Studio Visit Magazine Vol. 31

volume thirty-one

volume thirty-one A Juried Selection of International Visual Artists.

Foreword

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.

volume 31 2015 $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.12 Back Cover: Kate Fire Dedlow, p.44 www.studiovisitmagazine.com

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 Zevitas Publisher

Studio Visit: Volume Thirty-One Mary M. Tinti, Ph.D., Curator, Fitchburg Art Museum, Fitchburg, MA

Patricia Aaron

Rachel Abdelkereem

www.patriciaaaron.com

www.rachelsra.rocks

Greenwood Village, CO pat.aaron52@gmail.com / 303 549 0709 GALLERY AFFILIATIONS Space Gallery, Denver, CO William and Joseph Gallery, Santa Fe, NM Water Street Gallery, Douglas, MI Gallery 212 Miami, Miami, FL

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.

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

7

Salem, MA ra@rachelsra.rocks / 480 577 4711 GALLERY AFFILIATION Salem Arts Association, Salem, MA

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.

Bravery oil and acrylic, 16 x 20 inches

8

Sarah Ahmad www.sarahahmad.com Memphis, TN ahmad.sarah@hotmail.com

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.

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

9

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

10

Josh Alan

Aneliz Alvarez

www.joshalanadm.com

www.aneartistic.wix.com/aneartistic / www.aneartistic.com

Houston, TX joshalanadm@gmail.com / 281 781 9440

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

11

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.

Cancun, Mexico ane.artisticdesign@gmail.com / 998 577 0696

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

Here I am mixed media, 12 x 9 inches

12

Misia Armstrong www.misiaarmstrong.com Los Angeles, CA misiaarmstrong@gmail.com

Balanced acrylic on panel, 18 x 21 inches

13

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.

Secure acrylic on panel, 20 x 16.5 inches

14

Karina Bania www.karinabania.com San Diego, CA karinabania@gmail.com

My work explores the unseen space that we navigate in our lives. As the space is acted upon, 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.

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

15

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

16

Chrissy Baucom

Carlisle Bell

www.chrissybaucom.com

www.carlislebell.com

Richmond, VA chrissy@chrissybaucom.com

Sheephead oil on canvas, 58 x 50 inches

17

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.

Shelby, IA carlylebell@gmail.com / 712 307 0403

Age: 27; Sex: M

Les Trois Mystères acrylic and oil on canvas, 49 x 62 inches

18

Nathan Clark Bentley www.nathanclarkbentley.com Brighton, MA nathan.clark.bentley90@gmail.com / 603 562 0354

An American Whaling Epic oil on canvas, 44 x 72 inches

19

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.

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

20

Dianne Bernstein www.thewomansart.com West Palm Beach, FL diannebernstein@thewomansart.com / 561 358 6061

Scarlet acrylic on linen, 28 x 22 inches

21

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.

Disco Queen acrylic on linen, 48 x 36 inches

22

Laura Spalding Best www.lauraspaldingbest.com Phoenix, AZ lauraebest@gmail.com / 602 410 5804

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

23

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.

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

24

Jonathan Blackwell www.gistofme.com Compton, CA jonathanblackwell@gistofme.com

Converse acrylic on canvas, 30 x 40 inches

25

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.

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

26

Miki Boni www.mikiboni.com Chattanooga, TN kaosart@gmail.com

Travis’s Glasses oil on wood, 14 x 18 inches

27

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.

Kirsten’s Glasses oil on canvas, 20 x 20 inches

28

Michael Brennan www.michaelbrennanart.com San Francisco, CA GALLERY AFFILIATION White Walls, San Francisco, CA

Target oil on canvas, 36 x 36 inches

29

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.

Red Dog oil on canvas, 36 x 24 inches

30

Eric Burwell

Tricia Butski

www.facebook.com/ericburwellstudio

www.triciabutski.com

St. Louis, MO eric.burwell@wustl.edu / 702 480 5180

Buffalo, NY tbutski@gmail.com

GALLERY AFFILIATION Brett Wesley Gallery, Las Vegas, NV

Flake White Hue oil and acrylic on canvas, 55 x 55 inches

31

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.

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.

Suppose charcoal on paper, 67 x 51 inches

32

Steve Byrnes

José Carlos Casado

www.stevebyrnes.org

www.josecarloscasado.com

St. Louis, MO stevebyrnes85@hotmail.com / 314 875 9430 GALLERY AFFILIATION Bill Lowe Gallery, Atlanta, GA

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

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

33

New York, NY info@josecarloscasado.com

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.

