Salann Magazine 2nd Edition

Julian Tejera Fisherman oil on canvas

Julian Tejera The Struggle oil on canvas

Julian Tejera Caitlin oil on canvas

Julian Tejera Focused oil on canvas

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Julian Tejera The Draftsman oil on canvas

Julian Tejera Over the years I have switched gears quite often.

From fantasy illustration to portraiture to genre painting and more, the one consistent thread has been my love of the figure. The rainbow of possible color combinations that comprise flesh; the language of the body as it appears at first in one way, but says something else entirely; the visible history on the skin; the nuanced emotions in the eyes… there is no end to my fascination with people. Willem de Kooning said “Flesh is the reason oil paint was invented,” a curious sentiment from the great abstract expressionist painter. But he was right. My current interest lies in painting people not for the sake of holding onto anachronistic ideals of what realistic painting needs to be, but instead as a means to explore what I can do with paint while maintaining my reality.

Every canvas or panel I paint is an act of curiosity, making it difficult to define a consistent style. My interest in abstract artwork lies in its ability to tap into the viewer’s subconscious in a way that is lacking in traditional representation, allowing them to participate actively with the work of art. Conversely, realism provides me the opportunity to connect empathically with the viewer. This is not an original thought and I claim no ownership over it, but I do see myself as part of a visual language that continues developing where both philosophies are finding common ground. I am indebted to the artists who have come before me, as well as to my teachers, directly in school and indirectly through the easy access of social media, for opening doors to ideas and possibilities. While I may not be known by my style, I do hope to be known by my authenticity in every artwork I produce.

Julian Tejera Bio Born and raised in New Jersey, Julian Tejera has seldom gone a day without pencil in hand. Receiving his BFA in illustration from the Art Institute of Boston at Lesley University in 2008, he worked as a freelance and portrait ar tist for a number of years. While working at the Montclair Art Museum Julian discovered a passion for teaching, leading to the start of a career as a sought after ar t instructor for teens and adults in his home state. The decision to pursue a master’s degree came from wanting to push his ar tistic vision as well as a desire to grow as an educator, and so he attended the Academy of Art University in San Francisco, graduating in 2015 with an MFA in painting. Currently he remains a full time art educator and artist, inspiring students and continuing to push himself artistically.

Julian Tejera Denis oil on canvas

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Aruna Rao Framed by Light oil

Aruna Rao Georgetown at Sunset oil

Aruna Rao

My body of work is a series of landscape oil paintings that reflect my love for picturesque scenery and my fascination with the nuances of light. Nothing excites me more than capturing the intangible beauty of light, color, and atmosphere as it transforms the landscape.

I also tend to be drawn to scenes of the quieter life typically found in quaint rural and small-town locations.

Aruna Rao Garden of the Gods oil

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Ultimately, my landscapes evolve both from my innate responses as well as from study, and exploration. By exploring the interesting contrasts that exist between light and shadow, warm and cool, organic and structural and so on, I hope to create visceral and layered landscapes, which evoke a strong sense of place and time in the viewer’s perception.

Aruna Rao Vantage Vista oil

Aruna Rao Foothills of Westcliffe oil

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Jason John

My interest as an artist is related to how people develop personal identity in relation to personal memory and how individuals interact with the social world.The situations individuals experiences can drastically alter the shape of a person’s memor y, and furthermore, identity and social perception.

As a painter, I represent figures trapped in an environment of uneasiness and flux.

Some or all of the people in my paintings are concealed by a veil or mask. Partially concealing the identity of an individual removes the personal relationship viewers would expect from an openly represented portrait. Each character in my paintings has become one with their environment and can evolve toward empowerment or devolve into personal displacement and loss of identity.”

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top: V3 oil on canvas bottom: Walter as Detroit oil on polyester

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Boy in the Well oil on polyester

The Wrestler oil on polyester

Jeff Goldenberg

Primarily self-taught, Jeff Goldenberg (born in Brooklyn, NY ) was mentored and inspired from an early age by his father, an accomplished artist who taught fine art for over 30 years in the New York City public school system.

He also studied under renowned postwar ar tists Lee Bontecou, Philip Pearlstein and Ron Mehlman.

to inject interpretation. The lack of human habitation, coupled with the depiction of “off hours” imparts a surreal atmosphere, akin to scenes from a film noir movie. An air of loneliness pervades, not just because of the absence of people but because the towers are themselves reminders of things that are out of sight and out of mind.

His latest paintings depict views of the lower Manhattan skyline from vantage points seen from his studio.

Common to all are the ubiquitous rooftop water tanks, iconic landmarks vital to the city’s existence yet unseen and unnoticed by people at street level. The subject matter and style of execution touches on precisionism, bordering on realism, but there’s enough of an “uncanny valley” aspect to give the viewer some space into which

The artist currently resides in SoHo and besides painting, he is a sculptor, creator of functional ar t, a writer and film maker.

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clockwise: Red Fire Escape acr ylic on canvas Late Afternoon Bleeker acr ylic on canvas Untitled acr ylic on canvas Houston & Broadway acr ylic on canvas View From Long Island City acr ylic on canvas

Jeff Warren Painting has always been at the top of my list of passions.

To have the time to concentrate fully on painting is the answer to a life’s dream. My main objective is to continue to develop my craft in my own style, Romantic Realism, and to keep challenging my imagination. I hope to create paintings that are playful and sometimes pensive. Mostly, I hope to project a view of the universe as benevolent — to interpret the world the way I would like to see it. Maybe even to leave it a little better than I found it. clockwise: Birds of a Feather oil on masonite Dali’s Bar & Grill oil on masonite, Hello, Dali oil on canvas,

Mark Leysen Leysen’s abstractions create a strong sense of rhythm that gives a dynamic illusion of layered planes. His work has been in multiple group and solo exhibitions, and is also in many corporate and institutional collections, including: KWIKA Law, Chapman University, City of Irvine, Newport Beach Arts Commission, Santa Ana College and the City of Fontana. He is a past recipient of a UCI storefront ar tist-in-residence grant. In 2017 he won 1st Place in the Channel Islands Collector’s Choice Exhibition in Camarillo. He holds an MA from CSUF, lectured and taught studio art for 25 years.

Now retired, he paints full time in Irvine.

Mark Leysen

right: Rip Current Quartet oil and acrylic on panel

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Jean Sanchirico Kirk Ruse

Limantour, chalk pastel jeansanchirico.com

Jean Davis

The Last Anchorage of the Emelie Crowne, oil on canvas Cresting, oil on canvas fineartamerica.com/profiles/kirk-ruse

Veil oil, charcoal, conte on linen, Cache oil on linen jeanzart.com Oil, charcoal, conte on linen jeansanchirico.com

Anderson Valley oil on canvas

Jean Sanchirico

Irma Ostroff

Heather Pieters

REST oil on linen, LOCATION II oil on linen

Heather Pieters clockwise: Lost In Cycle acrylic and panels on canvas, Interconnectedness mixed media, Skin encaustic heatherpieters.com

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Aydin Hamami Tantalus no. 2 acrylic, collage, aerosol, oil stick and gold leaf on canvas Adrian Hatfield Silver Lining oil on linen

Adrian Hatfield These paintings, which sample and recombine elements from art history, illustration, and pop culture, are inspired by my reflections on mass extinctions and anxiety about our current environmental issues. My intent is for the pieces to be, on one hand, unnerving, but also funny, strangely beautiful, and even oddly hopeful.

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Adrian Hatfield Probe 7, Over and Out acrylic and oil on canvas Adrian Hatfield If this isn’t nice, what is? acrylic and oil on canvas Lezlie Jane Watching Wind paint and collage

Column One: Aydin Hamami Tantalus no. 4 Aydin Hamami Tantalus no. 5

acrylic, collage, aerosol, oil stick and gold leaf on panel

Lezlie Jane Snowy Night paint and collage

Lezlie Jane

At the core of my art making is my love of discovery.

I approach each work of art as an adventure with a mystery to be revealed. My paintings are non-objective but distinct images and messages emerge. The finished piece often surprises me and yet is always familiar.

To qualify as an adventure there must be some discomfort. To be a discovery something must be revealed. Art making is risky business when done well.

Creative work became full time for me in the 1980’s.

Over the decades I have worked in bronze, concrete, glass, steel, enamel, gold, clay, and most currently paint.

Column Two: Aydin Hamami Tantalus no. 3 acrylic, collage, aerosol, oil stick and gold leaf on panel

Lezlie Jane The Gift paint and collage Lezlie Jane Life’s Twists and Turns paint and collage

Aydin Hamami

Aydin Hamami is a Turkish-American artist based in California. His work deals with issues of myth, identity, social isolation and “the other”, through the lens of pop-art collage and aggressive abstract mark-making. His paintings have been shown in galleries throughout the U.S., as well as in private collections in Tokyo and Istanbul. Hamami holds a BFA from Pratt Institute, a post-baccalaureate degree from Maryland Institute College of Art, and an MFA from The University of Maryland.

