Artist Directory Volume 2

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ANGIE SINCLAIR ART My latest body of work has been focused on Ăžgures immersed in water. Water patterns fascinate me, my colorful long loose brush strokes are visible in my work to convey motion.

angiesinclairart@gmail.com 702-241-1015 studio- Acme Art Studio 711 N 5th Ave Wilmington NC Follow me on Instagram Angie Sinclair Art

https://www.angiesinclairart.com

Jason Bryant

www.bryantpaintings.com

TABLE 10 OF CON28 TENTS

INSIDE THE ARTIST’S STUDIO?

Read about what makes artists’ work unique and learn about their stories!

Featuring Mike Basher, Shiyuan Xu, Mark Langan, and Carla Woody

THE ARTIST EXPERIENCE

Learn about what experience’s shaped artists’ artwork!

08 EDITOR’S NOTE 41 ARTIST DIRECTORY

101 ARTISTS FROM ACROSS THE US

COVER IMAGE artguidemag.com presents

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Featuring Veronika Hart, Dawnette Renee, Jason Bryant, Angie Sinclair

ARTIST PROCESS

How do artists create their art?

Paul Hastings, Sherry McClymont, McCain McMurray, Annell Metsker, Penny Oliphant.

ARTIST INTROS Introducing 17 artists from across the nation.

Artist Directory

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Shiyuan Xu, Fission #6, 2018, porcelain paperclay, glaze, 14” × 6½” × 11¼” Photo Credit: Guy Nicol

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NATIONAL ARTIST DIRECTORY

101 Artists from across the US and Canada!

Paintings Drawing Artisan/Craft Jewelry Mixed Media Ceramics Photography Sculpture

NEXT COLLECTORS ISSUE January-June 2020 artguidemag.com presents

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Artist Directory

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Featuring your art to collectors nationwide Prices starting at $75

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EDITOR’S NOTE

“The best way to connect with art is to get to know the creator.

Each piece of art has a history and story that enhances your relationship with that work of art and this history and story starts with the artist.”

KEEP UP WITH US

A magazine that focuses exclusively on artists. That is what our team at artguidemag.com wanted to create as a Special Collectors printed magazine to accompany our very unique and popular online art website.

There are many different ways that you can keep up with and enjoy Artist DIRECTORY. Even though the magazine only comes out twice a year, we send subscribers e-newsletters with inside interviews, and featured artist histories and stories.

Our focus on creating this magazine came from several years of publishing online and print Artist Directories. Throughout the years we recognized the many gifted and talented artists in the United States and we came to realize the need for a voice for artists to connect with collectors.

You can sign up for print/digital subscriptions or digital-only subscriptions by visiting www.artguidemag.com.

Most art magazines focus their editorials and content on galleries, museum exhibits, genres, etc. Artist DIRECTORY has a different focus and a different mission. Artist DIRECTORY connects readers with artists as they tell their story in their own words.

When you visit artguidemag.com, you can also sign up for our monthly websites e-newsletter that gives you the latest top exhibit information from museums and galleries across the country.

Artist DIRECTORY was created to lend a voice to artists so that they may tell their story in their own words and connect with collectors, patrons, and art lovers throughout the nation and world.

It was a lot of fun bringing this issue to fruition. We worked with many amazing artists who gave us insight into their journeys as artists.

STAY INFORMED FOLLOW US

Before I end this little note I want to thank the artists who lent a hand in the creation of this issue of Artist DIRECTORY; a special thank you to our thousands of readers across the nation; and lastly to our very talented editorial staff who stayed up late nights responding to emails and hammering out the fine details.

On behalf of all of us at artguidemag.com / ARTIST DIRECTORY we hope you enjoy the read!

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Thomas Gilanyi Publisher Artist DIRECTORY Co-Founder artguidemag.com

@artguidemag

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Inside the Artist’s Studio

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Black and White work by Mike Basher How did you get your start in photography?

I’ve always been very mechanically inclined, and love to ponder how things work.

From a young age, I was intrigued by cameras and the film they used to record images. My senior year in high school, when I had to make the decision as to what I was going to do with my life, I elected to take a photography class, and once I witnessed the magic of my first black and white print emerging beneath the soft red glow of the darkroom’s safelight, I was hooked.

Once I got into it, I saw the camera as a tool. It could see things in ways I couldn’t with my own eyes, because of what is possible through optics; both wide-angle and telephoto. Between the detail extracted

from a scene to the effects of different lenses, it all became a creative method with almost unlimited combinations to create what I prefer to consider to be balanced, visual equations.

What is your process and what tools do you use to capture your unique landscapes?

Over my career, I’ve photographed pretty much everything you can photograph, from commercial campaigns for huge corporations with personalities like Michael Phelps to editorial work of people snowboarding down volcanoes in Japan. Taking my black and white fine art work into consideration, my creative sides are polar opposites. On one hand, for advertising work, I’m working with the highest-end medium format digital

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cameras, with all sorts of chaos happening on the set of a shoot. On the other, it’s just me, a box camera, and a few sheets of film, chasing this photograph that I’ve constructed in my mind, and am quietly trying to assemble in the camera.

When I’m out in the field working, I am focused on every nuance in each scene and composition, and never press the shutter button unless I’m completely confident that I’ve achieved what I’m after. I’ve set up the camera hundreds of times, and worked as diligently as possible to try to achieve what I’d consider a perfect composition, and for one reason or another, have failed to do so. Some photographs just aren’t meant to be. But, that image I’m chasing stays in my mind, almost haunting me, until I can eventually successfully create it.

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3 What memorable responses have you had to your work?

I think that like most creatives would say, the ultimate flattery is in having someone falling in love with something you created, and inviting it into their element. I recently had a collector looking for the perfect piece for above their bed for nearly two decades, and in an instant, fell in love with one of my photographs, and brought it into their lives.

Art isn’t a necessity; it’s not bread or milk, but when you observe someone whom is just completely captivated by something you meticulously created, it is the ultimate reward. Every little detail, every step you slogged through a swamp, every frozen night sleeping on the ground, every bit of yourself where you could’ve given up, and called it “good enough”, but you wouldn’t stop until you were satisfied, and what you created that moment is speaking to some-

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one’s soul…that’s what it’s all about.

What message do you hope to convey to the viewer with your art?

I want the viewer to feel a fond familiarity with the scenes I photograph, but also question its location, due to the ambiguity I introduce into my scenes. I prefer not to lose the viewer in the mundane details of recognition of place, but for the viewer to get lost in the space I’ve provided.

Stylistically, I don’t think my work fits into any specific genre. I don’t consider myself a landscape photographer, because I don’t take images of moments in time at specific places. In fact, I do everything I can to remove the sense of place, and often times, even omit the sense of dimension from my work. I prefer working in flat light, and choosing scenes and subjects that I

can work into a two-dimensional rectangle as design elements. I’d say that above all, design is what moves me to pressing the shutter.

What is your favorite and least favorite color?

I guess I’d have to say my favorite color is brown. Different shades of brown translate into gorgeous tones on black and white film, and the best brown tones come in the winter, which is my favorite time to make photographs. Greens, on the other hand, generally yield a heavy, almost lifeless look.

What is your favorite tool?