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

34

Asma Chaudhary www.asmachaudhary.carbonmade.com Annandale, VA asmachaudhary@gmail.com / 703 975 3500 GALLERY AFFILIATIONS Muskegon Museum of Art, Muskegon, MI Dennos Museum Center, Traverse City, MI Buchanan Partners Art Gallery, Manassas, VA BJ Spoke Gallery, Huntington, NY

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.

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

35

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

36

Debra Claffey

Anne Corlett

www.debraclaffey.com

www.annecorlett.com

New Boston, NH debra@debraclaffey.com

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.

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

37

Saugatuck, MI anne@annecorlett.com GALLERY AFFILIATIONS Tvetden Fine Art, Harbor Springs, MI Michigan Artists Gallery, Traverse City, MI

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

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

38

Mingfei Cui www.cuimingfei.com Philadelphia, PA cuimingfei720@163.com

Wingchun Plan acrylic on canvas, 48 x 40 inches

39

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.

The Dream of Graduates acrylic on canvas, 48 x 40 inches

40

Lisa Daniel

Miles Davis

www.lisastrauss.artspan.com

www.massiveburn.com

Auburn, WA pouriton@comcast.net / 253 886 2109

Celebration acrylic and mixed media, 60 x 60 inches

41

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.

Atlanta, GA contact@massiveburnstudios.com GALLERY AFFILIATIONS Healium Center, Atlanta, GA Dogwood Gallery, Tyrone, GA

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.

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

42

Karen deClouet www.karendeclouet.com Lafayette, LA karen.declouet@gmail.com

Catalina Blues acrylic on panel, 16 x 16 inches

43

I use an additive and reductive process of application, combining marks created from both 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.

Little Yellow acrylic on panel, 12 x 12 inches

44

Kate Fire Dedlow www.katededlow.com Los Angeles, CA katededlow@gmail.com / 818 689 3056

Marrow stencils with spray paint on paper, 20 x 22 inches

45

Kate Dedlow comes from a printmaking background, working in woodcut, collage, and painting. 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.

Connective Tissue stencils with spray paint on paper, 42 x 43 inches

46

Monica Delgado www.monicadelgado.com New York, NY mldelgado24@gmail.com

Taught acrylic paint, 31 x 30 inches

47

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.

Dripped Lace acrylic paint, 30 x 20 inches

48

Jean A. Dibble www.jeandibble.com South Bend, IN jdibble@nd.edu

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.

“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

49

“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

50

Natasha Dikareva www.dikarevart.com San Francisco, CA natasha@dikarevart.com

My latest work explores that moment of sheltering—tuning out the buzz of electronics and 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.

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

51

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

52

Zen Du www.zenduart.com Novato, CA zendustudio@gmail.com GALLERY AFFILIATION Marin MOCA, Novato, CA

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.

Double Bubble chewing gum, gum wrappers, and video, dimension variable

53

Dialogue chewing gum on canvas, 30 x 39 inches

54

Denise Duong www.deniseduongart.com Oklahoma City, OK deniseduong@gmail.com GALLERY AFFILIATIONS JRB Art at the Elms, Oklahoma City, OK Vickers Collection, Aspen, CO JGO Gallery, Park City, UT Galerie 124, Savannah, GA

Innocently Existing mixed media, 40 x 30 inches

55

Denise Duong was born on an early winter morning in Oklahoma City. She is a VietnameseAmerican 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.

The Things We Are, The Things We See, The Things We Love mixed media, 48 x 36 inches

56

Christian Duran

Cathy Ellis

www.christianduran.net

www.cathyellisprojects.com

Fort Lauderdale, FL contact@christianduran.net / 786 547 1677

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.

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

57

Santa Barbara, CA cathyellisprojects@gmail.com / 707 304 0008

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.

Shots From the Sky oil on panel, 24 x 32 inches

58

Maura Falfan

Ming Franz NMWS GAEP

www.maurafalfan.com

www.mingfranzstudio.com

New York, NY falfanmaura@gmail.com

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.

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

59

Edgewood, NM mingfranz555@gmail.com / 505 281 4956 GALLERY AFFILIATIONS New Mexico Art League, Albuquerque, NM The Watermelon Gallery, Cedar Crest, NM Blue Lily Atelier, Albuquerque, NM

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.

Rushing Water splash color, 18 x 30 inches

60

Lila Freeman www.lilafreeman.com Brooklyn, NY lilabfreeman@gmail.com

Dorothy Holly marker on paper, 11 x 8.5 inches

61

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.