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Claire Shafer

Claire Shafer combines her architectural background with her passion for the natural world through found paper collage. She hopes through the juxtaposition that results from collage will encourage viewers to pause and think twice about what is seen, shifting perspective slightly to see the world in a new way. She is based in Longmont, Colorado, where she loves exploring the mountain and deser t landscapes. To The Moon, Georgia, It is What It is, collage

Jennifer Gould

Jennifer Gould’s figures, which she often refers to as dolls, unite her lifelong fascination with textiles and her desire to create emotional, contemplative ar t in sculptural form, creating a structure and a canvas upon which her experiences of life play out. Her figures are autobiographical and reflective of her keen interest in European medieval history, Japanese culture, and other cultures’ clothing explorations around the world. These dolls usually contain organic forms: leaves, petals, stamens, roots, dragonflies, vines, bees, the sky, sunshine, clouds, anything wild. The inherent rhythm of these living things and their connection to the seasons and the land influence Gould’s use of surface design and stitching in her work.

In the Midst of Winter textiles, fiber Green Woman textiles, fiber Pisces Woman 23: Blue Anemone fiber

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clockwise: Study #4, Study #19, Study #11, Study #10, Study #5 found objects, multi medium

Cynthia Minden

On Reclamation Text by Sarah Joyce, Director / Curator / New Media Gallery New Westminster, BC Canada Here is a mindful world of enfolding layers; layers that might shelter hidden meaning, or some precious core. Holding fast to bone, fibre and hair. The outcome of precise observation and reflection. Here are elusive endings and ties that bind. A recollection of lost surfaces; phantom past lives. The intricate beauty of material decay...bewitching degradations as if sketched from memory. Illuminating moments of clarity and light. Here is a quiet dialogue between the artist and time. Chosen objects seem to speak and know together. Familial things with a secret language whispering through and between them like a connective thread. A progressive threading and unthreading of loss and discovery. Finding meaning and beauty in the discarded, and the abject. Here there are offerings.

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Kate Rivers

Erin Malia Cross

My art is an exploration of various mark making methods through traditional, contemporary & experimental visualizations. I’m interested in how far I can push the concept of drawing/painting and what actually constitutes, “a mark.”

I translate my visual experiences by producing a lyrical movement and allowing dialogue between line, shape, movement and sound to interact within my various compositions, distorted and highlighted.....I create mark-making dialogues of the found objects interacting within various constructions. I often use cyanotypes to create another layer to my compositions.

Cowboy mixed media on paper

Layers mixed media on paper

Kate Rivers is a professional ar tist in Santa Fe New Mexico. Rivers is represented by Thornwood Gallery, and Blue Print Gallery in Texas; Gallery Orange, New Orleans and Greenwich House in Ohio. Her work was featured in “Ar t on the Edge” at the New Mexico Museum of Ar t. Among Rivers’ public collections are: The Baatan Building in Santa Fe, UNM, Central New Mexico Community College, Eastern New Mexico University, USAO in Oklahoma, University of Texas at Austin. Kate Rivers is a mixed media painter. Her book series incorporates the covers of books that are cut and then sewn together. She also uses letters, notes, and a variety of discarded papers. The image of the nest is a common primary shape a metaphor for home and a sense of place.

Bradford Luczak Brad’s ability to use strong materials and harsh angles to create the illusion of “uncomfor table” is genius. His pieces are masculine but sexy. Some desire to touch his work and admire the detail he uses with raw materials and finishes. While others ease into one of his furniture pieces and realize it was created to fit the human figure.

The concept of “uncomfortable” is only an illusion which gives way to amazing style and integrity. The Canti Chair has the illusion of being harsh with uncomfor table angles and a cantilevered seat. It is a statement art piece and yet has a true comfor t and functional design as well.

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Kenneth Henke

The motivation to capture images in the best possible situation, dictates planning beyond a normal outdoor trip.

I consciously consider all the variables that will allow me to capture images in a way that convey a unique, but realistic, interpretation of that moment in time. Photographing nature is primarily about capturing the best light. The best opportunities for prime lightning conditions are often at sunrise/sunset or in inclement weather. No doubt the quest for capturing the perfect image has lead to some rather uncomfortable, but memorable, situations. As good as digital camera technology is today, images viewed, even out of the best cameras, often don’t replicate a scene as experienced through the eyes of the photographer. Our complex senses take into account a wide range stimulus to provide the basis for our interpretation of a scene. Light, shape, texture, tonality, and color all contribute to what stimulates our emotion from viewing an image. Although the photographer can relate those stimuli back to time the image was taken, recreating those details is paramount to recreating the experience for others. To provide the best viewing experience, I spend the time necessary post processing each image. The digital darkroom of today has a variety of software tools available to fine tune an image to better represent the actual experience and emotion felt at the time. Almost everyone can appreciate some aspect of our natural world. I find it easy to be passionate advocate for protecting the blessings that have been provided to us. To that end, I support intelligent and planned management of our resources.

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Barb Smith

For myself, a day of painting is the greatest escape of all. My passion is to paint our amazing landscapes. Beauty can be found almost anywhere. I lose track of time and become completely immersed in what I am creating. Once I start a painting, I feel it is sometimes difficult to focus on other details of my life until I am satisfied with the final result.That is my favorite time with my paintings. It is finally accomplishing my vision. It is my hope that the viewer will experience the pleasure of transforming themselves into my paintings by using rich colors and pleasing compositions. column one: Kenneth Henke Serpent’s Tail photography Kenneth Henke Super Shadow photography column two: Kenneth Henke Big Sky photography Kenneth Henke Autumn Radiance photography Kenneth Henke Wandering Through photography

Jody Ahrens

column one: Jody Ahrens Back Road oil Jody Ahrens Mellow Afternoon oil Barb Smith Away From it All oil on linen column two: Jody Ahrens December Light oil Jody Ahrens Evening Showers oil Barb Smith Mountain View oil on linen

Edgy Impressionism best describes Jody’s colorful landscapes.

She is both a plein air and a studio painter who finds inspiration for her work in the beauty and peace of the outdoors. Ahrens’ intense curiosity, willingness to push boundaries, bend rules and envision possibilities make her an experimental artist. Experimental art, she explains, “is responding to the colors and shapes as they are painted on a panel, not manipulating them to duplicate or copy the landscape spread out in front of me”. She feels that her mission as an artist is “to create work that connects with my collectors, bringing feelings of harmony and pleasure to their homes and offices”. Those who bring her work into their spaces can take a journey of their own creation into the depths of the painting.

There is always a place for you to go...a tempting path to explore... shady woods just across the meadow...or a pond to rest by.

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Christina Ellis

Eugenie Spirito

If you had a dinner party, who would you invite? We’ve all been asked that. We try to think of remarkable people who would elevate us if we had an evening with them. That is how I approach the creation of these portrait busts, not only from the perspective of fascinating people who I would like to have dinner with, but also in terms of people who I don’t know who may be equally fascinating. Based on this premise, I sculpt them one-by-one in cement. The great thing about cement is that as a medium, it’s messy and hard to predict, just like human beings. So even though I may think I know who I’m inviting or want to invite, I really have no idea what they’re like until we’re actually face-to-face.

And the best part? You’re invited.

Eugenie Spirito has been carving in stone for over three decades. She began her training in New Yor k City, where she apprenticed with world-renowned abstract expressionist sculptor Philip Pavia, a friend and contemporary of Willem DeKooning, Jackson Pollock and Franz Kline. After moving to California, she continued her training with the late Nino Russo and with Rober t Cunningham at his studio in Culver City. “I find that each stone - alabaster, marble, calcite - has a unique character or personality. In my work I dialog with the stone, offering my ideas but allowing the stone to help dictate the form. It’s an intimate, meditative process, and I crave it.”

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Anne Feller

My ar twork is the meeting point between individuality and human connection weaved together in a compilation of eyebags, wrinkles, and naturals creases of the body.

With intention in every line, I create vibrant movement layered upon layer, compiled into faces and form.

Even in the stillness of a glimpsed moment, I aim to capture the vigorous spirit of humans and their connection with one another. As an ar tist, I am at a really exciting time of growth. I’m always searching for some certain material that will compliment my work and speak to me. Over the years I’ve experimented with pen on photography, ink on hanji paper, and every type of pen imaginable. Most recently, I have begun a journey into encaustic arts, and I am thrilled to see where it takes me.

Fifty Haiku on the Nature of Reality

Each of my fifty Haiku is displayed in random order by touching the touch pad. The piece is designed to show the electronics rather than hiding the technology behind the display.

Gary Fisher

TFT display, touch pad, micro-controller, custom software, custom acrylic enclosure, original poetry.

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Eva Darrington

Dida Kutz

I am relatively new to photography as a serious avocation and am primarily self-trained.

