2022 Works on Paper Catalog

LONG BEACH ISLAND FOUNDATION OF THE ARTS AND SCIENCES 2022 WORKS ON PAPER Works on Paper 1

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2022 WORKS ON PAPER Welcome to 2022 Works on Paper Saturday, April 16 Monday, May 30, 2022

“Works on Paper” 2022, the 24th Annual National Juried Competition and Exhibition, launches our summer season at the Long Beach Island Foundation of the Arts and Sciences.

Thank you to all the artists whose work we applaud today. They have provided us with reminders of the beauty, complexity, abstraction and a moment in time of the visual world around us.

We are pleased to present the artwork of 71 artists who live and work across more than 23 states in the US. The variety of media eligible for submission included drawing, painting on paper, hand pulled prints, photographic prints, digital works on paper, and paper constructions completed in the past two years for consideration.

2022 Juror This year we are honored to have as our juror Esther Adler, Curator of Drawings and Prints at the Museum of Modern Art, who lends her exceptional expertise to selecting the artwork for this exhibition and to the awarding of prizes.

We truly thank her for her support and her curatorial vision.

Although the “virtual” art world on-line has been palliative and to a degree satisfying, nothing can replace the immediacy and “in person” visual experience of seeing with our own eyes a work of art.

The Works on Paper exhibit provides the opportunity to acknowledge the talent, innovation and individuality of seventy artists and the intangible relationship that forms between their work and the viewer.

Cover art and detail (above): Honorable Mention 2021 Award winner, Holly Hughes. Local Territory. Collage, hand printed mulberry paper on ink wash drawing.

The LBIF was established in 1948 as an institution whose mission was to foster the highest level of the arts and to bring artists, educators, and patrons together to celebrate art as a passion and a driving cultural force.

Catalog design: Tracey Cameron

Copyright © The Long Beach Island Foundation of the Arts and Sciences. All rights reserved.

A special thank you to our Art and Exhibition Committee members and Gail Sidewater, Co-Chair of Arts and Exhibitions. And thank you to Tracey Cameron and Katherine Whitlock for the design and creation of this catalog.

We thank Bank of America as Presenting Sponsor for their support of this exhibition, the exhibition catalog and our art exhibition program this season.

We also thank New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts, for their generous support of our exhibition programming for 2022.

Daniella Kerner Executive Director LBI Foundation of the Arts & Sciences

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Works on Paper About the Juror

Esther Adler is Curator in the Department of Drawings and Prints at The Museum of Modern Art. Adler joined the museum staff in 2005, and worked as a Research Assistant, Curatorial Assistant, and Assistant Curator in the former Drawings Department. She has also worked at the Hirshhorn Museum and Sculpture Garden as a graduate fellow, and the Museum of Fine Arts, Boston. She has a BA from Brandeis University, and an MA from the University of Maryland.

Her exhibition Joseph E. Yoakum: What I Saw is on view at MoMA through March 19, 2022, and will travel to The Menil Collection in April, having opened at the Art Institute of Chicago on June 12, 2021.

At MoMA, her exhibitions include Joseph E. Yoakum: What I Saw (2022); Betye Saar: The Legends of Black Girl’s Window (with Christophe Cherix, 2019); Charles White: A Retrospective (with Sarah Kelly Oehler, 2018); Charles White—Leonardo da Vinci. Curated by David Hammons (2017); Dorothea Rockburne: Drawing Which Makes Itself (2013), American Modern: Hopper to O’Keeffe (2013); Gifted: Collectors and Drawings at MoMA, 1929–1983 (2011); Publications: Charles White: Black Pope (New York: The Museum of Modern Art, 2017) American Modern: Hopper to O’Keefe (New York: The Museum of Modern Art 2013) Among Others: Blackness at MoMA (2019) Modern Women: Women Artists at the Museum of Modern Art (2010) Dada in the Collection of the Museum of Modern Art (2008).