Ruth oil on canvas, 30 x 24 inches

62

Gail Gelburd www.gailgelburd.com Otis, MA gelburd4g@gmail.com GALLERY AFFILIATIONS St. Francis Gallery, South Lee, MA Aedra Fine Arts, Jersey City, NJ Meyart International Gallery, Online Gallery Gitanjali Gallery, Goa, India

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.

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

63

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

64

Shelley Gilchrist

Mack Gingles

www.shelleygilchrist.com

www.mackgingles.com

Evanston, IL shelley@shelleygilchrist.com

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

65

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.

Waco, TX mack@mackgingles.com

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 as a means to question what I know.

For the Road charcoal on paper, 9 x 9 inches

66

June Glasson www.juneglasson.com Laramie, WY juneglasson@gmail.com

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

67

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.

Sofia mixed media, 40 x 65 inches

68

Brock Gordon www.theplasticcity.com Houston, TX james.brock.gordon@gmail.com

Derby Rug acrylic on canvas, 65 x 72 inches

69

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.

Beach Rug acrylic on canvas, 69 x 39 inches

70

Gwen Granzow www.gwengranzow.com Oak Creek, WI gwen@gwengranzow.com

Tectonic Shift acrylic on canvas, 36 x 36 inches

71

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.

La La La Lollipop acrylic on canvas, 24 x 18 inches

72

Barry Grose www.barrygrose.com Syracuse, NY info@barrygrose.com

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.

Lake Ontario 1 acrylic on canvas, 48 x 48 inches

73

Lake Ontario 2 acrylic on canvas, 48 x 48 inches

74

Sarah Gutwirth www.sarahgutwirth.com New Concord, KY sgutwirth@murraystate.edu

Savage Blooms oil on canvas, 24 x 36 inches

75

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.

Sweet William oil on canvas, 24 x 30 inches

76

Karen Hackenberg www.karenhackenberg.com Seattle, WA GALLERY AFFILIATION Treason Gallery, Seattle, WA

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

77

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.

The Floating World - Floating World Series oil on canvas, 72 x 60 inches

78

Andrew Hairstans Montgomery, AL ahairsta@aum.edu / 334 262 3420 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.

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

79

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

80

Mia Halton www.miahalton.com Baltimore, MD 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, one figure at a time.

Everyone Wore Khaki solar plate intaglio on paper, 16 x 16 inches

81

Tonal Tower earthenware with underglaze and majolica, 18 x 8 x 8 inches

82

Ritch Hanna www.ritchhanna.com Indianapolis, IN ritch.hanna@gmail.com

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.

Este hot and cold wax and mixed media on board, 24 x 24 inches

83

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

84

Nils Hasche-Vasquez www.nilshasche.com Brooklyn, NY nils_hasche@hotmail.com / 917 399 8254

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.

Crossing Over acrylic on transparent vinyl, 30 x 58 x 2 inches

85

86

Sirarpi Heghinian-Walzer

Daren Henry

www.swalzer.com Lexington, MA swalzer@swalzer.com / 781 307 7306 GALLERY AFFILIATIONS Gallery Z, Providence, RI Gallery 263, Cambridge, MA Movimiento Gallery, Boston, MA Cazarti Gallery, Berlin, Germany

St. Paul, MN ddhenrymn@gmail.com / 612 251 7914 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 and interpretation, representing different layers of life.

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

87

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.

Pending oil on panel, 36 x 24 inches

88

Wilfredo Argueta Hernandez

Zelene Jiang

www.saatchiart.com/willargueta

www.zelenejiang.com

Tampa, FL Willargueta@hotmail.com / 813 390 4838

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.

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

89

Chicago, IL zelenejiangusa@gmail.com

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).

Hint acrylic and thread on canvas, 48 x 60 inches

90

Sarah Best Johnson

Sand T Kalloch

www.sarahbestjohnson.com

www.sandtworks.com

Memphis, TN scbest@memphis.edu

Red Baby oil on canvas, 24 x 21 inches

91

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.

Malden, MA hello@sandtworks.com

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.

Silver Run Falls, NC mixed media, 24 x 24 inches

92

Mison Kim www.misonkim.com Greenville, NY GALLERY AFFILIATIONS David McCune International Art Gallery, Fayetteville, NC Theo Ganz Studio, Beacon, NY

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

93

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.