I have found an affinity for darkroom and alternative photography, and except for The Stump, all these images were taken with an antique Zeiss Ikonta medium format camera. Furthermore, Steele Park was taken with expired tungsten film. Expired film and alt processes probably excite me because results are unpredictable and in defiance of the care I have had to take as a technical editor and writer for most of my working life.

During a workshop I took with John Sexton at the beginning of 2018, he commented that I had an eye for the quirky.

I’ll take that.

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clockwise: Gold Poppies toned photography Poppies 1, 2, and 3 salt toned photography

My first career as a landscape designer married my affinity with nature and love of visual arts. In my current work, you may notice a blending of structural, hard edged elements, reminiscent of buildings, cliffs, or horizons, and more organic marks and shapes that reflect plants, water, or light. I love creating a fresh combination of shapes, lines, and colors that have never existed before - resolving each point of tension that arises, responding to one mark, and then the next.

Each mark, whether finally visible or not, contributes to the depth and history of the canvas. clockwise: Land Knows Kealakekua Red Slate Dining Car acrylic on canvas

Buff Elting

row one: Migration Maps – Ghost Bird acr ylic & oil on panel Migration Maps – Wingbeat acr ylic & oil on panel

Buff Elting’s ar t continues to evolve out of her lifetime commitment to observant immersion in the natural world. Vibrant paintings, drawings and photographs translate her sensory memories and feelings of connection, loss, memory, time and place.

row two: Chickadee Journey – Migration Maps charcoal & graphite on paper

Elting has been exhibiting for over 30 years including at The Dairy, Boulder; Denver Art Museum; Museum of Fine Arts, Santa Fe, NM; Autry Museum, Los Angeles; and Biennale Internazionale Dell’Arte Contemporanea, Florence, Italy. Her work is in numerous collections. She received a BFA from Colorado University.

row three: Waxwings acr ylic & oil on panel Migration Map-Beware Potential Perils acr ylic & oil on panel

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Debra Kern

column one: Toys on the Move acrylic on canvas Marbles acrylic on canvas

column two: Marble on the Shore acrylic on canvas Goldfish acrylic on canvas

I like to add sunlight to many of my paintings. It’s such a feel-good addition. My color palette offers many fresh energetic hues, and my slightly abstract style creates a contemporary aesthetic. My subject matter is playful and I choose objects that are challenging and entertaining. You won’t find photographic quality in my work as I believe it is important to remain true to the medium. For example, paintings should show the mark of the brush, or a bit of a previous work underneath.

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Impenetrable Princess oil on board

Denise Dambrackas

Cordelia Meows Seventh Song oil on board

Begin Again oil on board

I love to paint people, capturing not only their forms, but their personalities.

The personalities of the girls featured in my current series are determined, engaged and empowered to create a new world in the near future. By engaging their personal passions with reckless abandon today, they shape a time when culture values and celebrates their unique contributions. This series started with the illustration of imagined scenes and has since evolved to include a realistic painting style of the subjects combined with abstract and fantastical elements.

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Johanna Porter

“I have always made art. I approach my work in the studio as therapy- my dreams and subconscious drive the work forward in unexpected ways. Each piece starts as a drawing on paper where I can process raw emotions. I then digitize the art and begin adding layers of color and form, slowly building until the underlying drawing is like a dream that is forgotten upon waking.” ~Johanna Porter

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column one: Johanna Porter Plants Speak to Me mixed media digital drawing Laure Heinz Untitled acrylic/collage on board Johanna Porter Mother to All Things Wild digital drawing printed on metallic paper column two: Lori Mattina The Great Escape acrylic on foam core Lori Mattina Agent of Fortune acrylic on canvas board Lori Mattina Elephant in the Room acrylic and mixed media on wood

Laure Heinz Untitled 1, acrylic/collage on board Lori Mattina Promise acrylic and mixed media on wood

Laure Heinz Untitled 1, acrylic/collage on board

Lori Mattina Laure Heinz

Recently embarked on small abstract/collage/mixed media pieces as a change from the assemblages I’d been working on. I enjoy the process of spontaneous use of materials available...what’s on hand. Not concerned with content or particular preconceived message. How the piece evolves and “feels” is the guide. Reminding my self to step aside as there are no rules, no mistakes, just adjustments, changes and surprises. Provides moments of complete absorption, just following the intuitive guide and the involvement with the process, media/materials until the work and the inner I agree we are done.

I paint because I feel the need to. After years as an illustrator and designer, I crave a blank canvas and a buffet of colors to mix and slather around, just for my own pleasure. As it was with design, my work is all about process. I start with a concept and express that with color and form on paper and canvas. With playful, bold strokes, I free-associate as I build up layers, following where they lead me. I deconstruct and reassemble, obscuring and excavating until connections (or frictions) star t to reveal themselves. As a result of this new exciting tension, narratives unfold and “connect the conceptual dots”, so to speak. The journey is freeing, and I find joy in the results. My work invites the viewer to feast on colorful ideas, challenge perspectives with levity, and savor the beauty in life.

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Joan Schulze

Borders on the Impossible mixed media collage quilt

Plus or Minus Two mixed media quilt

City Life collage

Robert Motherwell famously said that he considered collage the greatest creative innovation of the 20th C, reflective of the disjointedness of the modern industrial era. This continues to be relevant after 100 years of practice. Now in the 21st C, collage is enjoying another resurgence. My contribution to this renewed interest in collage is an examination of contemporary women’s role, producing collage works which are aided and abetted by a life-long habit of clipping and saving magazines. Early collages came from the 1940s Sears catalog, ubiquitous paper media from childhood. Today I work with a surfeit of print media which surprisingly enough continues to compete with digital media.There is something compelling about cut and paste and its connection to earlier explorations as a child.

In this series the collages are finished in quilt form, a connection shared with a long line of women.

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Dirk Hagner

Dirk Hagner is an artist working primarily in printmaking media. He has exhibited in over 20 solo shows, more than 30 invitationals and over 120 juried exhibitions. He was born and educated in Germany and has been living in California for thirty years. clockwise: Paul Celan reduction woodcut Egon Schiele woodcut Claus Kinski reduction woodcut

His work is in major collections: Library of Congress, DC; University of Delaware; University of Utah, Salt Lake City; Ringling College of Art and Design, FL; Baylor University, TX; Mt. San CT; University of California Berkeley; Arkansa State University; San Antonio College, CA; Otis College, CA; Wesleyan University, CT; University of California Berkeley; Arkansa State University; University of California Santa Cuz; Bainbridge Island Art Museum, WA; Temple University, PA; Biola University, CA; Laguna Art Museum, CA; Bakersfield Museum of Art, CA; Joseph Campbell Foundation, NYC; Bowdoin College, ME; and many private collections.

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Laura Van Horne Laura Van Horne is a mixed-media artist who works in encaustic, acrylic mixed media, ink, resin and collage. She was born in Winnipeg, Manitoba, Canada and moved to Seattle, WA in 1994. She studied at Pratt Fine Art Center, in Seattle, WA. Laura owns Gray Sky Gallery, in the historic Pioneer District of Seattle, WA. She is also represented by SAM Gallery, and Third and Wall Art Group in Seattle, WA as well as Summit Gallery in Park City, UT. All I ever wanted to do was create. Growing up in a sports oriented household presented as quite the challenge. Rarely was there paper in the house so I had to be resourceful in finding my own supplies. Into the woods I went to collect flowers to press and later glue to scraps of wood. I used my aunt’s old nail polishes to paint rocks in my backyard. Nothing was smooth and pretty, all my creations were rough and unusual. I feel this lack of art supplies had a huge hand in making me the artist I am today.

I absolutely love mixed media and texture, spending much of my time experimenting with different mediums and surfaces. There is never a straightforward answer to the question “how did you make that?” I enjoy many styles of painting and use a variety of challenging, innovative mediums and materials to create art.

row one: Tw i ggy mixed media row two: The Fighter mixed media row three: Breath of Fresh Air mixed media on wood panel Wait mixed media on wood panel

Gerald Thompson After completing Which Road?, a pen and ink drawing, I declared myself an artist. I was 16. I received a B.S. in Chemistry from UC Riverside.

Soon, I was a Peace Corps volunteer teaching Chemistry in Kenya. My water color skills improved as I captured new and exciting subjects in Africa. At the end of my assignment, I completed my around the world trip by traveling through Asia to San Francisco. I studied Illustration at the Academy of Ar t College in San Francisco before working for the next 24 years in the analytical chemistry and computer software fields. I seek my ever increasing ability to observe clearly and record impressions accurately. My ability to visualize abstract concepts helps me achieve a unique artistic result.

