink on panel, 12 x 12 inches

Fiery blooms sprawl across the surface of Alicia Tormey’s botanicals. Alternating between bees’s wax, shellac and ink, thin layers of color are painstakingly applied and fused together with a blowtorch. The final results take on the appearance of explosive untamed flora. Landscapes and sculpted specimens are included in this series.

Alicia Tormeywww.aliciatormey.comSeattle, [email protected]

GALLERY AFFILIATIONSChase Young Gallery, Boston, MAHall | Spassov Gallery, Bellevue, WASeattle Art Museum SAM Gallery, Seattle, WA

187 188

Greeneroil, acrylic, and gold leaf on canvas, 42 x 34.5 inches

Romantic Notionsoil, acrylic, and spray paint on canvas, 14 x 11 inches

Rebecca Wallace received her MFA in Painting and Drawing from the California College of the Arts in San Francisco. Her work explores ideas of personal longing and desire; and examines traditional romantic motifs using the concept of fragmentation as an entry point of investigation. She currently resides in Northern California.

Rebecca Wallacewww.rebeccawallace.netChico, CA

189 190

Untitledlithograph, 65 x 26 inches

Michele Wiesen is currently working toward her BFA in Graphic Design at the Tyler School of Art. She is a passionate printmaker and designer whose artwork often focuses on the intricacies of the female form, and aims to expose the struggles women face in this patriarchal world.

Michele Wiesenwww.michelewiesen.comPhiladelphia, [email protected] / 908 447 8727

embeddedoil on panel, 20 x 20 inches

My work references both Early Renaissance paintings and digital technology through highly saturated hybrids of painting styles. The religious narratives combined with digital symbols and artifacts of digital processes suggest the spiritual undercurrents surrounding digital technology in its potential for enlightenment, transcendence, and evoking a sense of the infinite.

Sarah Westwww.thesarahwest.comWashington, [email protected]

191 192

Hybrid Animal (Squirlat Dragon)ink on bristol board, 14 x 11 inches

A.W.O.L. (Art WithOut Limits)adobe photoshop, 11 x 14 inches

My name is Brandon Vaughn Williams. I am an artist, an illustrator and an art educator. I like to compose works from imagination, as well as from life. One of the things I like the most about the visual arts is its ability to communicate and tell stories simply through imagery.

Brandon Vaughn Williamswww.bvwillustrations.weebly.comColumbia, [email protected] / 912 655 9749

193 194

Trumpetershand cut photograph, 30 x 22 inches

Scot J. Wittman uses place and performance to comment on vanguard biotechnologies. Beside better technologies, Wittman focuses on emotions: desires, arts, abilities, attraction. Based in Philadelphia, he heads a photography program in Italy during the summer and acts as Dean of the Arts at Rutgers Preparatory School in New Jersey.

Scot J. Wittmanwww.mapographer.comPhiladelphia, [email protected]

GALLERY AFFILIATIONFresh Paint, Los Angeles, CA

Residuegraphite on paper, 7 x 9.5 inches

Kathryn Wingard is an artist residing in Milwaukee. In 2008 she graduated from Massachusetts College of Art and Design with a BFA in fine arts ceramics major. Then, she went on to continue studying fine arts with the graduate department of ceramics at the University of Colorado at Boulder. Kathryn has shown inMassachusetts, Colorado, and Illinois, as well as internationally.

Kathryn Wingardwww.kathrynwingard.comMilwaukee, [email protected]

195 196

The Seeds Are Sownacrylic, 19 x 25 inches

Life Recreates Itselfacrylic, 19 x 25 inches

Color carries an emotional impact, eliciting feelings about reality. Sometimes my colors are inspired by what I see; sometimes color quickens my imagination. It binds together all the work I do, declaring its own reality.

C.C. Wolfwww.ccwolfstudio.comPawtucket, [email protected] / 401 725 7391

197 198

Swimming UpstreamAcrylic on panels, door and bamboo, 78 x 99 inches

Devil’s Swampacrylic on fence, bamboo, tarps, rope, and fabrics, 72 x 96 inches

Michael Wyshock’s artworks have been supported by a Pollock Krasner Award, Ringling Tower Award, Vermont Studio Center Fellowship, Delaware Division of the Arts Artist Award, Louisiana Arts Council Award, University of Central Arkansas Research Award, State University of New York Research Award and the Florida State University Distinguished Alumni Award.

Michael Wyshockwww.wyshock.comSarasota, FL

GALLERY AFFILIATIONSAlfstad& Contemporary, Sarasota, FLLu Magnus, New York, NY

199 200

Summer Sweetoil on canvas, 36 x 48 inches

Birth of Natureoil on canvas, 36 x 48 inches

I place an emphasis on natural and eloquent simplicity that dominates traditional Korean art forms. At the same time, my idiosyncratic approach and nod towards western formalism is also entirely modern in tone. Also, I create movement through conscious and deliberate color choices.

Ju Yunwww.saatchiart.com/jartstudio / www.jartstudio8.wix.com/ju-yunChantilly, [email protected]

201 202

Broadwayoils, 40 x 60 x 2 inches

NYC Delioils, 40 x 60 x 2 inches

Photos to me are important. I identify with the art movement of photorealism, and I feel that artistic developments will parallel progress in photography, optics and computers. Photos are also useful to me in many ways, not least because they can lend a clarity and dependability to my own work.