Hagia Sophia ink and acrylic on paper, 55 x 40 inches

94

K. Kissik www.kathy-vamb.format.com Miami, FL kathykiss@yahoo.com / 786 282 9107 GALLERY AFFILIATIONS Alpha Gallery, Boston, MA Elaine Fleck Gallery, Toronto, Canada Lawrence Fine Art, East Hampton, NY Robert Fontaine Gallery, Miami, FL

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

95

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.

Elixir Courtesy Sam Himmelrich Collection mixed media, 70 x 40 inches

96

Robert Klewitz www.klewitzstudio.com Woodland Hills, CA robertklewitz@gmail.com

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

97

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.

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

98

Kelly Kozma www.kellykozma.com Philadelphia, PA kellyaustinkozma@gmail.com GALLERY AFFILIATION Paradigm Gallery + Studio, Philadelphia, PA

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.

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

99

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

100

Emily LaCour www.emilylacour.com Baton Rouge, LA elacou4@gmail.com / 281 798 2012 GALLERY AFFILIATION Contemporain Bankston/Adams Gallery, Baton Rouge, LA

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.

Inventory oil, egg, and sanding processes on panel, 48 x 36 inches

101

Unveil oil, egg, and sanding processes on panel, 60 x 48 inches

102

Lauren Lake Birmingham, AL 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.

Swath 1 mixed media on paper, 7.5 x 12.75 inches

103

Swath 2 mixed media on paper, 8.25 x 10 inches

104

Fred Larucci

Joanne Leah

www.fred-larucci.artistwebsites.com

www.joanneleah.com

Woodstock, IL gwphantom.fl@gmail.com / 815 701 7533

Brooklyn, NY twofacedkitten@gmail.com / 917 499 3001

GALLERY AFFILIATIONS Art Space Gallery, Elgin, IL The Night Gallery, Woodstock, IL

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.

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

105

GALLERY AFFILIATION Kim Foster Gallery, New York, NY

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.

Acid Mass photography, 20 x 30 inches

106

Laura Lemna

Daniel C. Levinson

www.lauralemna.com

www.danlevinson.net

South Bend, IN lmlemna@gmail.com

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

107

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.

Brooklyn, NY dlevi86@gmail.com

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.

My Heavy Heart charcoal and graphite on paper, 84 x 96 inches

108

J. Myszka Lewis www.myszkalewis.com Madison, WI myszkalewis@gmail.com

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.

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

109

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

110

Fei Li

Rick Lieder

www.feili.us

www.silentburn.com

New York, NY contact@feili.us / 408 616 9532

Detroit, MI rick@silentburn.com

An Apple in Central Park III oil on canvas, 24 x 24 inches

111

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.

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.

Won’t Get Fooled Again oil on panel, 6 x 6 inches

112

Erika LizĂŠe www.erikalizee.com West Hills, CA erika@erikalizee.com

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

113

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.

Searching the Landscape of the Unknown acrylic on linen, 14 x 14 inches

114

Kárin Lowney-Seed www.twobluechairs.com Sparta, NJ karin@myinterior.com / 973 534 0456 GALLERY AFFILIATIONS Jersey Artist Registry, NJ Zatista, Yardley, PA U Gallery, San Francisco, CA Art Finder, London, England

Let Your Freak Flag Fly acrylic on canvas, 36 x 36 inches

115

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.

Garden in the Sky acrylic on canvas, 48 x 36 inches

116

Ashley Machacek

Harlan Mack

www.ashleymachacek.com

www.harlanmack.com

Denver, CO ashleymmachacek@gmail.com

Untitled gouache and graphite on paper, 40 x 22 inches

117

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.

Johnson, VT mackimage@yahoo.com / 802 793 9110 GALLERY AFFILIATION Vermont Studio Center, Johnson, VT

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.

Tourist Destination acrylic and ink on tarpaper, 48 x 36 inches

118

Parker Manis www.parkermanis.com Brooklyn, NY pm@parkermanis.com

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.

28155S1 oil, dye, petroleum, glycerin, mixed, and acetate sheet on panel, 40 x 40 inches

119

28151S1 oil, dye, petroleum, glycerin, mixed, acetate sheet on panel, 40 x 40 inches

120

Armando Marino www.armandomarino.com New York, NY aserecuba1@gmail.com GALLERY AFFILIATIONS 532 Thomas Jaeckel, New York, NY Christoffer Egelund Gallery, Copenhagen, Denmark Fernando Pradilla Gallery, Madrid, Spain

The Farmer’s Daugther oil on canvas, 80 x 96 inches

121

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.