Jupiter’s Red Spot oil on canvas Cienfuegos Cuba oil on canvas Devil’s Cascade at Victoria Falls oil on canvas

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BPOE Astoria prints on Redstar Xuan Paper

Joyce Theater prints on Redstar Xuan Paper

Aodi Liang

Caja de Ahorros prints on Redstar Xuan Paper

Habibi archival prints on Redstar Xuan Paper

The 5 selected photographs were from Magenta series in 2018. My Magenta series began in 2015 with images taken in New York, Buffalo, Rochester, Portland, Pittsburgh, Maine, Montreal, Canada, Santander, Bilbao, Barcelona, Spain, etc.

Photographs were mainly about the intersection of the street (street corner) and the symmetry diagram of the main structure of the building. The color of magenta is the most durable color that exists in my memory. Its high brightness and distinctive character always make the viewer feel the passion and heat. However, my work reveals my feelings toward a foreign land, the loneliness, the distance. Magenta in it is like a strong contrast, a kind of irony, or a comfort. I hope that through my works, I can take the viewers to sense the places I have traveled. These places may be familiar to others, or they may be just for a sight. Through my colors and my story, these places are always new. Whenever I was told by someone, I have been to this place, but why do I feel different? I will tell them that because these places have one more story of mine.

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Janice Nakashima

As a Japanese American, I draw on two cultures for my inner world that is ultimately revealed in my and mediums to convey how music can be a simultaneous experience of various sounds. I explore work. Other influences include my avid love of the outdoors, environmentalism, music, and social how various types of music may be connected visually and invite the viewer to link what resonates justice issues. In the “OPUS”series, I have focused on the concepts of music and how that inner expe- with them to the paintings and their own interior music. rience of music can nurture us through difficult times. I layer translucent materials of paper, ink,

clockwise: Largo mixed--paper, acylic medium, ink Nocturne 2 paper, ink, acylic medium Waltz paper, ink Chorale1 mixed--paper, acylic medium, ink Intermezzo mixed--paper, acylic medium, ink

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Sandi OBrien

top to bottom: To The Beach, and Bridges archival digital print from digital infrared photograph

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Jo Kubran

Sandi OBrien The arts and photography have been integral in my life since childhood and have been especially impor tant to me as a therapist, to help provide balance in my life. I mostly photograph nature, but at times am moved to photograph people, architecture or animals.

Currently I have been very engaged with my infrared photography, but am also excited about learning alternative processes such as platinum palladium printing.

Hult Lake Reflections with Grass digital print from Infrared photograph

row one: Tres Saguaros in Snow No. 2, row two: Slot Canyon No. 2, Yucca at Twilight photography

In an effor t to capture the magnificence and historic significance of the National Parks and Monuments of the great southwest, as well as the local and regional parks and natural and historical areas, the medium of photography is used.

Living in a deser t environment enables me to record the capricious and often fleeting nuances of the deser t landscape, while the abundant evidence left by those who have gone before, contributes ample opportunity for recording the wonderful stories of historic achievement.

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counterclockwise: Deli Life, Kolkata, Rickshaw, Stairs Aurangabad, Vigilant archival pigment inkjet print

Elizabeth DeBruin

Elizabeth, is a photographer, adventurer, naturalist, spiritual seeker, scuba diver and writer. She received her first camera at age 7 and photographed the family vacation to Disneyland. Elizabeth has a lifelong interest in exploring the world, its people and cultures. She studied history, anthropology, archaeology, art, art history and photography while earning advanced degrees in the biological sciences.

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In Her Truth photography

Kelley Settles

Kelley Settles is an African-American Social Photographer, born and raised in Los Angeles, California. At a very young age she always had the gift of sociological imagination having the vivid awareness of the relationship between personal experience and the wider society. As a concerned social photographer with a clear vision she’s embarked on a mission to extensively document various aspects of human experience. She uses her lenses in attempt to capture, joy from relationships, cultural identity, sexism, homelessness, and religious beliefs. Kelley is an advocate for Human Trafficking and Human Rights. She has traveled nationally to document and exhibit the struggles and joy of all humans in effor ts to educate and make a change.

She is accompanied by her beloved wife Christy. Together these award winning photographers have traveled around the world four times and visited 60 countries. Their photographs have been exhibited in galleries across the United States.

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I believe that there is a magical world inside us all.

A world of imagination, dreams, and enchantment. I want to share a piece of my world and memories with you. As a child, the only way I knew how to express myself creatively was through drawing. I grew up in Venezuela and at the age of four teen while visiting my aunt in California, my parents made an unexpected phone call to us. I learned that I was not returning home because of the political uncertainty, instead they were moving to the United States. I turned to photography as a way to physically document my life. As time went on, it also became my way of expressing myself creatively. As a fine art photographer, I love that I am able to create surreal, painterly images that look impossibly real.

Birds of Prey digital photography It’s Time to Fly digital photography

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The Winter Wild acrylic on canvas

Foo Fighters at Smith Mountain Lake acrylic on canvas

Anna D Bruce

Snowstorm - Shenandoah National Park acrylic on canvas

Jos Biviano

Jos’s landscape paintings are marked by forceful and dramatic displays of light & shadow, intense color, and Turnerlike atmospheric effects. Jos’s compositions push the viewer for an emotional response. With few instances, his work often depicts the land with no elements of human intervention. Jos enjoys painting landscapes bathed in late afternoon sunlight when color harmonies are most pronounced. His love of landscape stems from having lived in many beautiful areas of the country, including many years in the desert Southwest, the Great Plains States, and most recently the Mid-Atlantic region.

Although he works predominantly in oil, Jos also enjoys painting with gouache and other water-based media.

John Anderson Through techniques that emphasize contact with the surface, I explore the experience of visual perception, especially the threshold between seeing and recognizing. In looking, we seek out the familiar and search for patterns. But before we recognize a thing, we are sometimes at a holding point, a place of mystery or ambiguity. I attempt to reveal that place. I use strong, tactile methods and mediums, like deep charcoals on heavily textured surfaces. I let the surface media push back to constrain and even define the image.

That first aspect of perception which is about discovery often involves touch. When we are in dark or uknown territory, we have to feel our way. As with the context of time and place, perception is fundamentally clockwise: Around, Current, Enclose charcoal on textured paper rooted in the bodily nature of being present. I think the way this relates to the tension between abstract and representational expression makes for an interesting subject.

Stephen Fehér Woman’s Profile welded bicycle chains

As an avid bicyclist, I thought of using bike chains, so I procured some from bike shops. There is an ample supply of those since when they are changed the old ones are sent to landfills. Again I worked on the reverse side, so the welds were invisible once the piece came out of the mold, and immediately there was a positive response from people who saw them. I came to appreciate that the pieces need to be displayed using spotlights to cast shadows, and the shadows are another manifestation of Yin energy. I invented a bracket that holds the sculpture a few inches from the wall so when a spotlight shines the sculpture casts phenomenal shadows.

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Ken Dvorak

row one: Clouds and Pilings, row two: Ducks in the Midst, Grasses, row three: Snake River; Ansel’s View, Ferns Salt Creek ONP photography www.kendvorakphotography.com

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row two: Amanda Armstrong Creating Passage Dubai photography Amanda Armstrong The Necromancer Venice photography

Trevor Messersmith

Amanda J Armstrong row one: Amanda Armstrong Release photography

row three: Trevor Messersmith Double Apollo Theia photography Trevor Messersmith Egg photography

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Ju-eun Shin 20_Shin Underwater monotype, collagraph

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unglazed ceramic and thread on canvas

Liang Zhang Continental Plate 1 Kristina Kashtanova The Nest photography

column one: Liang Zhang Continental Plate 2, Continental Plate 5, Continental Plate 6 unglazed ceramic and thread on canvas Kristina Kashtanova Mati photography and digital illustration column two: Ju-eun Shin 15_Shin Underwater, 17_Shin Underwater monotype, collagraph

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Born in 1954 in Easthampton, MA, Smith is among the leading artists of his generation that have experimented with and incorporated anamorphic forms and devices into his narrative painting. After studying art at the Massachusetts College of Art in Boston and the Pratt Institute in New York, Smith acted as a gallerist and curator for a number of eminent institutions including the R.K. Parker Gallery, Gallerie Michael and Mayer-Schwarz Gallery. Smith’s work can be found in a myriad of public and private art collections both in the United States and abroad and has been seen in numerous exhibitions worldwide. He currently lives and works in Los Angeles.