While I started my photography career with film, I made the transition to digital along with most of the rest of the world in the early 2000’s. The immediate reward of dig-

4 ital imaging was definitely handy in many ways, but I began to feel a disconnect from my work. In 2009, I bought a large format camera to slow down my creative process. I had loved working with these cameras and big sheets of film in college, so I was really excited about incorporating both into my personal work.

If you’re unfamiliar with the view camera, it’s what Ansel Adams (and most photographers from the inception of photography until the first half of the 1900’s) worked with. There are literally zero electronics. No autofocus, no meter, the image is viewed upside down on the back of the camera, and it’s pretty much impossible to use one without a tripod. To work with a view camera is to be deliberate in your approach.

You don’t just go post-holing through fields of poppies, snapping off hundreds of photos, which you’ll select (and Photoshop) the best of later on. With film, you have to slow down…and smell those poppies! But, you can do things with film that would be otherwise impossible to accomplish digitally. I prefer to function in that realm.

What part of art do you love / hate?

I’d have to say that my least favorite thing is marketing, because although marketing is an art, I feel it’s so anti-art, and is very mis-

leading. As with any other art, like, say, music, you have to wonder how many incredible songs and musicians you’d miss out on if you only listened to radio stations. Most of those bands are marketed big time, and they become household names because of that marketing, and listeners ask to listen to them, because they feel familiar. It doesn’t necessarily mean that this hot new band makes skillful, soulful, or meaningful music…it’s just what ears are used to hearing.

I think the same goes for visual arts, especially photography. Instead of the artists with cohesive, deep bodies of compelling work, it’s often those who are making cliché pieces, but are great at marketing that are getting a lot of the market share.

My favorite aspect is tackling challenges.

I’m not the type of photographer who hits up the hot spots and nabs a shot of what the scenic overlook looked like that day. I prefer to take it as far as I can, hike further, wade deeper into the water, and just try to turn over different stones than everyone else. When I do find a cool treasure, I like to tell my own unique story of it.

If you could see your artwork displayed in any venue in the world where would that be and why?

I’ve been (no pun intended) developing a

new body of work that is environmentally-focused, using photographic processes that I’ve had to concept, create, and evolve.

The approach is completely unique, and pushes the envelope of what photography has been capable of capturing.

While this may not be a specific answer to your question, I’ve been working on teaming up with scientists to apply this technique I’ve developed to apply my work alongside their environmental studies in a manner which delivers a more contemplative message than as literal of a look into natural processes as photography has traditionally taken. Put simply, I’d love for my work to help people understand environmental issues in a more contemplative manner.

Instagram: @mikebasher Web: bashergallery.com Represented by: ellarichardson.com

1. CYPRESS STUDY X, 2018, limited ed.

2. CYPRESS STUDY I, 2017, limited ed.

3. CYPRESS STUDY VI, 2018, limited ed.

4. HUNTING ISLAND XIX, limited ed.

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Inside the Artist’s Studio

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Ceramic Dreams work by Shiyuan Xu Your artwork is so unique. What is your inspiration?

My work is inspired by the research of scientific and microscopic phenomena ranging from single-celled organisms in the ocean to the diverse plant’s seeds on the land, to cells, the building blocks of all life form. My fascination with the shapes, patterns, structures and textures of these microorganisms stimulates my creation. I reinterpret these visual elements into sculptural forms revealing the beauty and diversity of the hidden world. My pieces grow, interact, alter, evolve and adapt as I slowly build them.

They are in many ways like living organisms, reflections of my own life path, and an abstraction of the complexity and delicacy of life itself.

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How much of your style is born from schooling and how much is born from imagination?

When I learned ceramics in undergraduate school in China, I was introduced to various techniques in construction and decoration.

They are all useful tools for the making process and to solve problems. When it comes to my personal work, it is a gradual evolving process of figuring out which method works for me the best to deliver what I want to present in my piece. I went to graduate school at Arizona State University, where I experienced a big shift of learning materials. The ceramic materials here in the States is very different from what I used to use. And I learned to break the rules of how things can be made and fired. It is a lot of

experiments with the clay and glaze materials, of cause, with a lot of failures. But sometimes, the failures intrigue some new and interesting ideas.

Describe your process for creating a piece of art.

I usually start with sketches for some shapes from my inspirations, and then start to translate into ceramics forms. Slab building is my main construction method. I handbuild my pieces with small slabs of porcelain paperclay, then join them all together to form the shape. For the structures, I let it go naturally, sometimes following with order and rhythm, and sometimes not. It is a slowing building process, and each piece is evolving during the making. It always

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4 changes from the original sketch. When I finish building my piece, then, it is a long process of smoothing out the surface and firing. I do multiple firings for my work depending on the glaze. A piece can be fired up to ten times to achieve what I want on the surface.

How do you see your style evolving in the next 5 years?

It is hard to tell. I found interesting things during the making process, and my work changes slowly during the years. With practice, my skills have improved so much that I am able to better control the forms, complexity of the structures, the success of the glaze, so my pieces can be finished as a more refined stage. With my concept, magnify and interpret micro life form, I would like to try some big scale installations using multiples.

What is your favorite and least favorite color?

I love a wide range of colors, and usually they are calm and neutral, such as different shades of white, gray, black, blue, earthy tone colors, etc. Especially for my work, I tend to keep things simple, white or blue

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and white. Not so much for the pop colors.

What is your favorite tool?

I use minimum tools for my process, but I have couple tools that are must have. Firstly is a pair of sharp scissor. I use paperclay to make my pieces. Paperclay is adding natural plant fiber into the clay to increase the workability of the clay. Because of the fiber mixed into the clay, it is kind of hard to cut with a regular knife, but with scissor, the cutting is smooth and easy. Sometimes, I feel like I am working as a tailor, cutting clay just like cutting fabric. Then, a respirator is a must have for my practice. I dry sand my pieces a lot, so just to keep myself safe from all the clay partials floating in the air.

What part of art do you love / hate?

I love making and I enjoy my studio time, where I have the freedom to trying anything without worry about failures. I am not fond of the packing part for my work, since ceramics is a fragile material, and my pieces always need special packing for each single one. I usually spent a lot time working on that part to protect my piece from the shipping.

If you could see your artwork displayed in any venue in the world where would that be and why?

I see my pieces displayed in private collections, that I have supporters to support my art, and my work can be taken good care of. In addition, I would like to see my pieces included in the public collections in major museums so that more audience can get access to my work. www.shiyuanxu.com

1. Fission #6, 2018, porcelain paperclay, glaze, 14” × 6½” × 11¼”, Photo Credit: Guy Nicol 2. The most wondrous tiny things, 2017, porcelain paperclay, glaze, 9” x 20” x 14”, Photo Credit: Paul Hester 3. Growing, 2018, porcelain paperclay, glaze, 20” ×13½” × 8¼”, Photo: Guy Nicol 4. Vena, 2019, porcelain paperclay, glaze, 18” × 11½” × 11½”, Photo: Guy Nicol 5. Blue Vein #8, 2018, colored porcelain paperclay, glaze, 15” × 8” × 15” Photo: Guy Nicol

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Inside the Artist’s Studio

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Corrugated work by Mark Langan Why corrugated?