The House of The Colors oil on canvas, 84 x 84 inches

122

Elyse Martin www.elysemartin.com Northbrook, IL elysemartin13@gmail.com / 847 498 5383

Shard mixed media, acrylic, and plexiglas, 9 x 16 inches

123

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.

Silence mixed media and acrylic on canvas, 20 x 20 inches

124

Morgan McAllister www.morganmcallister.com Santa Barbara, CA morganamcalli@gmail.com

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.

Jenifer carpet padding, novagel, house paint, and tape, 60 x 60 inches

125

Roberta carpet padding, novagel, house paint, and tape, 80 x 75 inches

126

Tom McFarland www.tom-mcfarland.com New York, NY tompmcfarland@gmail.com

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.

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

127

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

128

Bobbi McMurry www.bobbi-mcmurry.squarespace.com Phoenix, AZ mcmurrybobbi@gmail.com / 602 653 6739

My Heart Only Ever Had One Thought manipulated photography, 15 x 15 inches

129

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.

Sequence of Being manipulated photography, 24 x 18 inches

130

Christopher Meyer Vermillion, SD chris.meyer@usd.edu 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.

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

131

HotHead cast iron, 14 x 8.5 x 8 inches

132

Rosemary Meza-DesPlas www.rosemarymeza.com Dallas, TX rosemarymeza333@yahoo.com / 972 358 1670 GALLERY AFFILIATION ARC Gallery, Chicago, IL

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.

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

133

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

134

Pj Mills www.pjmills.info Miami, FL millspi@bellsouth.net / 716 698 9319

Rabbit Mask oil on canvas, 18 x 18 inches

135

My paintings are an examination of common objects that are metaphors for identity, selfpreservation, 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.

Polaroides oil on canvas, 48 x 48 inches

136

Mario Moore

Zach Mory

www.mariomoorestudio.com

www.zachmory.com

Brooklyn, NY artofmoore@yahoo.com / 313 575 1651

Queen Mother Helen Moore oil on copper, 36 x 24 inches

137

Glen Ellyn, IL 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.

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.

Swell graphite on paper, 54 x 180 inches

138

Liza Myers www.lizamyers.com Santa Fe, NM liza@lizamyers.com / 802 236 8062 GALLERY AFFILIATIONS True West Gallery, Santa Fe, NM Gallery in the Woods, Brattleboro, VT Brandon Artists Guild, Brandon, VT

Raven on a Wire acrylic on canvas, 30 x 36 inches

139

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.

Heron Nest acrylic on canvas, 60 x 60 inches

140

Marlies Merk Najaka

Ken Nurenberg

www.watercolorart.com

www.kennurenberg.com

New York, NY 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.

Kyoto watercolor, 21 x 21 inches

141

Columbus, OH knurenbe@gmail.com

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.

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

142

Maura Oates

Patricia Oji

www.mauracaitlyn.weebly.com

www.patriciaoji.com

Old Tappan, NJ mauracaitlyn@gmail.com

Life of the Party papier-mâchÊ, 108 x 108 x 108 inches

143

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.

Fairfax, CA patti@patriciaoji.com

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.

Lion Dancers oil on board, 6 x 6 inches

144

Ilse Ortiz de Manzanares www.ilseortizmanzanares.com Managua, Nicaragua ilseortizmanzanares@gmail.com / +00 505 2276 1134 GALLERY AFFILIATIONS The Americas Collection, Miami, FL Fundaci贸n Rozas Botr谩n, Guatemala ArtRom, Rome, Italy Maria Elena Kravetz Gallery, Argentina

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.

Unfolded Toroid fiberglass, wood, and steel structure, 138 x 90.5 inches

145

Holorectangle fiberglass, wood, and steel structure, 157 x 108 inches

146

Ron Ownbey www.ronownbeyartist.com South Pasadena, CA rownbey@sbcglobal.net / 626 403 1705

Growth Structure collage and pencil, 8 x 10 inches

147

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.

Conflict oil on canvas, 22 x 20 inches

148

Natalya Borisovna Parris

Boglarka Pataki-Barothi

www.linkedin.com/pub/natalya-parris/18/a1b/820

www.bogistudio.com

Washington, DC privatenbp@hotmail.com / 301 602 1758

San Anselmo, CA bogistudio@yahoo.com

Tatiana acrylic on canvas, 12 x 12 inches

149

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.

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.