Mermaids relief print, woodblock, ink on paper

Cowgrrl (Happiness izza Warm Gunn) woodblock/Ink on paper

Fletcher Stephen Smith

Shiela Mahaney moved to Alaska from the Philippines when she was 15 years old. She is proud to live in Anchorage with her husband, John, their black German Shepherd, Maximus, and her daughter, Alailah. Shiela is an award winning photographer and artist, her artistic photographs and art earned her numerous international awards including one of the top four prestigious international photo awards, International Photo Awards (IPA). She has landed on the cover of national publication magazine and has been selected tomany juried exhibits and solo exhibits. Unconventional Fashion digital photography

Shiela Mahaney

Jeff Tidwell Jeff Tidwell is a Denver, CO-based street photographer. Street photography in its essence is finding something beautiful, interesting or thought-provoking in the mundaneness of everyday life. That one, to two second window that illuminates an aspect of the day-to-day that would otherwise go unnoticed, but in its simplicity reveals something larger than itself. As he began to capture these moments, he began to see parallels in his photos and scripture found in the Bible. Jeff started pairing scriptures with these candid shots and began to see more of life in both. In an attempt to combine his love for street photography and the scriptures of the Bible, he hopes to show that both in their simplicity are revealing Someone larger than ourselves. row one: The Preacher, Heavenly Perspective row two: Shine On row three: Night Life street photography

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Melinda Fine

B

Patricia Pecorella

A

left column: Melinda Fine Dancin’ mixed media collage Patricia Pecorella Embrace No2 acrylic Patricia Pecorella Marvel acrylic right column: Melinda Fine How to Catch a Bird mixed media collage A Melinda Fine Entropy cut paper collage B Melinda Fine Shakti mixed media collage Patricia Pecorella Face to Face acrylic

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Mario Chiodo My ar tistic journey has taken me through many avenues of creative expression from fantastical ar t to historical public monuments, but I am always drawn back to the stories of the global community and the beauty of the human form. I immer se myself in studying these char acter s, whether fictional or real, to better understand their motives, the essence of their beings. Since moving my studio to Napa Valley in 2014, I have been celebrating the region’s joie de vivre by sculpting classics such as The Four Seasons and mythological Bacchus Embracing Harvest, infused with passion and energetic compositions.

Whatever the subject, my goal is to coax out the most breathtaking dimensional beings possible from the clay, creating an alluring and memorable experience.

Chiodo with OPpression - Thorns & Roses, Winter

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Katrina Tan Azurin

row one: And Still I Rise mixed media on canvas How You Sound Like on Canvas mixed media on canvas row two: Retrogression oil on canvas To Want And Not To Have mixed media on canvas

Understanding and appreciating art is a process of deconstructing. You divide and piece each component, information, and characteristic. And you interpret these details based on your significant human experience.

As you do this, a new tidbit is thrown into the pile and the way you interpret a work now evolves. Like in a wheelbarrow, it is set to carry this pile of deconstructed ar t to its new adaptation, its new meaning— an unending process of constant change and creation. And that is how the works of Katrina are formed and how they evolve. Life, a paradox— its unending questions, its highs and lows, its logic and absurdity, its splendor and repulsiveness, its motion and stillness— influence her work. With every finished piece, she wants it to breathe as if it were happening and flourishing right in front of the viewer— its movement and depth, both speaking in the present.

The strokes and breadth of her paintings illustrate how personal and expressionistic her outlook is. It is where her unspoken words are uttered, and where her deepest thoughts are woven. As what the Father of Modern Sculpture and one of her favorite artists, Auguste Rodin, said, “Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world, and to make it understood.”

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Celea Guevara Celea Guevara is from Honduras C.A. She immigrated from her native country in 2006. Her dedication to the love for the ar ts became a priority. She received her BFA at the University of Houston in 2017 and is currently attending Houston Baptist University as a candidate graduate with an honorable mention from Raising Eyes of Texas.

Her work is inspired by the human condition and the continued whispering foundation of her Afro-Garifuna descendants. In 2018 Celea par ticipated in “Rising Eyes of Texas” with Looking Forward which inspired her to launch her solo show “Re-encounter with my roots” it embodied the essence of Honduras through life size drawings, paintings and printmaking. Celea’s studio Practice is developed with a solid passion and it is shown in her work. She is determined to earn a solid reputation in her artistic and cultural identity. clockwise: Mom I Will Be Waiting For You, Love, Tisie & Naruny linocuts

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Bonnie Smith California Dreamin

Textile

Bonnie J Smith Bonnie J. Smith is a textile artist who resides in California; Bonnie’s art is very much influenced by the organic nature of terrain that surrounds her living so close to the Pacific Ocean.

Creating textile art has given Bonnie an outlet to tell the stories of her life. Her art has traveled the globe including Japan, France, and the United Kingdom and her textiles have been exhibited in three of the United Nations HQ’s.

Bonnie was a recipient of the Leigh Weimers Award & Grant also a Niche Award winner twice.

Suffering a work related injury with subsequent years of healing she created the award winning installation, “Swimming Upstream”, which offers support to anyone swimming upstream through life.

Bonnie Smith

Water Spout, Alviso Textile

Bonnie Smith

Images Deconstructed Textile

Bonnie Smith

View From Above #3 Textile

Cathy O’Keefe Cathy O’Keefe’s paintings have been featured in galleries and cultural centers including the Dorsky Museum in New Paltz, New York; the IMAGO Gallery in Warren, Rhode Island; Medford Arts in Medford, New Jersey; and the Gallery @ Paragon in Phoenixville, Pennsylvania.

In New York City her work has been exhibited at numerous venues, including the Pleiades Gallery, the Ceres Gallery, the Pictor Gallery, and the Greenpoint Gallery. In addition. O’Keefe’s work is in public and corporate collections including those of the Justice Center of Southeast Massachusetts in Brockton; Tri-Valley Transit in Middlebury, Vermont; the North Suffolk Mental Health Association in Chelsea, MA; Eliot Community Human Services in Lynn, Massachusetts; and Yale University in New Haven, Connecticut.

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Cathy O’Keefe Irish Memorial oil on canvas

Cheryl Eggleston Red Sun

acrylic

Cheryl Eggleston Late September

alkyd oil

Cheryl Eggleston Cheryl Eggleston Late Afternoon Blues

acrylic

As a child, I always had the desire to paint. Art was not a subject that my parents cultivated as it was not considered a vocation that would provide an adequate standard of living.

My desire for creative work almost withered and died. When I finally got the opportunity to study art, I chose to attend a commercial art school. I graduated with honors in Graphic Design/Visual Communications. Something about creating the required piece within the strict confines of time, size and meeting all necessary specifications, sparked a challenge in me. To do so, and still produce a creative, bold and appealing design/illustration or ad campaign, fired and fueled my imagination. This draftsmanship type of training is evident in my painting style today.

Each one of us, as human beings, owns the ‘real estate’ of our minds. I quite enjoy my ‘wonderland real estate’ and the thoughts and visions in my head. Because so much of the material comes from the subconscious, I refer to myself as an abstract/surrealist with a geometric twist. I challenge myself to reproduce these images from my mind onto a canvas.

I primarily work in alkyd, a fast-drying oil paint. It dries to a satin finish and I love the luminous colors. This paint gives me plenty of open time to blend areas and it dries quickly enough that I can work on an adjacent area the next day. I also work in acrylic, using a retarder in large areas.

My paintings are bright, but I keep a fairly strict color palette – must be that technical training!

Cheryl Eggleston September Sun

acrylic

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Erin Sullivan Make Me gouache Bushra Shamma Dream World acrylic on canvas Bushra Shamma Room acrylic on canvas

Bushra Shamma

Currently, my work is predominantly abstract using primarily acrylic and mixed media. My work is varied, mainly prompted by my interest in exploring different techniques and motifs; the process is my main concern. I enjoy creating, testing limits, adding, erasing, making decisions and stubbornly persevering until I feel I have reached a satisfactory resolution. Inspiration comes from looking at art by others, both contemporary and past. I start with a color or a mark and proceed one step at a time responding to what is already there. Although primarily abstract, my work can be minimalist, geometric, floral, calligraphic, or narrative/figurative when using live models.

second column:

Bushra Shamma Secret Chambers acrylic on canvas

Bushra Shamma Doors acrylic on canvas

Bushra Shamma Extravagance paper collage

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mixed media, ink

Aazam Irilian Lifellines

watercolor, gouache, India ink and acr ylic

Aazam Irilian Aile d’azur (Wing of Azure)

mixed media (ink, fabric dye, minerals, and oil) on canvas

and fabric dye on canvas

Erin Sullivan Feeling Blue

Erin Sullivan Self Portrait

watercolor, gouache and India ink

Aazam Irilian Creation mixed media, ink and fabric dye on canvas

Erin Sullivan

Aazam Irilian

My paintings are created through combining acrylic inks, fabric dyes and oil on canvas. I start every painting at a state of not knowing and by pouring the paint onto the canvas.This technique allows the paints to stay fluid longer and bleed into each other slowly over time—hence, the tonal variations, and transparency of the colors, which create a sense of depth within the space.

This results in fluidity and translucency on the surface, which are complemented by organic lines to create movement and form.

In addition to the texture created through interaction of different types of paint, using various types of minerals results in crystallization on the canvas.This process allows me to give up control and surrender without any attachment to the final result.

Intuition. Connection. Reflection. In my work, I use an intuitive approach to capture a feeling, mood, aura, or moment.These moments are often fleeting points of connection between us that are sometimes significant and noticed, and other times brief and unacknowledged. I aim to capture these connections in order to strengthen the bond between all of us. Relationships are at their strongest when we act with love and acceptance and by working to capture that in others I ultimately hope to find greater love and acceptance of myself. Reflecting on interactions and drawing inspiration from others I use watercolors, gouache, India ink, and acrylic paint in an associative way to offer acceptance and love from me to the viewer.