Harold D. Zabadywww.plusonegallery.com/artists/58-harold-zabadyCamp Hill, [email protected] / 717 839 3158

GALLERY AFFILIATIONPlus One Gallery, London, England

203 204

The Secret Life of Seeds Variation 3acrylic, spray paint, and resin on board, 40 x 30 inches

The Secret Life of Seeds Variation 1acrylic, spray paint, and resin on board, 40 x 30 inches

I am interested in color, shape and pattern as well as evolutionary traits that allow man and nature to propagate and thrive.

Laura Zeckwww.zincartdesign.comSeattle, [email protected] / 206 617 7378

GALLERY AFFILIATIONZinc Art + Design, Edmonds, WA

McAllister, Morgan, 124-125

McFarland, Tom, 126-127

McMurry, Bobbi, 128-129

Meyer, Christopher, 130-131

Meza-DesPlas, Rosemary, 132-133

Mills, Pj, 134-135

Moore, Mario, 136

Mory, Zach, 137

Myers, Liza, 138-139

Najaka, Marlies Merk, 140

Nurenberg, Ken, 141

Oates, Maura, 142

Oji, Patricia, 143

Ortiz de Manzanares, Ilse, 144-145

Ownbey, Ron, 146-147

Parris, Natalya Borisovna, 148

Pataki-Barothi, Boglarka, 149

Poloto, Silvia, 150-151

Primack, Candace Sweet, 152-153

Rakoff-Chertok, Lauri, 154

Ramirez, Melodee Martin, 155

Reid, GG, 156-157

Robinson, Dana, 158

Sahagún, Izik, 159

Samples, Clint, 160

Scopelitis, Constance Edwards, 161

Seamons, Ben, 162-163

Seykora, Angie, 164-165

Shatz, Mike, 166

Shopoff, Marna, 167

Slemmer, Shea, 168-169

Smith, Mark Stephen, 170-171

Spangler, Andrew, 172-173

Stancell, Connie Newton, 174-175

Stoner, Leslie, 176

Taylor, Kerra Lee, 177

Tesla, Cat, 178-179

Theriault, Paul J., 180

Thompson, Terry, 181

Tompkins, 182-183

Tormey, Alicia, 184-185

Wallace, Rebecca, 186-187

West, Sarah, 188

Wiesen, Michele, 189

Williams, Brandon Vaughn, 190-191

Wingard, Kathryn, 192

Wittman, Scot J., 193

Wolf, C.C., 194-195

Wyshock, Michael, 196-197

Yun, Ju, 198-199

Zabady, Harold D., 200-201

Zeck, Laura, 202-203

artist indexAaron, Patricia, 6

Abdelkereem, Rachel, 7

Ahmad, Sarah, 8-9

Alan, Josh, 10

Alvarez, Aneliz, 11

Armstrong, Misia, 12-13

Bania, Karina, 14-15

Baucom, Chrissy, 16

Bell, Carlisle, 17

Bentley, Nathan Clark, 18-19

Bernstein, Dianne, 20-21

Best, Laura Spalding, 22-23

Blackwell, Jonathan, 24-25

Boni, Miki, 26-27

Brennan, Michael, 28-29

Burwell, Eric, 30

Butski, Tricia, 31

Byrnes, Steve, 32

Casado, José Carlos, 33

Chaudhary, Asma, 34-35

Claffey, Debra, 36

Corlett, Anne, 37

Cui, Mingfei, 38-39

Daniel, Lisa, 40

Davis, Miles, 41

deClouet, Karen, 42-43

Dedlow, Kate Fire, 44-45

Delgado, Monica, 46-47

Dibble, Jean A., 48-49

Dikareva, Natasha, 50-51

Du, Zen, 52-53

Duong, Denise, 54-55

Duran, Christian, 56

Ellis, Cathy, 57

Falfan, Maura, 58

Franz NMWS GAEP, Ming, 59

Freeman, Lila, 60-61

Gelburd, Gail, 62-63

Gilchrist, Shelley, 64

Gingles, Mack, 65

Glasson, June, 66-67

Gordon, Brock, 68-69

Granzow, Gwen, 70-71

Grose, Barry, 72-73

Gutwirth, Sarah, 74-75

Hackenberg, Karen, 76-77

Hairstans, Andrew, 78-79

Halton, Mia, 80-81

Hanna, Ritch, 82-83

Hasche-Vasquez, Nils, 84-85

Heghinian-Walzer, Sirarpi, 86

Henry, Daren, 87

Hernandez, Wilfredo Argueta, 88

Jiang, Zelene, 89

Johnson, Sarah Best, 90

Kalloch, Sand T, 91

Kim, Mison, 92-93

Kissik, K., 94-95

Klewitz, Robert, 96-97

Kozma, Kelly, 98-99

LaCour, Emily, 100-101

Lake, Lauren, 102-103

Larucci, Fred, 104

Leah, Joanne, 105

Lemna, Laura, 106

Levinson, Daniel C., 107

Lewis, J. Myszka, 108-109

Li, Fei, 110

Lieder, Rick, 111

Lizée, Erika, 112-113

Lowney-Seed, Kárin, 114-115

Machacek, Ashley, 116

Mack, Harlan, 117

Manis, Parker, 118-119

Marino, Armando, 120-121

Martin, Elyse, 122-123

Visit us at www.newamericanpaintings.com to Subscribe.

40% Off Newsstand Price!

www.newamericanpaintings.com | Phone: 888.235.2783

Alex Cohen, Issue #113

All back issues available for $20 (includes shipping).

Please call 888 235 2783 x26 to place an order.



$15

studio visit magazine vol. 31

Documents