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Juror’s Statement I was heartened by the breadth of submissions for Works on Paper 2022, and the drive of so many to continue to make art during our current difficult times. The compelling use of abstract form, and the careful or frenzied trace of the hand on a surface, reflect a turning inward to make sense of the world around us. Landscapes, capturing a love of both the natural and urban world, are quiet reminders of the beauty and healing found close to us. Images of people and mundane objects take on mythic proportions through their careful translation as shapes and color fields on paper. I found myself looking for beauty in these submissions, not simply on an aesthetic level, but rather in the shared commitment to the creation of art as a way for artists to understand and shape the world. I was not disappointed.

Esther Adler Curator of Drawings and Prints, The Museum of Modern Art

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Works on Paper Passage II Burnt drawing with hand stitching on indigo dyed kozo

Oxygen 2 Graphite and gouache on paper

AFF.2 Serigraph on paper

Beneath the Surface Etching and mixed media

4 Works on Paper

1 Christine Aaron My work investigates loss, memory, and the fragility of the human condition: absence and presence, the record of experience that remains invisible but indelible, how the whole is marked and repaired, yet remains intact. I create work to make visible what is intangible.

2 Laura Ahola-Young My work focuses on our understanding of and relationship to living organisms such as plants, algae, fungi, and microbes. I am fascinated by the reproduction of a cell, existence of a chloroplast and the magic of photosynthesis.

3 Greg Bahr My work explores routine, repetition, and pattern. Using images based on daily repetitive movement, I create work that looks at patterns and routine in human behavior such as those that occur in one’s daily tasks: work, or driving home.

4 Andre Bassuet As a Korean-American living between two cultures and feeling displaced, I seek to find my own roots. Working in the delicate medium of paper, my work expresses the transience and delicate nature of the human form.

So called weeds (shadows) Graphite, watercolor, Arches cover

Night of the Shooting Stars Monotype on Strathmore paper

Talking Circle 11 Pencil ink on vellum, both sides, layered paper

5 Hugo Bastidas I use metaphor, analogy, juxtaposition and more to describe conditions globally as well as locally. They are distillations of our complexities and triumphs.

Weeds’ shadows appear sublime. I use them as an analogy for people of color; we are beautiful, potent and important to the ecosystem.

6 Emily Beezley My approach to monotypes is through my stream of consciousness. The ink speaks to me as I apply it, leading me to explore new subjects and techniques.

Using the subtractive method, I remove ink to create energetic images with a variety of lines and rich monochromatic tones.

7 Ashley Briggs This abstract cartography is part of a series called “Talking Circles” which have been used throughout history to create a respectful and peaceful place for people to understand differences, celebrate common ground and hopefully learn that we are all more alike than different.

Artists Fairmont Color Card Letterpress, textile, collage, foil stamping

Shimmy Collaged, hand painted, found paper, ink

Fade-Out / Black Woodcut relief print

Once Upon a Glacier...

Reduction woodcut

8 Sarah Bryant This work is an exploration of the roles of textile, color, and fashion in the origin story of landfill culture. This project includes a sample book of domestic fabric swatches gathered from my clothes and bedding, and a series of seven collages. Text was culled from 1977-78 Home Furnishing Color Card, and The Wastemakers, written

by Vance Packard in 1960.

9 Heather Cavalieri My intention is to record in daily life such as the shape from a pine cone gathered on a walk or the wrinkles I observe in my hands. I am collecting my own visual language. Repetition creates many intersections to explore as an artist. I am fascinated by the way recurring shapes and lines create a new structure reflective of my energy in the making.

10 Chris Chandler My studio practice is based on the construction and deconstruction of modular type. The simplicity of breaking the alphabet down into its most basic elements and allowing the assembly of these shapes into seemingly endless combinations appeals to my analog self.

Atomic Sediment (regular edition) Screen print

Broken Pattern Polymer photogravure with chine colle

Prussian blue candy bowl Acrylic on paper

12 John Dobbie I have always been able to see the life in inanimate objects. Technology allows me to explore further inside still images.

This is where the composition starts to reveal itself. Having the digital turned physical by way of screen printing is an important aspect of my work because it allows for precision but gives it warmth only a human touch can bring.