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James Jenkins James was born in Panama. Ancon, Canal Zone to be exact on June 1st 1968. Being from military family James moved often as a child eventually moving to El David Sabo Paso,TX when he was 16 years old. After completing Dave Sabo is a New Mexico native, born and highschool in El Paso James himself joined the US raised in and around Albuquerque. Son of one Army eventually receiving and honorable discharge of the most prolific southwestern painters and at the conclusion of the Gulf war in 1991. sculptors, he follows in a tradition of family artists. He utilizes a forge, anvil, and hammer along James currently lives in Arizona and works primarily with techniques developed by old time blacksmiths within the polymer clay medium. This particular meto create his art. Each piece is an original work dium allows him not only to sculpt, but to “paint”‘ combining iron, stone, glass or wood. He is one with the clay. When his creations were dubbed “synof the few true blacksmith artists in NM whose thetic offspring” by a collector, James became work encompasses hand forged metal to capture Clay DADDY!! His extraordinary use of the Millefiori truly unique art forms, symbolic of New Mexico’s techniques are best represented by his 3 dimensional heritage. Dave lives in Corrales, NM with his wife mosaics, however, he also creates mythical creatures and 3 dogs. He is the past Vice President of the and characters and occasionally even caricatures incorporating the technique. His work is always oneSouthwest Artist Blacksmith Association of-a-kind.

column one: David Sabo Cast Tree forged steel and fused glass David Sabo Shaman forged steel and fused glass

column two: James Jenkins Foo Frou Dog polymer clay James Jenkins Day of the Dead Skull polymer clay

Meredith Chernick, Fern Street Pottery Meredith’s work ranges from functional ware with intentional design to sculpture which celebrates nature’s meticulous attention to detail. With a degree in Art Education, and Ceramics from Western Washington University, Meredith taught as an Adjunct Instructor at the NWCollege of Art and Design for 19 years. Currently Meredith is President of the Washington Clay Arts Association, an active member of the National Council on Education for the Ceramic Arts (NCECA), and National Clay Week. She now dedicates her creative energy to her own artwork at her studio; Fern Street Pottery. “From my hands to yours, I strive for my pottery to have elegance and balance in your hands; it should fit into your life, and into your hands in a beautiful, satisfying way.”

Erik Wolken My path as an artist has traveled from being a traditional trained furniture maker to incorporating a more sculptural aesthetic in my furniture to finally exploring pure sculpture and to fluidly moving between all three. In the midst of this my guiding light is to find a rhythm and poetry in my pieces that is a confluence lines, color, texture and graphic imagery that tells a narrative, for at its most basic I think my work is about story telling

janice tozzo

janice tozzo

row one: Meredith Chernick, Fern Street Pottery Lumberjack Set clay, stoneware row two: Erik Wolken Hunan Shield #2 Erik Wolken Hunan Shield #1 carved cherry wood & paint Meredith Chernick, Fern Street Pottery Pistils and Stamens, Oh My! clay, glaze, cold finish detail

Janice Tozzo What intrigues me about glass is its liquidity and the ability to control it, or not, with heat and time. My glass pieces capture the movement that is inherent in the glass” My pieces are created of sheet glass, glass frits, stringers and powders that are cut, assembled and fired multiple times (sometimes 5 or 6) at temperatures between 1200 and 1700ºF to develop color and form. Each firing takes at least 12 hours due to slow heating and cooling to keep from shocking the glass. Straight pieces meld together to create curves and leave spaces as the heat of the kilnmoves the glass. Each piece is crafted one at a time as different colors of glass require different temperature and hold times to achieve the desired result. Various objects made of metal and ceramic that can withstand the heat of the kiln are used as forms to shape the glass.

row three: Janice Tozzo Large Red Leaf kiln-formed glass Red & Blue Drop Vessel kiln-formed glass

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Constance Culpepper Constance Culpepper’s collective work is a depiction of domesticity and the commonalities of personal experience, informed from her background in psychology and her itinerant childhood filled with antiques, American quilts, and strong women. With colorful paintings of interior scenes and outside places, Culpepper believes that not all art has to be overtly provocative. She uses an emotional lens to create her work, with a process that is informed by logic, experience, and research. Her early life was filled with conventional female roles and conservative ideology which inspired a contradictory voice. She aims to express femininity, freedom, and social commentar y - more specifically, how gender roles define the household and how the household represents something so much larger, how people become attached to objects and ideas, and the deeper connection behind all of this. She creates compositions meant to question.

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column one: Poppies Please oil, pastel and pencil on canvas Ballroom oil and pencil on canvas column two: Life of the Party oil and pastel on canvas Golden Gate oil, pastel and pencil on canvas Welcome to America oil and pencil on canvas

Elaine Abbe

Creating mixed media collages allows for spontaneity and improvisation using recycled fabrics and paintings inspired by nature. It’s like solving a puzzle.

RED #1 mixed media collage Landscape #5 mixed media collage Fascinating Rhythm mixed media collage Green #1 mixed media collage

While painting, I focus on the cumulative creation of an independent visual language. I use organic and geometric shapes as a composition tool to build my images. All of my paintings will begin with a few simple shapes, and I build the picture up through layers. I will combine spray paint, acr ylic paint and collage elements to create images that waver between deep and shallow. top row:

Broken Glass in the Street acr ylic on canvas

Accidental Still Life acrylic on canvas

Setting Up Apartment Window acr ylic on canvas bottom row:

Gardening with Sharp Tools

Daniel Green

acr ylic on chipboard

Hammer and Nail

acr ylic on chipboard

Anna Kim

My work is an expression of the nature that surrounds us.

row one: Anna Kim 8Ball acr ylic on canvas Lora Santos Gertrudis encaustic, acr ylic and collage row two: Anna Kim Dice acr ylic on canvas Lora Santos Juliana encaustic, acr ylic and collage row three: Anna Kim Cake acr ylic on canvas

I like to express the beauty of what we were given. The mediums I use are oils and acrylic. I use big brush strokes to see the movement and coherence of the colors. I also use palette knives to see the dimensions and texture of the paint.

I like seeing the different techniques that are played out on the canvas. My intention is to engage my viewers in the emotion and imagination that flow in their minds. Sharing my creativity gives me a strong appreciation of everything beautiful that surrounds us all.

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Lola Santos

TYPE PLACEHOLDER for Lola Santos creations were rough and unusual. I feel this lack of art supplies had a huge hand in making me the artist I am today. I absolutely love mixed media and texture, spending much of my time experimenting with different mediums and surfaces. There is never a straightforward answer to the question “how did you make that?”

Ferris Martinez row one: Ferris Martinez Here Are Your Days oil on canvas Ferris Martinez S o u r c e Ma ter ia l oil on canvas row two: Lola Santos Brigida acrylic and collage Ferris Martinez Grand New Indifference oil on canvas row three: Lola Santos Consuelo acrylic and collage Ferris Martinez This is For You oil on canvas

Ferris Martinez is a visual artist living and working in San Francisco, CA. He completed a BA in Art Practice from UC Berkeley in 2013, developing a style firmly rooted in representational, figurative work.

While his current focus is primarily on portraiture with a slight emphasis on realism, Ferris Martinez’s paintings aim to not only describe the physical features of his subjects, but also to capture their less-polished and perhaps hidden qualities. Within each individual exists an alluring tension - the pull between one’s outward presentation and their inner lives, and it is this strange balance he is most interested in bringing into his work.

Jen Meyer

Jen Meyer’s work is a celebration of color, tone, shape, and pattern, as well as an exploration of the energies that combinations of these elements can create in a space. Jen has been creating art for the enjoyment of herself and others since she was a child — some of her earliest work can still be seen on the undersides of her yia yia’s (Greek for grandmother) kitchen table. Over the past ten years, her work has been exhibited across the US from Portsmouth to Miami to San Francisco, and sold to private collectors all around the world.

Her current interests include a love for exploring new places, the interconnectedness of things and people, the beauty of nature, the emotional aspects of color, and our relationship with animals.

Jen Meyer row one: The Fourth acrylic on canvas, row two: Bloom Portal acrylic on canvas, Letters acrylic on canvas, White Swan acrylic on canvas, Black Swan acrylic on canvas

Joe Grenn Joe Grenn is a native of New Bedford, Massachusetts. He received both Bachelor of Science and a Doctor of Dental Medicine degrees from Tufts University and completed a postdoctoral fellowship in endodontics at Harvard University in 1972. He subsequently moved to San Francisco, established and maintained a private practice, lectured internationally and was a clinical professor at the University of California School of Dentistry form 1972 until his retirement in 2015.