The Tree Spirit acrylic on canvas, 36 x 18 inches

150

Silvia Poloto www.poloto.com San Francisco, CA silvia@poloto.com / 415 305 7470 GALLERY AFFILIATIONS SFMOMA Artists Gallery, San Francisco, CA Julie Nester Gallery, Park City, UT Butters Gallery, Portland, OR Aberson Exhibits, Tulsa, OK

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

151

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.

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

152

Candace Sweet Primack www.candaceprimack.com Portland, OR cprimack@comcast.net / 503 348 9458 GALLERY AFFILIATIONS Elizabeth Gordon Gallery, Santa Barbara, CA Jules Place, Boston, MA Art Design Consultants, Cincinnati, OH Caplan Art Designs, Portland, OR

Daybreak I acrylics, charcoal, and oil sticks, 60 x 36 x 2 inches

153

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

Daybreak II acrylics, charcoal, and oil sticks, 60 x 36 x 2 inches

154

Lauri Rakoff-Chertok

Melodee Martin Ramirez www.melodeemartinramirez.wix.com/painting

Beverly, MA bsclrc@comcast.net 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.

Out the Window at Westbourne Terrace collage, 13 x 10 inches

155

Flower Mound, TX mmrstudio2013@gmail.com GALLERY AFFILIATIONS Xanadu Fine Art Gallery, Scottsdale, AZ Marie Park Studio, Dallas, TX

Melodee Martin Ramirez, MFA As 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.

Heron and Monarchs oil on canvas, 36 x 36 inches

156

GG Reid www.ggreid.com Dallas, TX ggreidart@gmail.com / 203 470 3997

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

157

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.

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

158

Dana Robinson

Izik Sahagún

www.alphabetparty.com

www.iziksahagun.com

Gainesville, FL danalanrobinson@gmail.com / 352 415 5686 GALLERY AFFILIATION /protocol/, Gainesville, FL

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

159

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.

Napa, CA izik.sahagun@gmail.com / 707 266 4506

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.

Confirmation Bias oil on canvas, 60 x 72 inches

160

Clint Samples

Constance Edwards Scopelitis

www.clintsamples.com

www.constanceart.com

Carrollton, GA csamples@westga.edu

Mystic Haven oil on canvas, 28 x 32 inches

161

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.

Indianapolis, IN constance@constanceart.com / 317 414 1925 GALLERY AFFILIATION Long Sharp Gallery, Indianapolis, IN

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.

UNTITLED oil on canvas, 60 x 72 inches

162

Ben Seamons www.benseamons.com Knoxville, TN benseamons@gmail.com

Transfigure 1. oil on canvas, 31 x 24 inches

163

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.

Transfigure 9. oil on canvas, 72 x 60 inches

164

Angie Seykora www.angieseykora.com Omaha, NE angieseykora@gmail.com GALLERY AFFILIATION Art-St-Urban, St. Urban, Lucerne, Switzerland

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.

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

165

Confetti Curtain confetti, acrylic, and vinyl, 132 x 53.25 x 26 inches

166

Mike Shatz

Marna Shopoff

www.mikeshatz.com

www.marnashopoff.com

Brooklyn, NY mikeshatz@gmail.com / 917 929 2213

Youth Night oil on canvas, 48 x 42 inches

167

Indianapolis, IN 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.

GALLERY AFFILIATION Jonathan Ferrara Gallery, New Orleans, LA

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.

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

168

Shea Slemmer www.sheaslemmer.com Savannah, GA sheaslemmer@gmail.com

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

169

Completely one-sided.

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

170

Mark Stephen Smith www.marksmithstudioart.com Argyle, TX csmsart@verizon.net / 940 391 2299 GALLERY AFFILIATION Craighead-Green Gallery, Dallas, TX

Monarchs high density pigment on birch, 46 x 46 inches

171

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.

Western Vista high density pigment on birch, 46 x 46 inches

172

Andrew Spangler www.andrew-spangler.com Chicago, IL drewspangler91@gmail.com / 630 913 2727 GALLERY AFFILIATION Walker Art Gallery, Kearney, NE

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

173

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.

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

174

Connie Newton Stancell www.connienewtonstancell.com Greenwich, CT connienewtonstancell@gmail.com

Canyon Rhythms V acrylic on canvas, 30 x 40 inches

175

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.

Canyon Rhythms XVII acrylic on canvas, 30 x 40 inches

176

Leslie Stoner

Kerra Lee Taylor

www.lesliestoner.com

www.kerrataylor.com

Seattle, WA studio@lesliestoner.com GALLERY AFFILIATIONS Abmeyer+Wood Fine Art, Seattle, WA Friesen Gallery, Ketchum, ID

Stirring Up Ghosts encaustic on panel, 24 x 24 inches

177

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.