13 Beth Dorsey I am attracted to common objects with repeatable elements/patterns such as venetian blinds, grates, building facades, and windows. These repurposed objects and patterns form the foundation of the images. Layers are added which obscure and enhance the structure.

14 Lois Eder + Fanelle White The paintings have been described as whimsical and colorful with themes that use aerial views of Beach Life.

The beach has been an inspiration for the work; combining its colors, movement, and positive energy into each work with the hope that viewers smile.

11 Cathie Crawford A glacier is a climate indicator. It is also the memory of the planet and life on Earth (from the Mer de Clace Visitors Center). This is a memorial to La Mer de Glace, as I remember it, from the black and white photo I took on my first visit in 1977.

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Works on Paper Fractals 1 Collagraph

Dazed and Delighted Acrylic on Arches paper

15 Katherine Frajbis Fractals I is from a series made using recycled materials; namely melted chip packets and Tyvek. Melting creates random shapes resembling the folds and creases in rocks, which were also created by heat. The plates are “balanced” to resemble rock formations such as Hoo Doo’s.

16 Gwen Gunter My art practice brings a freshness to organic geometric abstraction that pays homage to the forbears of minimalism and hard edge painting. My shapes are pure yet playful and are energized by curves as well as straight lines that move over and through the composition.

The Cave Watercolor

November Pond, Wyatt, MT Gouache on paper

17 Qingling Guo My painting seeks to trace the steps of women, from the very moment they enter society.

In each stage of my practice, I seek to express different facets of female identity.

Towering Above Watercolor on yupo

Background 2017011 Acrylic on paper

Idoneous Oil pastel

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18 Sibylle Hagmann I experiment with forms we commonly accept as letters. I hear language for its meaning as much as I see it as form and draw conceptual influence from it.

The meaning of an abstract symbol usually stands in for something and its significance is learned.

19 Susan Hennelly I am inspired by Nature. My painting is a record of my observation with a largely unconscious expression of my emotions; abstracting details to the simple essence of the design. I have the opportunity to describe what I wish in a brief and powerful way.

20 Gregory Hennen As a landscape artist I work to create paintings that are contemporary in their design and inspire the viewer to look closely at and even venture into the natural scene depicted.

Finished paintings are often composites of several images that have evolved from a realistic portrayal to a more simplistic interpretation.

21 Judith Hummer Working on yupo paper is a challenge and a thrill. It is exciting to discover new ways with which to express my thoughts. I look for a different way of presenting my subject, employing an unusual technique or perspective with which to engage the viewer.

Artists Abstract 43 Pen and ink drawing, alcohol based color

In the Hall Four color woodcut

No. 6: Awake â Acrylic on paper

Towards the light Watercolor and gouache on yupo

22 Rickie Jacobs I like starting out with my pen and seeing where the lines take me, rather than planning with pencil first. My drawings reflect an inner tension of lines, but also generally express an overall sense of resolution through proportion and balance.

23 Joyce Jewell During the pandemic I found myself drawn to the simplicity of the woodcut. Photographing the interiors of my home and exploring the shadows and shapes led to a series of multi-layered woodcuts. The satisfaction of the process allowed me to combine and interact with the images in ways that celebrate our concurrent existence.

24 Jori Johnson I investigate how we craft meaning from abstract phenomena. Vivid color systems become the sensory rhythms we bathe in, offering planes for playful exploration into the space between memory configurations. These works belong to the series Motion Hierarchies, where I consider a particle of light undergoing simultaneous phase transitions within indefinite time.

Chuck’ems Peak Chalk, graphite, charcoal and ink

Ascension VI (Part I) Graphite on Japanese paper

The Letting Go (Motherhood) Watercolor, colored pencil and acrylic on paper

26 Eric Kaepplinger Whether the work comes from history, the abstract or personal experience, my expression deals with potential adventure, the energy all around our daily lives and soul quenching experience. As a mixed media artist, I have a strong influence in drawing.

These works started with inspiration to use blue snap-line chalk as I grew up in a family of carpenters.