I have worked with multitudes of mediums over the years. In 2004 I stumbled upon it while deconstructing a number of boxes I had for trash day. While ripping them apart I noticed the wavy medium sandwiched between the paper layers (called the flute) and realized it had a unique kinetic energy about it. A neighbor of mine had recently moved from the area and I asked him to save his boxes for me after they were emptied. I experimented with a huge stack of them by slicing and dicing them into a variety of designs and completed my first sculpture with this spectacular look. Pleased with the results of my efforts, I continued perfecting the visuals and shortly after received three commissions from a large corrugated manufacturer...Packaging Corporation of America.

What unique features does corrugated provide as a medium?

For me it was a real blessing. Over the years I had developed carpal tunnel syndrome and working with the medium was a relief as it does not cause the strain as if say one has as in painting by gripping a brush or holding onto a pencil for hours.

Corrugated is a ubiquitous product, I am never at a loss for finding materials to use and with that said, it’s virtually free. I use non-toxic glue (Elmer’s Glue-All brand) and there are no dangerous fumes to be inhaled & is all soap & water wash up. My tools are as simple as a self-healing cutting mat, a steel rule and a razor knife. Corrugated box art for me is a very marketable medium too. With so many businesses and industry connected to it, I will never run out of prospective clients.

What is your process to take a piece of corrugated from box format to a work of art?

I do many commissioned art pieces for those in the corrugated and related industries. What better way to showcase with an art piece made that is literally the embodiment & being comprised of what you manufacture? Many of these are logo renditions for a client who will submit to me their graphics in an electronic format by email. I do things “old school,” whereas the image is projected onto a screen and I work out the details on paper with pencil as to what particular treatment I might conceive. That is, basically what particular areas I want to emphasize or create contrast within by depth, spatial placement, etc. I have created so many of these bas-relief sculptures that I have hundreds of examples to show a

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3 prospective client in getting their feedback and what appeals to them visually by showing them those examples.

facturer. These cool connections to people and businesses happen all the time with my art.

Do you have any exciting new plans for your corrugated art?

What is your favorite and least favorite color?

I have been introducing color into particular artworks to give them some “pop” lately.

That may be in the form of acrylic paints or if a client supplies me with materials (their product), using particular scripts or graphics from the boxes to influence my visuals.

I have dyed frames I construct of Oak in a variety of colors to match a particular décor or color balance to compliment if needed.

Just this month I will be in Wapakoneta, Ohio to speak and demonstrate my art to the public. Wapakoneta happens to be the home of Astronaut Neil Armstrong and the city is celebrating the 50th anniversary of the Moon landing. So what does the Moon landing and corrugated art have in common? It just so happens that Pratt Industries is building a 300 Million dollar plant there now and they are a corrugated Manu-

I love them all actually but I do like the Brown tones of natural corrugated. For me it is liken to a well balanced B&W photograph. Where in lieu of color, depth and shadow play feed off one another.

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What is your favorite tool?

My favorite tool is a steel etched measuring rule. I have an Uncle that passed a couple of years ago. He happened to be an Industrial Arts Teacher and he gave me one from his class. I use it practically every single day for measuring material off before cutting.

What part of art do you love / hate?

Since I am a “one-man-show” I have to do

everything and it takes up lots of time. From picking up materials, keeping records, billing/collecting, to photographing, and the marketing of each art piece. There’s always lulls between commissions and sales and you have to prepare for that time and making the most use of it between projects. It can be very difficult to say the least, when some weeks you end up with a few dollars and change in your checking account.

What I love about my art is hearing from people all over the world who come across it. They’ll write me and thank me for doing something that’s a little off the grid. I receive questions all the time about the process & I am happy that it inspires and compels people to write me. It’s a great feeling you get knowing many people are connected to it whether it be from the visual aspect, or the use of repurposing something that normally would be considered trash. As a published Artist I have been featured in magazines such as “Interior Design,” “Lapiz,” and “Elle,” to name just a few.

4 If you could see your artwork displayed in any venue in the world where would that be and why?

It would be a monumental accomplishment to have my art be acquisitioned by a noted museum. It would be the icing on the cake as they say and trust me, I am working on that. I am one of a handful of Sculptors who use the medium these days. It is not unusual for any particular art piece to have literally thousands of individually hand cut pieces glued and fitted into place. I am meticulous and strive for perfection to achieve

the most pleasing form of art possible. My work can be found at The Ritz in Chicago, Two Ripley’s museums in Atlantic City & San Francisco. My art adorns the lobbies and boardrooms of some very large corporations in North America & abroad. Each commissioned work is a step in that direction and I am dedicated toward improving and honing my skills with each & every one.

My physical art is the best Salesman! www.langanart.com

1. Homage to Edvard Munch “The Scream”, 2010, Recycled corrugated boxes, within Oak frame, 31½” x 25½” x 2½ 2. Bedroom in Arles, 2019, Recycled corrugated boxes, acrylic paints, within Oak Frame, 27½ x 35½ x 2½” 3. Sugar Skull, 2018, Recycled corrugated boxes, within Oak frame, 31” x 22½” x 2½” 4. I Want You to Recycle, 2009, Recycled corrugated boxes, Within Oak frame, 33” x 27” x 2½”

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Inside the Artist’s Studio

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Storytelling work by Carla Woody Explain the narrative of your work.

I began to write stories and draw in childhood. You could say I’m a storyteller. My focus is distilling the elements I’m presented as far as place, states of being and traditions. I’m translating my own experiences into words, paintings and mixed media sculpture.

Beginning in childhood you have traveled the world extensively. How has experiencing other cultures influenced your art?

I spent my childhood in Paris influenced by French culture where the arts are valued.

I count myself very fortunate to have first traveled across Europe with my parents as a child. I was bitten by the travel bug early

on. I think it gave me a natural sense, not only of curiosity, but sense of safety in the world.

Those early experiences imprinted a love of art and great appreciation for culture. As an adult, my travels continued to farther flung places…North Africa, Middle East, India.

In the mid-90s, my “real” life began through

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3 my first experiences with sacred Indigenous ceremonies and sites. I felt called to remote areas in Peru, Bolivia, Central America, Mexico and Native lands in the US where I developed relationships with Indigenous spiritual leaders and healers serving their communities. I became grounded in these ways, along with 30+ years’ daily meditation practice. So, these influences naturally emerge in my art and writing. It continues today as I go deeper and deeper within various Indigenous traditions, and sponsor journeys where others can accompany me.

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What role does art play in exposing people to other cultures?

Featuring other cultures through art – and writing – is perhaps a “safe” first step of exposure. My own intent is to ignite a sense of interest in others. But more so to expose the humanity in people, and offer the opportunity to be touched by common elements we all hold. We’re really not so different from each other. When we all recognize that fact…then the world is a much better place. We are all elevated. No one is seen

as “other.”

What art do you most identify with?

I’m an explorer of place, people, mind, and things unseen. I’m interested in excavating what’s beneath the surface, what’s not immediately apparent. With that, I’ve been drawn particularly to the Symbolist Movement artists Gustave Moreau, Odilon Redon, and Edvard Munch.

What is your favorite and least favorite color?

My favorites? The range of blues and violets. I’m not drawn to the color mustard.

What is your favorite tool?

It’s more about the combination of tools and media - and how they can work together to create something entirely different and exciting. Mixed media spells adventure for me.

What part of art do you love / hate?