Carbondale, IL kerrataylorart@gmail.com

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.

We Interrupt This Program oil on canvas, 48 x 64.5 x 1.5 inches

178

Cat Tesla www.artbycat.com Atlanta, GA cat@artbycat.com / 770 715 3573 GALLERY AFFILIATIONS Art on Centre, Fernandino Beach, FL Chicago Art Source, Chicago, IL Muse Gallery, Hilton Head, SC Stellers Gallery, Ponte Vedra, FL

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.

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

179

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

180

Paul J. Theriault

Terry Thompson

www.paultheriault.net

www.thompsonstreet.com

New Haven, CT paultheriaults@gmail.com

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.

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

181

Baltimore, MD chepizza@aol.com / 410 627 0090 GALLERY AFFILIATIONS Galerie Francoise, Baltimore, MD Alex Gallery Dupont Circle, Washington, DC

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.

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

182

Timothy Tompkins www.timothytompkins.com Los Angeles, CA painter@timothytompkins.com / 562 212 9320

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

183

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.

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

184

Alicia Tormey www.aliciatormey.com Seattle, WA art@aliciatormey.com GALLERY AFFILIATIONS Chase Young Gallery, Boston, MA Hall | Spassov Gallery, Bellevue, WA Seattle Art Museum SAM Gallery, Seattle, WA

Specimen Study encaustic, shellac, and ink on panel, 12 x 12 inches

185

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.

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

186

Rebecca Wallace www.rebeccawallace.net Chico, CA 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.

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

187

Greener oil, acrylic, and gold leaf on canvas, 42 x 34.5 inches

188

Sarah West

Michele Wiesen

www.thesarahwest.com

www.michelewiesen.com

Washington, DC sw@thesarahwest.com

embedded oil on panel, 20 x 20 inches

189

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.

Philadelphia, PA mbw127@aol.com / 908 447 8727

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.

Untitled lithograph, 65 x 26 inches

190

Brandon Vaughn Williams www.bvwillustrations.weebly.com Columbia, SC bc2415@aol.com / 912 655 9749

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

191

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.

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

192

Kathryn Wingard

Scot J. Wittman

www.kathrynwingard.com

www.mapographer.com

Milwaukee, WI kathryn.wingard@gmail.com

Residue graphite on paper, 7 x 9.5 inches

193

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 in Massachusetts, Colorado, and Illinois, as well as internationally.

Philadelphia, PA info@mapographer.com GALLERY AFFILIATION Fresh Paint, Los Angeles, CA

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.

Trumpeters hand cut photograph, 30 x 22 inches

194

C.C. Wolf www.ccwolfstudio.com Pawtucket, RI cc@ccwolfstudio.com / 401 725 7391

Life Recreates Itself acrylic, 19 x 25 inches

195

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.

The Seeds Are Sown acrylic, 19 x 25 inches

196

Michael Wyshock www.wyshock.com Sarasota, FL GALLERY AFFILIATIONS Alfstad& Contemporary, Sarasota, FL Lu Magnus, New York, NY

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.

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

197

Swimming Upstream Acrylic on panels, door and bamboo, 78 x 99 inches

198

Ju Yun www.saatchiart.com/jartstudio / www.jartstudio8.wix.com/ju-yun Chantilly, VA jartstudio@gmail.com

Birth of Nature oil on canvas, 36 x 48 inches

199

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.

Summer Sweet oil on canvas, 36 x 48 inches

200

Harold D. Zabady www.plusonegallery.com/artists/58-harold-zabady Camp Hill, PA hzabady@comcast.net / 717 839 3158 GALLERY AFFILIATION Plus One Gallery, London, England

NYC Deli oils, 40 x 60 x 2 inches

201

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.

Broadway oils, 40 x 60 x 2 inches

202

Laura Zeck www.zincartdesign.com Seattle, WA laura@laurazeck.com / 206 617 7378 GALLERY AFFILIATION Zinc Art + Design, Edmonds, WA