27 Anna Kenar The fundamentals of my upbringing in Central Europe create an aesthetic referencing tradition and history. I am interested in creating environments that illustrate concepts of conflict, alienation, power, and control. I investigate the relationships between structure and chaos, constraint and enablement, beauty and violence as they relate to the human condition.

28 Jenny Keyser “Sometimes the only way to get over the sadness of your kids growing up is to rest in the beauty of the people they are becoming.” - Unknown. Most of my pieces include a combination of watercolor, colored pencil, acrylic, oil paint on archival paper impregnated with acrylic gesso.

25 Megan Johnson I aim to explore the ephemeral quality of the landscape I depict. I emphasize the contemplative nature I am surrounded in mentally and physically while experiencing these spaces. This work is a personal examination of landscape painting, where I create new images of the sublime and explore the complexities from within.

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Works on Paper Lilac - I Watercolor on paper

Paths Acrylic and ink on paper

Stasis Multimedia collage

Oak Leaf Oil on canvas paper

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29 Haya Kim Painting could become my presence, and the moments of my presence were accumulated in my painting. I paint with memory I always bring in me, and I find colors from my surrounding nature.

30 Michele Krauss Through a subliminal symbolism, I make personal statements, I express hidden stories, thoughts and feelings. These are influenced by current events and issues that affect my inner world. My goal of final expression is to communicate with the viewer and create a connection.

31 Matt Kuhlman My work explores the human impulse to create order out of chaos. Drawing from unplanned piles of material, I slowly search for resolution within a space that is founded upon several arbitrary starting points and decisions, and most points in the process feel like a complete mess.

32 Ava Lambert While the subjects of my paintings are often diverse, all reflect a fleeting moment in time.

The images I portray are of subjects seen in passing, often overlooked, or rarely given a second thought. I find inspiration in capturing these moments and portraying them in a new and focused light.

Efflorescence Hand pulled intaglio and drypoint on Rives paper with paper pulp

Gloaming 14 Watercolor on paper

Song to Life Underfoot Watercolor, pen, pencil

33 Debbie PC Lee Efflorescense is about stories behind aging building surfaces. It explores texture and materiality with paper pulp.

Juxtaposing forms evoke sense of weathering in the Northeast, representing the beauty and nostalgia of time.

34 Marietta Leis My work is my impression of place. In my travels I look deeply at the environment surrounding me, take a pulse, a temperature and chart the soul of what I experience. My surfaces try to capture the elegance of a paused state.

35 Jacqueline Maloney I see landscape as a village: networks and layers of sentient beings intimately in need of one another.

Those networks do not end at our skin or the canopy or the grounds surface. Everywhere we are sensing, we are also sensed.

Artists 36 Dominic Martelli I typically am a realist painter in oils. Both in the studio or plein air, I like to work from life. I sometimes like to try things on paper for a change of pace.

Nocturne 2 Paper, ink, acrylic medium

New Moon, Black Moon Watercolor, oil, gouache, pen and graphite powder

Below, Above (Distichlis Spicata) Print from etched and naturally corroded steel

Still Life 030 Acrylic, soft pastel, charcoal, pumice transfer on paper

Night Harvest 1 Reclaimed matte photos of night harvests in the fields

37 Heather McMordie My work is part of a series of seven prints that attempts to visualize the hydrology of a salt marsh. Each print pairs impressions from two steel plates: one that has been buried in and corroded by saltwater-saturated soils, and another that pictures the dominant plant species at that location.

38 Joshua Meillier My work is informed by an interest in material, process, physicality, and my surroundings. Using process and material, I reflect on and question the world we live and work in. For me, painting has many ways to access the process and material, but at the end of the day, all it needs is itself.

40 Janice Nakashima In the OPUS series, of which Chorale 3, Intermezzo, and Nocturne are taken, I used my connection to music to guide me in exploring how to make a visual work intersect with the rhythms and patterns found in music. I layered paint and ink with gel medium and found a transluceny that lends itself to this series.