Creating art has long been a love-hate process for me. I was relieved when I discovered some years ago that it’s a common experience for most makers. The most tension exists for me with the blank canvas and, especially, the ugly stage when things haven’t yet come together. At those points, it’s a work of faith. This is especially true for me when working with oil and cold wax medium that requires many layers of building up to the outcome.

What energizes me? The idea and vision of what I intend to create, and the point in which the piece begins to somehow communicate to me how to do so. Something else has taken over that generates a deeper relationship with the piece. It becomes part of my spiritual practice.

If you could see your artwork displayed in any venue in the world where would that be and why?

My roots in art go back to France. So any large permanent venue there that would provide a wide reach. www.carlawoodyart.com

1. Hand of the Healer, 2019, 3D mixed media, 9¾″ x 3¾″ x 2½″ 2. Of the Jungle, 2018, 3D mixed media, 12″ x 11″ x 8″ 3. At Home in My Skin, 2019, 3D mixed media, 13″ x 10″ x 7½″ 4. I Hold the Keys, 2019, mixed media on canvas, 18” x 36”

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The Artist Experience

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Exotic Surroundings work by Veronika Hart What is your journey in art.

At a young age I was sent to boarding school in Southern Tanzania, where the competitive atmosphere propelled me forward to become the best artist that I could be. During School vacations at the East African coast the smooth white beaches were perfect for endless drawing before waves erased everything and I could start all over again.

I went on to become the school artist, first in primary school and later at the secondary school. I also found recognition in distant England when my teachers entered my work in competitions.

Shortly after Tanzania gained its independence from England, the school I was attending closed for girls, and so my parents sent me to Germany to finish my education.

I was 15. Adjusting to life in a new culture, language and climate was difficult, but I continued drawing and painting, keeping the connection and memory to my former world alive.

After graduating from high school I attended Art College, where despite being encouraged to engage in the direction of the popular abstract expressionist movement, I stubbornly continued follow my own calling.

I graduated in illustration, working as an illustrator, first in Europe, and later, after moving to the USA, in NY City. There I was represented by Artist Representatives: Stogo, Bernstein and Andriulli.

During this time I had the honor of being elected into Society of Illustrators, and so met many of the top illustrators of the seventies and early eighties.

I enrolled in a serious oil painting class at the Art Student League in NYC. Under the tuition of Peter Cox I blossomed and realized that I had found my true calling, of being an independent artist, free from the pressures of commerce, and working with oil on canvas.

Following my studies at the Art Student League, I focused on painting self-portraits, still-lifes and landscapes, as well as experimenting with storytelling. I entered my work in art competitions and won numerous prizes.

In 2003 I returned to Tanzania and visited the farm where I had grown up. Upon my

return to the USA I began a series on “Africa”, as I saw it. For more than 10 years I continued along this path, working first out of a studio in Yonkers, NY, and later continuing in my NC space.

Eventually I felt my African series had run its course. Wanting to start something completely different, I began creating paintings that embrace the contemporary sensitivities of the new world I had become part of.

Last year I went back to Tanzania, visiting the Ngorongoro Crater and the Serengeti Plains, seeing all sorts of amazing animals up close. Ever since returning to my studio in Hendersonville, NC, I have been on a mission, working towards a show at The Gallery in Flat Rock, NC., titled: “On Eye level with Power, Beauty and Loss.” Paintings in which I aim to portray the essence of each animal, and thus bring awareness to their plight, and the challenges they face.

What/Who do you consider to be your greatest influence and why?

As an adult, my work as a professional illustrator opened the door to a new world of influences.

I had the honor of belonging to the Society of Illustrators, where I met several exceptional artists. Illustrators, who had a lasting effect on me, were: Frank Frazetta, Milton Glaser, Bernie Fuchs, Chris van Allsberg, and Maurice Sendak to name but a few.

The annual competition and ensuing show at the Society of Illustrators, showed the best of the best. It left me humbled yet determined to excel to the same level.

up close, I learned something new.

My dear husband Michael: always there to set me straight when self doubt creeps into my vocabulary, and my dear sister, a true supporter all my life, led me to honestly believe that one day my paintings will be hanging in some prestigious museum. They all gave me the conviction and driving force to hope and move forward.

Today I credit the internet with its bottomless source of information for allowing me to get to know other artists such as the Chilean painter Guillermo-Lorca, and the Russian painter Nikolai Bolkhin, 19th century wildlife artist Wilhelm Kuhnert, and today’s equivalent: David Shepherd and sculptor Robert Glen for inspiration.

What is your goal as an artist?

My goal as an artist today is to have my work seen and witnessed. My goal for the future is that my work will live on beyond my years.

I will continue to be true to myself, and follow my drive and inner compass and embrace my own form of expression: figurative, albeit increasingly surrealistic portrayals of life between worlds. From that mysterious place I will continue to explore parallels and contradictions between human and animal existence, while also celebrating the wonder that is our global heritage. www.veronikahart.com

In addition, I enrolled in an oil painting class at the Art Student League in NYC. Under the tuition of Peter Cox, an excellent artist, but perhaps an even better teacher, I blossomed painting from live models, finding recognition and encouragement.

Whenever I had time, I would go to the Metropolitan Museum of Art and take a good look at the layering of paint and brushstroke of some of the most extraordinary painters in art history: Velasquez, Caravaggio, John Singer-Sergeant, the impressionists and expressionists, surrealists like Salvador Dali, René Magritte and M.C. Escher, and works by more recently recognized masters such as: Odd Nerdrum, Vincent Desiderio, Chuck Close and one of my favorites: Jenny Saville. Studying the work of every artist

1. Striped Messenger, oil on linen, 40” x 36”

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The Artist Experience

1

Abstract Voices work by Dawnette Renee What is your journey in art.

I am a self- taught mixed media artist originally from Texas now living in Virginia. Growing up in a city heavily influenced

by Mexican American culture where their use of vivid and colorful palettes was not something I would come to appreciate until many years later after I moved away. Over the years my art has evolved into something that has become such a passion and huge part of my everyday life. Art is where I can express myself freely; whether I am painting, art journaling, scrapbooking, book binding, sewing interior decorating or giving a new piece of furniture a new look. It’s this creative space where I am most content.

I’ve taught mixed classes and hold workshops at home for my friends that share this same passion. It wasn’t until 2016 that I started painting abstracts after my life was changed drastically by the loss of both my parents. Abstract painting became a sort of conduit for the emotional pain and grief one goes through at a pivotal time in life

30

such as this. My paint, brush, and canvas became my voice when words failed me. At that time, I was painting solely for me. In 2017 I was asked if I would be interested in hanging some of my art in a local restaurant. Thus far I had only painted for myself and was hesitant to put my work out there unsure of how it would be received. My decision to say yes has opened many other doors like curating for a local business, art exhibitions, and participating within the local art community.

What/Who do you consider to be your greatest influence and why?

My Mother was a strong influence on me as she was very creative and always taking classes on everything from ceramics, floral arranging, to painting. I remember her buying me how-to drawing books, color books, paints, and anything creative. Because of this, I have had numerous art related hobbies and interests over the years and have taken workshops in everything from

mixed-media, oil, and watercolor.

What is your goal as an artist?