Joe has since dedicated his time to his long time love of oil painting and is the recipient of numerous awards for his paintings in oil on canvas.

Joe Grenn New Kid on the Block oil on canvas

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Joe’s favorite saying is “Historians tell us what happened, but artists tell us how it felt”. So Joe’s ambition is to capture the feeling of those special people and moments in time that evoked emotion with oil on canvas in his portraits, figures and landscapes.

Lib Mason Lib Mason is an award-winning American portraitist. From an early age Mason had a strong fascination for the human face, endlessly sketching the faces of her family and friends.

Best known for her capricious portraits that convey an emotional response to the image by the viewer whilst exploring a world that lies within her subject. Mason’s practice is based on the “Flemish Method” of painting, a painstaking and technically-skilled technique dating back to the early 15th century. Her version uses meticulous oil glazes applied over a pencil, watercolor, and oil base.

Mason graduated from the Rhode Island School of Design (Providence) and embarked on a career as an illustrator. Her diverse work was used in advertising, in editorial publications, and in architectural design.

She has been featured in national magazines, designed special products for many global brands, and received prestigious awards from the esteemed Boston Society of Illustrators, and the American Portrait Society,.

Lib Mason clockwise: Jolene and the Masked Cherubs oil on canvas Flight oil on panel, Sisters oil on panel, Girl oil on panel The Art Student oil on panel, altered frame

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Naida Koraly Stalking Thru 50 Shades of Green fabric collage Holly Broman Tarmac photography

Holly Broman Inside the Hear t medium here

Holly Broman Breath photography,

Holly Broman

Holly Broman is a graphic designer, photographer, published author, healing energy facilitator, minister, and visionary. In any of the modalities she works with, Holly likes to get into the middle of it - to go to the depths and see from a different perspective... Her photography and art bring forth this perspective of depth and beauty. Through her art she is able to bring the unseen worlds to light in her rare ability to find and capture them in the world around us.

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Naida Koraly

Naida Koraly Song of the Sami fabric ar t quilt

Naida Koraly North Carolina In Harmony fabric ar t quilt

My style of fiber art is termed raw-edge appliqué. My palette is my stash of colorful fabrics and threads, and my paintbrush is my quilting machine. I find this medium best suited to my creations because of the hands-on artistry of combining the tactile sensation of touch with the visual expression of colors.

Fabrics and fibers offer me something other art mediums do not, and free-motion quilting the finished design adds a unique perspective and dimension.

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Brave - The Earth Element exhibit fiber print Universe - The Earth Element exhibit fiber print

small images on page next page Frank Franiak ONward and Upward gicleé on canvas Francene Levinson Floating original manipulated digital painting Frank Francene Levinson Sunrise original manipulated digital painting

Heart - The Earth Element exhibit fiber print

Kaylee Prebeck

While I am out taking photos of earth’s beauty, I also take photos of trash, waste, and air pollution. I turn the negative photos into positive abstract images. This is an expression of how we can change what we have created.This series is titled “The Earth Element”, created from textures of waste and transformed into high vibrational art, stretching the boundaries of my photography. Inspired through meditation, each image in the series is also an expression of the soul. This expresses what’s within us all. We have the ability to create a better world. What is in us, is around us. We are the world we create. I hope to inspire the creation of a better one, for all life!

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Francene Levinson Winged Victory original manipulated digital painting

Frank Franiak Reaching for the Stars gicleé on canvas Frank Franiak Red Sea Dawn II gicleé on canvas

Francene Levinson Hope original manipulated digital painting

Frank Franiak Winds of Change gicleé on canvas Frank Franiak Stormy Weather gicleé on canvas

Frank Franiak

I am a digital artist that uses soft, flowing images with luminous colors to express concepts and emotions.

Sometimes a color itself may be the subject but in most cases color is more important than the forms through which it is expressed. Most of my pieces start with a basic idea which could be based on something from nature or just a shape or set of colors. As I work with colors and shapes the process of flow takes over and my intuition may take the piece in an different direction from my initial plan. After “completing” a work I may have new insights and will create an alternate version which can then take on a life of its own. This can lead to a series of works based upon a common starting point. Like many other artists my style is in a continuous state of evolution.

Francene Levinson

Coming full circle back to her drawing and computer skills after a career as a stone and modular paper sculptor, Francene Levinson of Portland, Oregon currently creates digital abstract minimalist paintings. The format she works with is manipulated original digital painting based on a magnetic algorithm which allows her to push, pull and stretch pixels to emphasize dynamic line, volume and color. Because they are created from electronic light, the art is printed on high definition aluminum in limited edition. Both the environment and human experience are, and have always been, sources of inspiration for her art work. Francene’s recent paintings give the viewer beautiful, geometric compositions to which we can all relate.

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column one: Divine Influence II oil pastel on Arches archival paper Angles of Light I oil pastel on Arches archival paper

column two: Potential I oil pastel on Arches archival paperPotential II oil pastel on Arches archival paper

Karina Silver Painting serves as my bridge to live into the creative process. It allows me create and participate in the world in a way that reflects life, love and beauty.

When I look at nature and the world around me I am awed by the diversity I see. My spiritual practice has given me an awareness and appreciation for this diversity along with the understanding that there are no rules, only the willingness to say yes to creativity.

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Before I paint - I ask,” what does God/Spirit want to reveal through me today?” I wait and listen to the flashes of insights that come into my awareness and then respond through color and form.

It is my desire to share in ways that can refresh one spiritually and connect one viscerally to beauty, acceptance and love unbounded.

Carl Darchuk

Larry Wolf

column one: Carl Darchuk Forgotten Memories acrylic on canvas Larry Wolf Odyssey acrylic on canvas

Larry Wolf

Larry Wolf ’s work reflects his unique ability to combine his passion for law with his love for artistic expression through bold textures and vibrant colors.

Dedicating over 40 years to building his legal skills, Wolf explores his experiences in this field through introspection that is expressed in his series of original paintings entitled A Brush with the Law. His unique use of raw canvas allows its bare essence to create an interplay of primitive energy and sophisticated emotions. Each piece expresses the artist’s struggle and joy in communicating his heart as he travels through a systematic world. Wolf communicates his struggle to search for new alternatives and solutions to problems both in art and in the courtroom. This series expresses his drive to always look at things in a new way.

column two: Larry Wolf Raw acrylic on untreated canvas, Larry Wolf Opportunity acrylic on untreated canvas Carl Darchuk Fire and Rain acrylic on canvas

Carl Darchuk My paintings explode with bold, often-contrasting colors that swirl and blend together with dynamic movement and energy. I find that my artistic purpose is to reflect the complexity of colors as their energy flows through my paint-stained fingers.

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Mark Weleski The wide spectrum of human conditions has always fascinated me. The works that I paint are my interpretations of these analyzed themes or situations. I often use stylized human formations that are taken apart and reassembled into interlocking shapes and their developed relationship to express my observations. I also appreciate the challenge of engineering and stretching the shape of the canvas initiated with the sketch rather than limiting my space to the confines of a quadrilateral.

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Why Mare’s Ar t? Mare’s Art emerged after a long career in graphic design where my creativity became stifled. Today, I’ve let my fine ar t take center stage where my paintings are the result of boundless ideas created for the appreciation of peace and nature.

I believe now more than ever, we need to find things that connect us, not divide us, and I believe art in whatever form we personally admire, has the capability to do that.The mixed media painting techniques I use to engage and intrigue you involve layering my canvases with interesting textured papers, acrylic paint, and a…

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Pamela Hartvig I’ve been painting abstract landscapes for 30 years. I have an MFA in painting from California College of Arts and Crafts in Oakland and San Francisco. I’ve always drawn the figure but only started painting with the figure two years ago.

I’m interested in light, color, and mark making. I recently began uploading photos of my charcoal life studies to my iPad and working on them in Procreate.

I have them printed in limited edition signed prints of 100. My paintings are slow and meditative and not accessible to everyone. I am an old etcher and monoprint maker so it is exciting to be doing prints again in a different form.

This is very accessible work. Working in my iPad is quicker and cleaner. I can do it anywhere. I do not have to spend hundreds of dollars on materials. It is K an exciting form. I am looking forward to doing this for a long time.

Dave Hupke A, C, E, F hupkeimaging.com Mary Anne Hjelmfelt B, D, G, L, M maresar t.com Pamela Hartvig H, I, J, K pamelahar tvigfinear t.com

Mary Anne Hjelmfelt…con’t variety of fun materials that match the personality of the design. Most often my core subject matter is inspired from I nature – say a flower, or a scene, then I build up extra paint or attach everyday objects, such as recycled greeting cards, on the canvas to give you a 3-D feel. My wish is that you take a pause in your day to appreciate the details of this colorful world around us, and remember that a deep breath does the body good. By living authentically through my artwork, I hope to be an inspiration to others to find their true selves. I find this to be one of the greatest ways to be an example to our children and to others, to be their best.