41 JP Nicolaides I make monoprints. Each is an original and singular work; I use hand cut designs and found objects. Contrasting color, value and shape is fun and exciting to me. #0199 Acrylic monoprint on acid free paper

Inside Nature II Graphite on Bristol

42 Lynne Oddo My work is contemplative and influenced by nature.

Using the harmonies of proportion to suggest views of the natural world, the work speaks to abstract expressions of form and space while it also uncovers the spirit in life.

39 Barbara Miner The midwest is flyover country according to most news organizations; nothing of note to be considered. Everyday, no matter the weather, I walk and photograph the macro and the minutiae on the land outside my door. I use these images as touchstones for this series. I am a part of a web, connected and somehow separate from all other organisms.

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Works on Paper 43 Nancy O’Hara My artistic journey is an extension of my longtime Zen meditation practice. I work in the abstract form in an attempt to express and communicate the ineffable.

Mandala #5: May All Beings Be At Peace Pastel, graphite, charcoal, ink on paper

Reclaiming Honor, Respect, and Devotion to Duty (Respect) Mixed media on paper

Root Bound Ink and watercolor on paper

The Coming Storm Ink on cold wax on vellum

10 Works on Paper

Transitive Paper, pastels, graphite, beeswax, resin

44 Mark Oldland Honor, respect, and devotion to duty are the core values of the U.S. Coast Guard.

During the recent trial for the slaying of Ahmaud Abery, the gunman and so called Coast Guardsman cited his training in the Coast Guard as jurisdiction for his crime. He was wrong, and this series takes back our core values.

45 Amber Palecek Living in an environment affected by the human presence, I have come to appreciate the stubborn and persistent flare of Mother Nature in our city spaces. She will grow as she pleases! I find inspiration from the wild persistent plants that insist on sharing our spaces. They often become a metaphor and symbol when I find myself needing one.

46 Katharine Philip I observe the beauty of our world, and endeavor to use it to create a new interpretation that incorporates my reaction to our circumstances. I love to watch storms over the ocean.

Storms remind us of our fears, aspirations, weaknesses, the infinite and divine. We know change is inevitable and improvement may come.

47 Corey Pressman My artworks use the colors and forms of everyday experience as an alphabet with which to describe states of consciousness that are otherwise difficult to articulate. The work isolates and rearranges the hues, shapes and relationships of shadows. The work reports and transports; it becomes the map and territory.

48 Nicholas Ruth My work pictures human ingenuity, the promise of technology to bring us together, and the way that the drive for progress always outpaces an ethic to direct it.

Cobb’s Hill Etching, aquatint, spit bite, drypoint

Throughway White charcoal, foild tape, masking tape, paint

49 Chris Sancomb At its core, my practice revolves around a fascination with materiality, plasticity, and expressive form. My current artistic research explores concepts from physics, astronomy and cosmology utilizing scientific data and deep space images as starting points to inspire and generate sculptural form. This work is an expression of wonder and the elusive magnitude of space and serves as a way to obtain knowledge and understanding through inquiry, synthesis, material exploration and making.

Artists Contenders I Acrylic, ink, graphite, charcoal on paper

Pandora Turn Drawing, painting, on inkjet image on rag paper

Below the Cloud Line Watercolor, gouache crayon and colored pencil

Iceland Series #5 Acrylic glaze on gessoed paper

50 Amy Schissel Confronting anxieties about the role of painting in the information age has been my long-term project. As the world of digitization continues to develop, and our sense of space and the radical new ways we move through space, so do my projects. I address these new spaces and our movements and observe changing cultural identity and consciousness.

51 Kenneth Schnall In this work I use a base archival inkjet image on rag paper as a platform for painting and drawing in water based materials and media such as pencil and gouache. This work is mounted on my own sculptural canvas construction.

52 Adina Segal My process is dynamic. I invite spontaneity by pouring liquid paint on paper, embracing the tension between my need for control and my desire to experience the unknown. Color, circular shapes, and layers are elemental to my abstract nature-inspired paintings.

My work is process-driven and rooted in discovery.