Words can’t describe the joy I feel when I see someone connect with one of my paintings. My goal as an artist is to continue to paint art that not only moves me forward but to create pieces that touch, inspire and move other people in a positive way. I want to continue to expand my capabilities as an artist by learning new techniques, trying new things and exploring everything that the world of art has to offer. Some are cooks, bakers, musicians, photographers, poets, and some are storytellers. I believe we are all creative souls in our own unique way. dawnetterenee.com 1. No Strings Attached 2. Small Steps

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The Artist Experience

1

Cinematic Impressions work by Jason Bryant What is your journey in art.

For as long as I can remember I’ve been surrounded by the creative process from crafty decorative arts to graphic design.

What sparked my interest in art really happened when my uncle, who is an artist and graphic designer, took a toy figurine I had, looked at it, and drew it in action as if in a comic book. It blew my mind as a 5 year old, so I started trying to recreate that moment then. Drawing was there from the start so I’ve always had the mindset to try and be creative and explore the possibilities of drawing and painting at a very young age. From the beginning everyone saw there was no deviation in my course, full time artist and part time everything else. My passion for art has always been supported and I am very lucky to have mentors and colleagues to always help me keep moving forward with that passion.

What/Who do you consider to be your greatest influence and why?

Identity and the portrait have always played

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a crucial role in my development as an artist and a person. My love for film, like many of us, is an escape from the everyday. We get immersed into the characters we watch, we become a part of that world for 2 hours.

Most of my imagery is of film stills, where people are playing a role. I try to capture the dichotomy of the fact that all of us play a role in life, in front of camera or not. Everyday life and our encounters with one another always interests me and influences my work. I use my love for film and painting to explore these influences and create my own world of exploring contemporary topics with the grace of old Hollywood glamour.

Chuck Close is my hero as far as an icon of painting the portrait. His work continues to inform my development as an artist. I look to Kehinde Wiley, Karel Funk, any street art or skateboard graphic draws my attention and I try to use that urban form of work to infiltrate the pristine, polished look of a classic black and white film still from old Hollywood. It’s a dichotomy that beautifully mixed for me. I skated for 17 years very seriously and still do, but Father Time is undefeated so I can’t move as quickly as

I did but my love for skateboarding naturally evolved into merging with my cinematic paintings.

What is your goal as an artist?

My goal as an artist or what I feel is my responsibility is to be a social agent, to have my work be a mirror that reflects societies understanding of ourselves. The duty of a artist I believe is to illuminate, to try and take people out of our perceived reality in a way that is positive and truthful. www.bryantpaintings.com

1. Someday, Maybe, Never, 2012, oil on canvas, 40” x 60”

The Artist Experience

1

Water Goddesses work by Angie Sinclair What is your journey in art.

My art journey is just starting and hopefully never ending. There is beauty all around and moments that have to be captured.

The more I paint, the more I want to challenge myself. I love to create movement with my brush strokes in an original style that is unique to me. Art is not a job, it is my passion.

What/Who do you consider to be your greatest influence and why?

My greatest art influence would be going to the Impressionist wing at the Metropolitan Museum of Art. Growing up in NYC my mom would give me $1 and that would buy 1 slice of pizza and one coke or a wonton soup with an orange. With that I would get on the 6 train and go to the Met and eat my meal on the steps. With any change I had left I would get a pass into my happy, joyful place. To this day I love visiting “my friends“: Edgar Degas, Claude Monet, Van Gogh, Auguste Renoir, John Singer Sargent, Cezanne, and Henri Matisse.

What is your goal as an artist?

I hope to create beautiful, serene paintings that stand the test of time. I love painting my water goddesses. If I could create a modern-day masterpiece like the painting “La Primavera” by Italian Renaissance artist Sandro Botticelli that would be a life-long goal achieved. angiesinclairart.com 1. Wet, 2018, oil on canvas, 48” x 36”

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Artist Process - How They Create Paul Hastings Bringing the imaginary to reality, Paul Hastings uses the long-established, centuries-old techniques of oil painting on canvas and wood panel to carry out his two dimensional surrealistic adventures that provide an escape for the viewer in his recognizable surrealist style.

Paul begins his process sketching out scenes from stories created in his imagination, blending and applying color with perfected gradation, and glazing on layers to create a backdrop from the natural world. The sky, clouds, land, and seascapes are brought to life in vivid, intense colors that often use exaggerated perspective.

Lift Off, 48” x 60”

Paul then adds in fish that fly, animals that change their spots and earn their stripes, tropical birds and flamingos inhabiting unlikely spaces. These scenes are offered up to the viewer, young and old, to enjoy a moment of escape from the confines of logic and reason. www.paulhastingsart.com

Sherry McClymont Abandoned Nature. On my walks I collect things - like interestingly shaped wood branches, twigs, roots and odd pieces, nests and eggs blown out of the trees, feathers, heart shaped rocks, dead cactus skeletons, dead butterflies and fallen leaves - fresh and some lacy ones leftover from winter. Some of the items are quite fragile so after cleaning and taking off the grey (I use a dremel tool on the wood), I coat them with Mod Podge to give them strength and bring out the color.

The nests take a lot of Mod Podge and become quite heavy, but then they are very strong. The butterflies are extremely fragile and I use a spray Mod Podge to help them last, but I doubt they will indefinitely especially with handling.

I play with the pieces until the combination appeals to me and connect them with dowels (I drill into the wood or nest to insert a dowel) and wood glue or hot glue. Several of these “sculptures” come together because of balance - to take away something would make them tip over.

The final step is naming them which relates to the way they look to me or because of the items included in the sculpture. I found a discarded pumpkin leftover from last year’s Halloween which became the center of this sculpture, “Punkin Heart”.

Punkinheart

McCain McMurray The work starts with a specific color palette and geometric composition based on the intent of the work. Each composition is resolved with a CADD program to determine the exact colors, sizes, and layout of the geometric elements. The geometric elements are cradled birch panels in standard sizes purchased from an art supply store.

The first step is to put the panels together using a drill and screws.

Then the panels are disassembled and gessoed with 3 coats of gesso.

The oil paint is thinned with a glazing medium and brushed on thin layer by thin layer until the coats of paint achieve a uniform, smooth, gloss finish. Additional colors are then applied in a hard line fashion with tape. The panels are then screwed back together and wired with eye hooks in the sides of the panels on the ends so when the work is hung, it sits flat against the wall. www.mccainmcmurray.com Toiny, acrylic on joined cradled panels, 21” x 33” x 1½”

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Artist Process - How They Create Annell Metsker Annell’s mixed media art begins with a photograph, either from a session with her or from a photograph provided by the client. In her photography sessions she works intuitively with her subjects to reveal beauty and authenticity in her art. By combining photography, digital painting and oils she is able to create more depth and richness in her portraits. In her landscape oil work she uses a photographic reference and paints on a toned canvas. Her abstracts are inspired by her extensive travels and her tools are palette knives, oils and cold wax.

Annell finds her creative muse in her art studio on Lake Glenville, near Cashiers and Highlands NC, where the peacefulness and energy of the mountains inspire her paintings. She has had a successful portrait studio in Charlotte, NC for many years. Her art has been exhibited and published across the US and Canada and it hangs in many private collections. For more information she can be reached at 704.996.0559 or www.annell.com.