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

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

203

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

204

artistindex Aaron, Patricia, 6

Gilchrist, Shelley, 64

McAllister, Morgan, 124-125

Thompson, Terry, 181

Abdelkereem, Rachel, 7

Gingles, Mack, 65

McFarland, Tom, 126-127

Tompkins, 182-183

Ahmad, Sarah, 8-9

Glasson, June, 66-67

McMurry, Bobbi, 128-129

Tormey, Alicia, 184-185

Alan, Josh, 10

Gordon, Brock, 68-69

Meyer, Christopher, 130-131

Wallace, Rebecca, 186-187

Alvarez, Aneliz, 11

Granzow, Gwen, 70-71

Meza-DesPlas, Rosemary, 132-133

West, Sarah, 188

Armstrong, Misia, 12-13

Grose, Barry, 72-73

Mills, Pj, 134-135

Wiesen, Michele, 189

Bania, Karina, 14-15

Gutwirth, Sarah, 74-75

Moore, Mario, 136

Williams, Brandon Vaughn, 190-191

Baucom, Chrissy, 16

Hackenberg, Karen, 76-77

Mory, Zach, 137

Wingard, Kathryn, 192

Bell, Carlisle, 17

Hairstans, Andrew, 78-79

Myers, Liza, 138-139

Wittman, Scot J., 193

Bentley, Nathan Clark, 18-19

Halton, Mia, 80-81

Najaka, Marlies Merk, 140

Wolf, C.C., 194-195

Bernstein, Dianne, 20-21

Hanna, Ritch, 82-83

Nurenberg, Ken, 141

Wyshock, Michael, 196-197

Best, Laura Spalding, 22-23

Hasche-Vasquez, Nils, 84-85

Oates, Maura, 142

Yun, Ju, 198-199

Blackwell, Jonathan, 24-25

Heghinian-Walzer, Sirarpi, 86

Oji, Patricia, 143

Zabady, Harold D., 200-201

Boni, Miki, 26-27

Henry, Daren, 87

Ortiz de Manzanares, Ilse, 144-145

Zeck, Laura, 202-203

Brennan, Michael, 28-29

Hernandez, Wilfredo Argueta, 88

Ownbey, Ron, 146-147

Burwell, Eric, 30

Jiang, Zelene, 89

Parris, Natalya Borisovna, 148

Butski, Tricia, 31

Johnson, Sarah Best, 90

Pataki-Barothi, Boglarka, 149

Byrnes, Steve, 32

Kalloch, Sand T, 91

Poloto, Silvia, 150-151

Casado, José Carlos, 33

Kim, Mison, 92-93

Primack, Candace Sweet, 152-153

Chaudhary, Asma, 34-35

Kissik, K., 94-95

Rakoff-Chertok, Lauri, 154

Claffey, Debra, 36

Klewitz, Robert, 96-97

Ramirez, Melodee Martin, 155

Corlett, Anne, 37

Kozma, Kelly, 98-99

Reid, GG, 156-157

Cui, Mingfei, 38-39

LaCour, Emily, 100-101

Robinson, Dana, 158

Daniel, Lisa, 40

Lake, Lauren, 102-103

Sahagún, Izik, 159

Davis, Miles, 41

Larucci, Fred, 104

Samples, Clint, 160

deClouet, Karen, 42-43

Leah, Joanne, 105

Scopelitis, Constance Edwards, 161

Dedlow, Kate Fire, 44-45

Lemna, Laura, 106

Seamons, Ben, 162-163

Delgado, Monica, 46-47

Levinson, Daniel C., 107

Seykora, Angie, 164-165

Dibble, Jean A., 48-49

Lewis, J. Myszka, 108-109

Shatz, Mike, 166

Dikareva, Natasha, 50-51

Li, Fei, 110

Shopoff, Marna, 167

Du, Zen, 52-53

Lieder, Rick, 111

Slemmer, Shea, 168-169

Duong, Denise, 54-55

Lizée, Erika, 112-113

Smith, Mark Stephen, 170-171

Duran, Christian, 56

Lowney-Seed, Kárin, 114-115

Spangler, Andrew, 172-173

Ellis, Cathy, 57

Machacek, Ashley, 116

Stancell, Connie Newton, 174-175

Falfan, Maura, 58

Mack, Harlan, 117

Stoner, Leslie, 176

Franz NMWS GAEP, Ming, 59

Manis, Parker, 118-119

Taylor, Kerra Lee, 177

Freeman, Lila, 60-61

Marino, Armando, 120-121

Tesla, Cat, 178-179

Gelburd, Gail, 62-63

Martin, Elyse, 122-123

Theriault, Paul J., 180

Alex Cohen, Issue #113

www.newamericanpaintings.com | Phone: 888.235.2783

40% Off Newsstand Price!

Visit us at www.newamericanpaintings.com to Subscribe.

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

Please call 888 235 2783 x26 to place an order. www.studiovisitmagazine.com

www.studiovisitmagazine.com $15