Water Mosaic (Yellowstone NP) Watercolor on paper

A Roomful of Similar Strangers Acrylic on Indian Wasil paper

Dawn Reaching Up to Start the Day Unique s2400tone lithograph and monoprint

54 Beth Shadur Water Mosaic is from my National Park Project series, looking at human impact on pristine spaces. Small works like this one from Yellowstone National Park highlight the park’s stunning unusual formations that need to be considered as sacred to protect the land and environment which serves as our nation’s natural legacy.

55 Morgan Shankweiler My work is anchored in process as a pathway to abstraction. I utilize artist-created systems and games as catalyst for meditative drawings, metaphorical paintings and data visualization.

Data for the puzzles is drawn from statistics, sociological theory and play.

56 Sloat Shaw There is a huge energy that rises up from the earth itself that signals the birth of dawn.

The co-creation of sky and earth holds the promise of something new entering this world. I use the seven planes meditation technique to help me see the earth as a living, ever changing part of humanity.

The earth is a mirror for change in a greatly accelerated process of destruction and creation.

53 Jacqueline Sferra Rada I am inspired by my immediate surroundings: landscape, architecture, seascape, skies, or an object. The sparse style and subtle tones of each work reflect my deep bond to the vastness and simplicity of nature.

Works on Paper 11

Works on Paper Untitled Mixed media on paper

Red Leaf Lettuce #1 Watercolor on paper

Untitled 68 Mixed media collage

Fringe Collage of risograph on handmade papers

12 Works on Paper

57 Hilary Sheehan This piece starts with a walnut ink gesture drawing. I then added pencil and watercolor stencils, abstract free hand pencil drawing, conte crayon marks, and a splatter of blue acrylic.

58 Helaine Soller My contemporary watercolors reveal the beauty and drama of often overlooked events in nature captured at a moment in time evoking metaphors alarming us to greenhouse effects on food supplies. Spontaneous brush strokes of color fuse observation with imagination.

59 Janice Stanton In all my work, I seek to create something revelatory, to blur the lines between different artistic mediums, and give visual expression to personal experience and the human condition. Among the elements in my collages are found objects. pieces of my own photographs, text, markings, made with my own hand and the detritus of daily life, suggesting nostalgia.

60 Jacquelyn Strycker The work embodies the pleasures of color, pattern, and craft, but also the brokeness of the present as the quilt blocks fall in and out of repetition, interrupted before they can complete themselves.

KuroKuroShiro Kami Striving IV Sumi on paper mounted on Kakejiku

Maximum Strength Acrylic paint, gouache, watercolor and medium on yupo paper

Lily Pond in the City of Grace Watercolor, gel paint on paper

61 Nishiki Sugawara-Beda To speak to the core of humanity, I seek the connections among cultures both from the past and present, and I focus on tracing traditional Japanese activities and materials back to their origins through my research.

62 Jessica Tawczynski I am a Brooklyn - based artist and founder of Inside Voices Art. My work pulls energy from the landscape and examines Divine Femininity, Nature, and women’s intuition. Using the landscape, I pull energy directly away from the surfaces of the Earth and imbues my images with them.

63 Roxanne Teng Life is like a lily pond; you don’t know where leaves grow up inadvertently. People say lotus flowers rise from mud, but they are unstained. How is it different from people’s expectations? My works are all from the stories, dreams and memories with the innermost authentic feelings of people.

Artists The River at 9am Six color inkjet print

Vivian’s Tree Gouache

Untitled (Transition 2) Ink on paper

Boustrophedon Mixed media photographic collage

64 Peter Tilgner From its Adirondack beginnings to Sandy Hook and the Atlantic, the Hudson River’s three hundred and fifteen miles encompasses some of the east coast’s most spectacular scenery. This image was photographed north of the Tappan-Zee while walking on the Nyack River Trail. It captures one of the Hudson’s many moods.

65 Janet Tsakis As my work evolves, I continue to look for ways to express what is personal to me; my love of the natural world, along with my disdain for manufactured landscapes that spoil the biodiversity of our land. Some of my ideas are to treat the Tree the same way as traditional portraiture.

66 Clark Valentine My drawings document a contemplative process of mark-making. Referencing various traditions of mysticism, my artwork balances an active meditation of the mind and passive response of the hand.