Penny Oliphant Penny Oliphant’s painting background is evident in her photographic images. She uses similar themes and tones but adds more depth and detail. She collects material of the unappreciated aspects of Maine’s rural landscape, photographing subjects multiple times over a period of years to expose a deeper level of reality beneath the veneer of contemporary life.

Oliphant shoots High Dynamic Range with a Canon Mark III. Working with four frames of the same scene at different exposures Penny often chooses the under-exposed raw file to develop. She uses her own custom presets to finish the edited image. The transformative power of photography fuel’s her artistic process. www.pennyoliphant.com

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Artist Intros

Cynthia Aldrich is a ceramic artist who explores all the various qualities and techniques of clay in her sculptural and functional pieces. Her figurative sculptural pieces have long been influenced by prehistoric and primitive art, particularly the goddess figure. The surfaces of these pieces reflect the earth or ancient patinas. Recently, however, the textures, colors and landscapes of the Southwest have resulted in bottle forms, some bulbous and perhaps figurative and others simply colorful and fanciful. www.cynthiaaldrichpottery.com

Spirit Bottle #8, 2019, stoneware, 12” x 12” x 4”

Grant Vood (1891-1942)

Mixed media artist, Jane Biven, uses epoxy resin, in combination with a vast array of materials, to create colorful abstract paintings, 3D geode sculptures and custom-made resin/wood furniture.

Bivens’ resin artwork is displayed in public and private collections worldwide. www.HalfBakedArt.com

Andrey Allakhverdov - currently lives in Boston, this artist of “Oriental” and urban landscapes, portraits, nudes, and abstracts.

He was born in 1947 in an Armenian family.

From the age of 14, Andrey was engaged in drawing and painting. He received a BFA from Moscow State University of Arts and Textiles. Andrey has been a member of the Moscow Art Union since 1979 and a member of the Union of Soviet (Russian) Artists since 1988. Oil paintings by Allakhverdov are made in several styles: realism, surrealism, abstract expressionism. allakhverdov.com

2019, Resin & concrete geode sculpture

Michelle Bond was born into a musically inclined family in 1963 in the Philippines.

After immigrating to the United States in 1980, she pursued a Fine Arts degree from the San Francisco State University and a Masters Degree in Landscape Architecture from UC Berkeley. She has been painting and writing since she was 8 years old. Today she divides her time between running a small landscaping business and pursuing an art career in her local community. www.michellebondtheartist.com

Animated Noise

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Anniversary Flowers, 2019, mixed media object assemblage, 24” x 24” x 1”

Deane Bowers. As a self-taught artist, my creative process is guided by two principles. First and most importantly, produce art that makes people happy. Second, strive to be an environmentally conscientious artist whose work has a positive impact on the environment and celebrates recycling and repurposing as an art form.

Using mostly discarded, abandoned, and reclaimed materials, my “environmental folk art” honors those forgotten things.

DeaneVBowersArt.com

Artist Intros

Allen Clapp. I got hooked on painting abstracts my freshman year at the NCSU School of Design in ‘61 and never looked back. I am a happy man when I have a paint brush in my hand -- and I only use happy colors. Texture is my passion. www.clappartstudios.com

Family & Friends, North Carolina, 2014, photograph, 16”x16”

Floating on Cloud Nine

John Crum. Best known for his figurative, whimsical, and gently surreal paintings.

John’s eclectic and imaginative works, applied to his narrative paintings, take the viewer on their own magical journey. “Your art always makes me smile” is the most frequent comment he receives. With his strong design and bright palette, John’s artistic style is recognizable throughout a wide subject range. A graduate of Ringling School of Art & Design, John has maintained a lifelong career in art.

JOHNCRUMART.COM

Adrian Davis. Photographer since 1989 working primarily in warm tone monochrome. Resume by request. “I make photographs of what I like to see, and wish to remember.”

REACHING ACROSS THE ISLE, acrylic on canvas, 36”x 36”

Find Singles in Your Area

Sky Blushes, 2019, 36” x 36”

Getting Around II

Sharon Kelly is a Canadian artist whose heart is deeply connected to the south and enjoys exploring the mind/body connection to water through mixed media paintings.

Kelly uses her own strong passion for the water and the serenity it invokes to strike a chord of balance in the viewer, as though they were standing on the banks of a great ocean. Her works aim to create a calm and soothing accent to any workspace or home.

SHARONKELLYSTUDIOS.COM

Jamie Madison. BA in Studio Art, UC Davis. My process is call and response using paint, found and made papers, graphite, sander and photos. I continually ask “how much is enough?” followed by “how much is too much?”. I work at the ICB Building in Sausalito and my paintings are in a number of private collections. jamiemadisonart.com

Jan Swanson. “I am a self-taught artist working in oils, acrylic & collage. I have taken drawing & painting classes at USC, Columbia College, Anderson Ranch, Arrowmont School of Arts & Crafts and Penland School of Arts & Crafts. I am represented

by Camellia Art in Hilton Head Island and Bluffton, SC. My paintings are usually of things I remember from childhood; the pearls my mother wore or the fabric my father sold. There is usually something funny in my paintings.” janswansonart.com

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Artist Intros

Golden Gate Bridge, 2019, mixed media 30” x 26” x 1”

Natalie McGuire. “I’m Mother Nature’s muse and photograph what she shows me.

Mosaics allow my creative side to flourish. It was a natural progression for me to merge these two mediums into a unique one-of-akind piece of art that captivates the viewer.

My process is labor intensive, but I prefer to call that my labor of love. Each time I start a new frame, I take a deliberate pause and make sure that I visualize the finished product before cutting the glass and applying to the frame.” nmcguirestudio.com

Black and Blue

Transience

Michael Palace. He sees the beauty that is our world and is overcome with a sense of awe. We are part of the awe. His art is homage to that connection so that we have a place to honor life. Trees are a symbol of life, an emissary of nature, and a material of construction. The trees body has become a shrine and is integrated back into life as a reality and a symbol. michaelpalacedesign.com

Agnes Preston-Brame was born in Budapest, Hungary. She now lives in Greensboro, NC. Before earning a BFA at SUNY, New Paltz, she studied fine art in Budapest, Montreal & Art Students’ League of NY. Since graduating she has been working as a professional artist & designer. She exhibited in US, Canada & Europe. Her paintings, drawings are in numerous private & corporate collections. paintingsbyapb.com

Cavitation, 2018, encaustic oil, 10”x10”

Villa Carlotta, 2017, oil, 30” x 40”

Julie E Rogers expresses her artistic vision through romanticized realism always capturing the essence of the place. Her subject matter ranges from vibrant florals to European landscapes. Julie’s artwork is exhibited at High Country Art and Antiques in Blue Ridge, Ga. www.JulieERogers.com

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Beth Genson is an artistic explorer. Her impressionistic plein air and studio oils capture the light and beauty of sunrise and sunset on bodies of water. She also works in encaustic-wax-based oil paints that are kept molten on a heated palette and then fused to create luminous layers. Due to the fluidity of hot paint, encaustic is particularly suited to her examination of water as subject matter. BethGenson.com

Peacocking Mood

Sharon Waddell. “After 20 plus years as a stay-at-home mom, I awoke one day and found that my husband and I were living in an “EMPTY NEST”. I began to realize that the freedom was also freedom to start something new! My old love for art was rekindled and it has become my passion.

I took lessons that scrubbed the old paint from my brushes and I started creating scenes that were so much fun to paint and share with others. That’s were I am today and hope to continue this journey for along time!” Sharonwaddellart.com

national artist directory 101 artists from across the us

Paintings Drawing Artisan/Craft Jewelry Mixed Media Ceramics Photography Sculpture

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PAINTINGS

Meeting Friends

Evolutio, 2018, oil on board, 4’ x 24’

Classical Myth, 45” x 45”

Allakhverdov, Andrey

Argueta, Will

Bilotta, Barbara

Watertown, MA allakhverdov.com

Tampa, FL http://www.saatchiart.com/WillArgueta

Sound Beach, NY Barbarabilotta@optonline.net

Her Transition, 2019, watercolor, 32” x 36”

4 days with Greta

Spring Thaw, acrylic on canvas, 36” x 36” x 2”

Bond, Michelle

Bryant, Jason

Carter, Bonnie

San Francisco, CA www.michellebondtheartist.com

Brooklyn, NY www.bryantpaintings.com

Avondale Estates, GA www.bonniecarter.com

Butterfly Hoedown, acrylic mixed media, 20” x 20”

The Secret Sauce

Clouds are not strangers (detail), acrylic, 36” x 48”

Crum, John

DuTremble, Katherine

Clapp, Allen

Raleigh, NC alc@clappartstudios.com

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Hilton Head, SC Johncrumart.com

Mt. Pleasant, SC www.katherinedutremble.com

PAINTINGS

Where To Now? (detail), charcoal, watercolor & acrylic on aluminum, 24” x 36”

Eberle, Jill

Over the Rainbow (detail)

Embrace, 2019, oil, 12” x 12”

Ferguson, Melanie

Freeman, Andie

New Bern, NC jilleberle.com

Oakley, UT www.melaniefergusonart.com

Raleigh, NC www.andiefreeman.com

Chicote, 2019, acrylic and canvas, 24” x 24”

Cygnus Claims The Children Of Lir, 2019, acrylic on canvas

River Rise, 2018, encaustic oil, 10” x 10”

St Paul, MN www.uglydaisy.com

Portage, OH BethGenson.com

Unknowingly, She Is, 2017, acrylic, 12” x 12”

Pittie’s Ruse, 2018, oil on canvas, 5’ x 3’

NightFall, 2018, oil on canvas, 36” x 36”

Gerni, Heather

Giaco, Annette

Funakoshi, Fuki

Boulder, CO fuki.myportfolio.com

Saxapahaw, NC www.heathergerni.com

Garrigan, MaryBeth

Pauline, SC www.agiacoart.com

Genson, Beth

Giebler, Robert

San Francisco, CA www.giebart.com

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PAINTINGS

Larnaca, 2019, acrylic on canvas, 24” x 24”

Hallauer, Bindia

Striped Messenger, oil on linen, 40” x 36”

Lift Off, 2019, oil on canvas, 48” x 60”

Hart, Veronika

Hastings, Paul

Henderson, NV https://www.instagram.com/artbybindia

Hendersonville, NC www.veronikahart.com

Charlotte, NC www.paulhastingsart.com

Walking the Tightrope, 2019, oil on canvas, 24” x 30”

Ghost Warrior III - Lozen

Upheaval, 2018, encaustic, 22” x 30”

Berkeley, CA www.delaneyhenderson.com

Isley, Valarie J

Prescott, AZ https://valariejisley.com

Jacobs, Brucie

The Marriage of Earth and Sky, 2019, acrylic, 48” x 48”

Reflections, 2018, acrylic on panel, 36” x 36”

Linger, 2018, acrylic mixed media, 30” x 30”

Knoxville, TN www.jaustinjenningsart.com

Sausalito, CA www.rebeccakatzart.com

Henderson, Delaney

Jennings, J Austin

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Katz, Rebecca

Santa Fe, NM bruciejacobs.com

Kelly, Sharon

Ottawa, Ontario, Canada www.sharonkellystudios.com

PAINTINGS

The Oracle, 2018, acrylic on wood panel, 24” x 24” x 1/2”

Klamm, Chelsea

Burst

Kleiman, Sharon

Rock Paper Sky 1, 2017, ink and watercolor on paper, 23” x 21”

Kurka Jensen, Karen

Kansas City, KS www.chelseaklamm.art

Delray Beach, FL www.sharonkleiman.com

Timber Lakes, UT www.karenkurkajensen.com

Where Did You Go?, 2018, mixed media,36” x 36”

Sun Kissed

Blue With You, 2018, acrylic, 30” x 40”

Kurtz, Lorra

Langley, Karen

Leitheiser, Shelly

Alpharetta, GA www.lorrakurtz.com

Columbia, SC Karenlangleyart.com

Marietta, GA https://fineartsouth.net/

Natural Forces #7, 2018, mixed media water color, acrylic ink on paper, 30” x 23”

Flying towards Eternity, 2018, mixed media, 24” x 30”

White Linen, 2019, oil on canvas, 24” x 24”

Chapel Hill, NC www.neryslevy.com

Brooklyn, NY www.aliseloebelsohn.com

Colorado Springs, CO ruthielowen.com

Levy, Nerys

Loebelsohn, Alise

Lowen, Ruthie

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PAINTINGS

Target, 2019, acrylic on canvas, 16” x 20”

Anse de Lorient, 2016, acrylic, 68” x 38” x 1¾”

Lubell, Jennifer

McMurray, McCain

Another Time, Another Place, mixed media, oil, archival ink

Metsker, Annell

Rockville, MD www.jenngwynnelubell.com

Washington DC www.mccainmcmurray.com

Charlotte, Cashiers, Highlands, NC www.annell.com

Quieting is requisite for all listening. Listening comes from respect. - Jana Bluejay (detail), 2015, oil paint, papier-mâché, beadwork and mixed media on canvas, 45” x 30” x 6”

Rain Cooled Air (detail), 2018, acrylic on panel, 10” x 15”

Pied Piper (detail), 2018, oil, 14” x 36”

Pagosa Springs, CO Paulajomiller.com

Renton, WA www.nedmueller.com

Beaufort, NC www.paintedworld.com

Accessories #2, 2017, watercolor, 21” x 17”

I’m gonna be like you, 2018, a, 48” x 33”

Interlude

Nobleboro, ME betsypalmer4@comcast.net

Preston-Brame, Agnes Greensboro, NC www.paintingsbyapb.com

Rees, Vicki

Miller, Paula Jo

Palmer, Elizabeth

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Mueller, Ned

Nyzio, Donna

Raleigh, NC Vlrees.com

PAINTINGS

Carolina Wildflowers, 2018, mixed media, 13” x 13”

Summer Breeze, 2019, oil and acrylic, 36” x 24”

Aurora, 2017, oil, 12” x 12”

Retsch-Bogart, Carol

Richards, Sherri Atlanta, GA www.sherrisart.net

Rogers, Julie

Canton, GA JulieERogers.com

Majestic Mountains

Faith - Glimpses of Heaven Series, 2019, acrylic graphite and aerosol, 36” x 48”

Meandering Lover, 2017, oil on canvas, 38” x 38”