67 Cynthia Laureen Vogt Boustrophedon comes from the Ancient Greek meaning “turning like an ox (plowing),” referring to the writing of alternate lines in opposite directions and sometimes also in reverse, as in a mirror.

Pink Columns Inks and alcohol on yupo paper

68 Joanna Wezyk Two Pink Columns depicts the oldest standing Benedictine monastery in Poland, meshed with memories of the Venetian Ducal Palace. Here, the pink color symbolizes the struggles between piety and hedonism.

A shelter provides hope, but its existence imples constant danger and its construction ties one to the dangerous place where it is built.

69 Lily Wieleba I draw much of my inspiration from the life and death of my friend Sarah Fauver. Etching entered my life as Sarah left it. Since then, I have used etching to process Sarah’s life and death in its entirety.

March 28, 2019 Aquatint etching

E. Coli Bouquet Watercolor on arches paper

Terrain Painted paper collage

70 Elizabeth Wilde-Biasiny These recent watercolor paintings I began in February of 2020, based on Consumer Reports images of infected lettuce that were color coded to show the bacteria found, such as E.Coli. While beginning with a critical intention, I found the language of color, form and light to be healing.

71 Lauren Yandell My collages use painted paper and spray paint to investigate the geometry of nature.

Weather conditions and natural environments are deconstructed to express the basic visual structure of these subjects.

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Works on Paper 1st Prize

Succession of Bestial Acts 15 sheets of drypoint on paper, color paper Juror Lanka Tattersall, Curator of Prints and Drawings at the Museum of Modern Art (MoMA), NY.

2nd Prize Cleaning Ears Soft pastel on paper

14 Works on Paper

Kosuke Kawahara Kosuke Kawahara explores meditative moments of instability and ways to confront fear which is rooted in the volatile nature of her experience from the Fukushima earthquake and nuclear disaster. This environment cultivated her understanding of coexistence and imperfection in her own process. kosukekawahara.org/

Mara Clawson

Mara Clawson works until the colors “get along.” She works with soft pastels and also references her iPad to convey her perception of the world. The process gives her the courage and allows others to experience her positive outlook. maraclawson.com/

2021 Awards

3rd Prize

Pan De Reyes Acrylic on paper

Honorable Mention Local Territory Collage, hand printed on mulberry paper ink wash drawing

Paul Valadez

DIY images from an impoverished border community fascinate Paul Valadez. Born in California to a Mexican-American family, he found that certain individuals tend to label him and his work; he’s been called Hispanic, Chicano, Latino, MexicanAmerican, Californian, Texan, but rarely just an American artist. The difficulty arises when viewers see a label and associate it with a certain “type” of art production. paris1920.com/

Holly Hughes

Holly Hughes is inspired by study of historical and decorative arts traditions; in particular ceramics and textiles. She makes simplified and abstracted codes to invoke the natural world and our relationship to it. During Covid lockdown, her approach to painting has shifted to allow for more uninterrupted experimentation. hollyhughesartist.com/

Works on Paper 15

2022 Index 1. Christine Aaron

christineaaron.com

38. Joshua Meillier

joshmeillier.com

2. Laura Ahola-Young

lauraaholayoung.com

39. Barbara Miner

tfas100.org

3. Greg Bahr

greg-bahr.com

40. Janice Nakashima

jnakashima.net

4. Andre Bassuet

andreleebassuet.com

41. JP Nicolaides

jerseyartistregistry.oirg

5. Hugo Bastidas

hugobastidas.com

42. Lynne Oddo

lynneoddo.com

6. Emily Beezley

emilygilmanbeezley.com

43. Nancy O’Hara

nancyohara.com

7. Ashley Briggs

@formandhue (Instagram)

44. Mark Oldland

markcolinoldland.com

8. Sarah Bryant

bigjumppress.com

45. Amber Palecek

@palechickstudios (Instagram)