Bowling Green, VA kensearles62@hotmail.com

Beaufort, SC https://carol-joy-shannon.pixels.com/

Placitas, NM www.diannashomaker.com

Center, 2016, oil on canvas, 30” x 24”

Living the reflection of a dream No.1, 2019, oil on canvas, 24” x 24”

Sea Foam, 2018, oil painting, 30” x 48”

Goodyear, AZ ShortridgeArt.Indiemade.com

Wilmington, NC Angiesinclairart.com

Chapel Hill, NC www.carolretschbogart.com

Searles, Ken

Shook, Richard Slater, IA dickshook.com

Shannon, Carol Joy

Shortridge, Lewis

Shomaker, Dianna

Sinclair, Angie

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PAINTINGS

Bird Bath, watercolor, 22½” x 30”

I Have My Eye On You, 2018, Acrylic, 15” x 30”

Interior 64: The Void, watercolor, 4” x 6”

Smith, Dwight

Stillwagon, Marianne

Sugarman, Jennifer

Bradenton, FL dsmithart.com

Hardeeville, SC www.mstillwagon.faso.com

Fire Hydrant

Marsh, oil, 12” x 12”

Swanson, Jan

Tannenbaum, Rose Barrington, MA www.tgo.com/paintings

Medanales, NM stomasello@newmexico.com

Bridges, 2019, acrylics, 38” x 55”

Pelican One, 2017, acrylic, 24” x 24”

Moon Flowers, 2018, oil on canvas, 48” x 36”

Vineyard, Peggy

Waddell, Sharon

Ward II, Morshan

Columbia, SC www.janswansonart.com

Wilmington, NC www.peggyvineyardart.com

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Shreveport, LA Sharonwaddellart.com

Carmel, IN www.JenniferSugarmanArtist.com

Tomasello, Salvatore

Carson, CA Ronramone9@gmail.com

PAINTINGS

Autumn Ending

Daisy Demoiselles, 2018, acrylic, 14” x 11”

Tangerine Dream, 2017, oil on canvas, 30” x 24”

Wells-Moran, Jolyn

Shoreline, WA https://jwellsmoran.com

Wickham, Peggy

Willow Spring, NC www.peggywickhamfineart.com

Wozniak-Spencer, Sharon

DRAWING

ARTISAN/CRAFT

JEWELRY

Whole Heart, 2018, Graphite, 10” x 10”

Spanish Flamenco Dancer, 2019, crocheted wool, acrylic and polyester fibers, 9” x 5½”

Jewelry Art

Kester, Norma Jean

Pittsburgh, PA https://salumiereartworks.com

Gefre, Bibi

Stillwater, MN www.etsy.com/shop/BibizaCreations

Wilmington, NC www.swspencer.com

Valentina, Valerie San Francisco, CA valerievalentina.com

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MIXED MEDIA

Rosie, 2018, epoxy resin, 40” round

Something ‘Bout Sunday, 2019, Mixed Media Found Object Assemblage, 13½” x 22” x 2½”

Scaring the Fish, 2019, fused glass on aluminum, 11” x 14” x 1″

Roswell, GA https://www.HalfBakedArt.com

Charleston, SC www.DeaneVBowersArt.com

Durham, NC www.vitreous-humor.com

Textiles, 2019

Getting Around

Jenkinson, Pamela

Madison, Jamie

Quiet Dignity, 2018, mixed[pastels, colored pencils, colored inks, 19” x 16”

Biven, Jane

Devereux, Teddy

McCart, MelloDe

Houston, MN Chabakointernational.com

Sausalito, CA jamiemadisonart.com

Alliance, NE mellodemccartart.com

Golden Gate Bride, 2019, mixed media, 30” x 26” x 1”

Chameleon, 2017, mixed media on wood, 12” x 12”

Mirage, 2018, mixed media, 50½” x 48”

St. Paul, MN http://nmcguirestudio.com/

Palmer, Mark

Rockledge, FL markpalmerarts@gmail.com

Renee, Dawnette

McGuire, Natalie

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Bowers, Deane

Stafford, VA dawnetterenee.com

MIXED MEDIA

Know Thyself (detail), 2016, Encaustic and Mixed-Media, 84” x 36”

Angel Dreams Series/Casting Into The Future From The Eye Of Beauty, 2011

Of the Jungle, 2018, mixed media, 12” x 11” x 8”

Fair Oaks, CA https://sssolis-fine-art.business.site/

CA inherimagestudio.com

Prescott, AZ Carlawoodyart.com

Solis Mattson, Sarah

Tash, Deborah

Woody, Carla

CERAMICS

Art Deco, 2017, mixed medium, 40” x 28”

Spirit Bottle, 2017, stoneware, 24” x 17” x 8”

Zwirn, Steven

Aldrich, Cynthia

Boynton Beach, FL www.stevenzwirn.com

Durham, NC cynthiaaldrichpottery.com

Sedona Sunrise

Owl Vase, 2018, porcelain

Rainbow Lady, Pilisa

Saich, Vivian

Sedona, AZ pilisa@amusinglass.com

Asheville, NC www.VivianSaichDesigns.com

Fission #6, 2018, porcelain paperclay, glaze, 14” x 6.5” x 11¼”; Photo: Guy Nicol

Xu, Shiyuan

Chicago, IL www.shiyuanxu.com

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PHOTOGRAPHY

HUNTING ISLAND XIX, 2018, limited edition silver gelatin photograph, 4” x 5”

Patan City Baby, Kathmandu, Nepal

Orchid Moon

Basher, Mike

Beaufort, NC Bashergallery.com

Benowitz, H. Allen Miami, FL www.H-AllenArt.com

Brittingham, Darsell

Philadelphia, PA www.SweetPeasLenz.com

One Tree Hill, Virginia, 2009

Seaside, archival color photograph

Bobcat, 2013

Davis, Adrian

Ginandes, Carol

Klamm, Eric

Martinsburg, WV adriandavisphotographs@yahoo.com

Watertown, MA www.carolginandes.com

Kansas City, KS www.EricKlammPhotography.com

Great Maine Food, 2018, photograph, 22” x 28”

Into the Stream No.5

Frosted Dreams (altered image)

Oliphant, Penny

Ostgard, Jimmy

Stanton, Susan

Pittsfield, ME www.pennyoliphant.com

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Hastings, MN www.jimmyostgardphotography.com

Asheville, NC www.susanstanton.com

PHOTOGRAPHY

Sunset & Wildflowers, 2015

Summers, William

New York, NY billsummers.zenfolio.com

SCULPTURE

kou-uh-buhng-guh, 2018, yule marble, 36” x 15” x 18”

Yoga Pose, 2019, bronzecasting mounted on black marble, 11” x 7” x 8”

Denver, CO www.forartsakes.com

Fort Lauderdale, FL www.lindafleischman.com

Sugar Skull, 2018, 31” x 22½” x 2½”

Road Runner

Langan, Mark

McClymont, Sherry

Sanctuary, 2018, walnut, red gum eucalyptus and acrylic paint, 41” x 58” x 25”

DeShong, Tim

Brunswick, OH www.langanart.com

Holdrege, NE sherry.mcclymont@gmail.com

Fleischman, Linda

Palace, Michael

Sonoma, CA michaelpalacedesign.com

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