9. Heather Cavalieri

heathercavalieri.com

46. Katharine Philip

katharinephilipart.com

10. Chris Chandler

neuhauspress.com

47. Corey Pressman

coreypressman.com

11. Cathie Crawford

cathiecrawford.com

48. Nicholas Ruth

nicholasruth.com

12. John Dobbie

jdobbie.com

49. Chris Sancomb

sancombsculpture.com

13. Beth Dorsey

bethdorsey.com

50. Amy Schissel

amyschissel.com

14. Lois Eder

lifeartdesigns.com

51. Kenneth Schnall

kennethschnall.com

15. Katherine Frajbis

kathfrajbisart.com

52. Adina Segal

adinasegal.com

16. Gwen Gunter

gwengunterart.com

53. Jacqueline Sferra Rada

nyartistscircle.com

17. Qingling Guo

guoqingling.org

54. Beth Shadur

bethshadur.com

18. Sibylle Hagmann

kontour.com

55. Morgan Shankweiler

morganthomasshankweiler.com

19. Susan Hennelly

arteastdutchess.com

56. Sloat Shaw

sloatshaw.com

20. Gregory Hennen

gregoryhennenpaintings.com

57. Hilary Sheehan

hilarysheehan.com

21. Judith Hummer

judithhummer.com

58. Helaine Soller

helainesoller.com

22. Rickie Jacobs

rickiejacobs.com

59. Janice Stanton

janicestanton.com

23. Joyce Jewell

joycejewell.com

60. Jacquelyn Strycker

thestrycker.com

24. Jori Johnson

jorijohnson.com

61. Nishiki Sugawara-Beda

nishikibeda.com

25. Megan Johnson

meganbjohnson.com

62. Jessica Tawczynski

jessicatawczynski.com

26. Eric Kaepplinger

@kplnger (Instagram)

63. Roxanne Teng

soulart.me

27. Anna Kenar

anna-kenar.com

64. Peter Tilgner

petertilgnerphotoart.net

28. Jenny Keyser

jennykeyser.com

65. Janet Tsakis

janettsakis.com

29. Haya Kim

hayakim.com

66. Clark Valentine

clarkvalentinefineart.com

30. Michele Krauss

michelekrauss.com

67. Cynthia Laureen Vogt

cynthialaureenvogt.com

31. Matt Kuhlman

mattkuhlman.com

68. Joanna Wyzek

joannawezykart.com

32. Ava Lambert

avalambertart.com

69. Fanelle White

lifeartdesigns.com

33. Debbi PC Lee

dpclart.com

70. Lily Wieleba

lilywieleba.com

34. Marietta Leis

mariettaleis.com

71. Elizabeth Wilde-Biasiny

bettywildebiasiny.com

35. Jacqueline Maloney

jacquelinemaloneyart.com

72. Lauren Yandell

laurenyandell.com

36. Dominic Martelli

chesterfieldtwphistoricalsoc.org

37. Heather Mcmordie

heathermcmordie.com

16 Works on Paper

The LBIF

Founded in 1948 by Boris Blai, the Long Beach Island Foundation of the Arts and Sciences (LBIF) is an outstanding community and cultural facility. Dr. Blai, a student of sculptor Auguste Rodin and founding dean of the Tyler School of Art at Temple University, envisioned a facility that would foster individuals and their talents. The LBIF has continued this vision by offering thousands of classes, workshops, exhibitions, and educational programs to the community. Since its first season, the LBIF has committed itself to the enhancement of the creative arts and the physical sciences, and though it began as a seasonal operation, the LBIF has grown into a year-round organization providing a place for learning, free expression, and the exchange of ideas and understanding. The LBIF invites all visitors and residents to participate in the many programs and activities offered in its 74th year on LBI!

The LBIF is a registered nonprofit 501(c)(3) organization. Your Membership provides critical support for the Arts, with opportunities and experiences that provide enrichment for all. Please visit lbifoundation.org for more information about Membership.

Works on Paper 17

THE LONG BEACH ISLAND FOUNDATION OF THE ARTS & SCIENCES

120 LONG BEACH BOULEVARD, LOVELADIES, NJ LBIFOUNDATION.ORG // 609 494 1241 18 Works on Paper