When we live our truth, we all benefit, and ideally have deeper connections with each other. I work out of my home office in Ft. Collins, CO, where my husband and son help me keep it real.

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Laurence Scott

Even though I love words as much as images, I’m reluctant to write about my photography because I don’t want the viewer’s impressions to be colored by what I say about them, their “meaning,” or how they came to be. All non-kinetic art is ultimately judged by what one sees, not what one reads. Using all the tools at my disposal, I attempt to create eye-catching, nuanced images that are as thought-provoking and unique as I can possibly make them, in hopes that a viewer can find satisfaction in looking at them many times over, as I do in looking at images created by my favorite artists. laurencekscott.com

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Sabrina Di Castello

My name is Sabrina, I am from Vienna, 28 years old. I started painting in September 2017. I was allowed to enjoy 3 solo exhibitions and have 2 more in Chicago and London in April and may. I would be very happy to be selected, painting has changed my life, I paint with so much heart and emotions. I love it.

Instagram: @sabrinadicastello

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Sharmaine Thérèsa Pretorius

Sharmaine Thérèsa Pretorius is called tongue-in-cheek the ‘Susan Boyle’ of art. She is a high – end, South African expat artist, who has been living in the Sultanate of Oman, deep inside the desert in Nizwa, an ancient – mystical Arabic city, for the past 11 years. She has been described as the ‘essence of an extraordinary, gifted mind’ because of her prodigally styled, intellect and intricate artistic drawings which include hidden puzzles and musical compositions. They are her holographic memories copied from her vivid dreams. All of her works took years to draw and rework digitally. She gained international recognition as an emerging artist in 2017, particularly for her drawing named ‘Mars Trojan – Elon – The Shroud’ (5517A) circling in low space orbit on the Asgardia 1 nanosat cube with another picture of her, drawing called ‘Change Yggdrasil’. Highly gifted as an academic; she holds more than 600 continues educational credits. Her 2nd exhibition called ‘Enclosure Fathom – Part 2’, had its private opening in Oman; during December 2019 and will continue virtually, until 2023. Her work “Nafurat Miah Alshurb” will be seen at Florence International Biennial of Contemporary Art and Design: 2021, from 23 -31, October. She has been well published in Times of Oman, Faces of Oman, Georgia Today, Freigeist-verlag, etc. She is also, a member of the ‘Yali Network’ – a signature effort to invest in the next generation of African leaders. Follow her work on Instagram @sharm.t.p and at her website; www.artshowroom.org

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Beth Ayasse

Beth Ayasse

My years of experience in social work have formed most of my inspiration and I enjoy traveling globally to encounter other cultures and to seek inspiration. People and their interactions as well as places where they live, work and play warm my hear t. I enjoy the adventure of seeking beauty and interest in the ordinary. These illuminations fill my soul. I appreciate appealing lines and color and use them to form the many essential elements of my compositions and shapes. I decide on my pattern of lines intuitively yet I focus on lines which are most essential to what I want to communicate. I use colors to interact with each other synergistically to reveal the mood or aura of my vision for the completed piece. bethayasseart.com

Barry Cole Barry star ted painting at age fifteen. As a native New Yorker, he had access to some of the greatest ar t museums in the world and he visited them often. He was influenced

by Paul Cezanne, early Vincent Van Gogh, Salvadore Dali and Pablo Picasso. Although he had no training, he was able to copy the styles of his favorite painters and he gradually developed a style of his own. paintingsbybarry@cox.net

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Lyn and Stephen Sasser

You Are Here Art Prints is a team of artists from Portland, Oregon, Lyn Nance-Sasser and Stephen Sasser. Our studio is in the central part of the city, blocks from the Willamette River, just south of its confluence with the mighty Columbia River. We are approximately 75 miles from the Pacific Ocean and 54 miles from Timberline Lodge, on majestic Mount Hood in the Cascades. We started in 2012 with a grant to produce 10 images of our home town. Since then we have expanded our horizons to include icons from across America and into Europe and Asia.This was fueled by a Kickstart campaign that we called “YOU ARE HERE, from Coast-to-Coast.” To date, we have created an extensive collection of these iconic images, each one with a YOU ARE HERE circle logo pinpointing the exact, spot-on location of the icon, on a scanned vintage, service station tourist map. Many times we work from our personal photographs and often use them as reference material for drawings and sketches. Each print is printed with archival pigment inks on 100% cotton, acid and lignin free, heavy printmaking paper, made by the Monadnock Paper Mill, in New Hampshire, the oldest continuously operating paper mill in the USA. Because they are made with archival pigment ink, they have a long-lasting image life. More information on the available prints as well as custom prints can be found on our website: www.nance-sasser.com

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Colin Ruff Elena Naskova

A line can depict a shape, a wiggle, a horizon, a mountain top, a wrinkle, a wave, a hair and what else? Add to it some color, and a whole world is born out of an empty space.

My work explores exactly that: the intricate dance of lines with colors to the music of inspiration. Every work of art is a birth of a new world with its own story, tension, drama and beauty. It’s a privilege to be an artist and witness the birth of these worlds, and experience first hand the stories they tell. www.elenagnaskova.wixsite.com

Colin Ruff lives and works as an Artist/Educator in the northern Colorado Area. He has completed his BFA in 2009 and MA in 2011 at MNSU before completing his MFA at CSU in 2016. His work explores the effects experience (things that happen to us) has in our perception and creation of reality. By deconstructing and re-configuring found imagery within the Iconography of American mass media he seeks to destabilize the original intent and message behind many of these images. Through this process creating a dialogue of the collective experience both physically and socially, as well as, personally and satirically. In the mode of postmodernism, creating a meta-narrative within the larger, grander, and delusional narrative of our American history. colinruff.com

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Tony Kirman

Cave Paintings From The Future: The line as journey (departure-journey-arrival)…tracing the contours of the Unconscious, a Landscape Within. I begin with an analog sketch, graphite or charcoal, and then add color digitally.

My aim is to create movement and depth…to be free. I have been photographing since I was a child, and drawing/ painting for the last two years. Inspired by Josef Albers (color) and Hans Hofmann (abstraction) I am now exploring the space between representation and reality. As a member of Soho Photo Gallery in NYC I had 4 shows – Gestures, Landscape Within, Color Interactions &The Abstract Landscape. I live on Cape Cod and sell my photographic and fine art prints from the Art Cottages at Orleans Market Square in the summer. los.org los.org

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Lea Basile-Lazarus We all see the world differently and my art expresses my intimate reactions, both as a woman and a teacher. I do this through contemporary printmaking and papermaking. These are processes and techniques that I continue to explore and love.” As Lea has moved through this body of work, she has found that using pigmented paper pulp has been an effective way to express her ideas. Even though she has been a printmaker for many years, Lea was immediately attracted to the process of making images using contemporary handmade paper techniques. Like printmaking, this process has allowed her to work on several images at one time, moving from one to another, layering different stencils, colors, and ideas. Paper pulp painting is spontaneous, and Lea actively engages in the process. Her entire body is always moving, from mixing pigments in paper pulp, to cutting stencils, to making marks or writing words with syringes and turkey basters with the gestural movement of her arm.The mental and physical energy it takes to think, move, and react to the images that are emerging is what makes this process so exciting and invigorating. Recently, Lea has begun removing paper pulp from the wet surface, “tearing” the wet pulp and creating interesting negative space that has added depth to the meaning of the piece. Exploration of these materials and contemporary processes has allowed Lea to express artistically her feelings about our fundamental needs: to belong and to feel safe. leablazarus.com

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Diane Edwards

I have been creating art all my life; I devote most of my time to painting and teaching as well as writing.

I have written eight books on Scandinavian folk art painting, available on Amazon and in bookstores. I also recently had a book published on my landscape painting called “Painting Landscapes of Colorado and the West.” I like to work in pastel because of the immediate brilliance of the color sticks. I love color and I also paint in oils because of the juicy bright paints! Creating art makes all the problems of life go away. When I get a brush or a stick of pastel in my hand I focus on painting and forget everything else. I particularly like to paint the parts of the landscape that most people don’t notice at all and make them beautiful and interesting. I also love to show the light and the shadow of our gorgeous Colorado landscape. dianeedwardsart.com

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Kirk J Shiflett

Through the use of different painting media I capture the association between humanity, and nature through a contemporary narrative context. We are characteristically tied to nature, and my work is about that relationship.These narrative paintings explore an ever evolving balance, and often reciprocal/fragile union with nature, as is our connection to it. My paintings pursue a juxtapose of the aesthetic organic quality of nature united with the raw mechanized material of civilization. artofkirkshiflett.com

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I enjoy using some of my art materials as models for my work (such as erasers, pencils and worn pastel sticks). The drawings are meant to look like large wall sculptures and their purpose is to give the viewer a moment of quiet contemplation.

Richard G Parker

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pg 81 top to bottom: Ron Prigat A Painting About Nothing oil on canvas mounted on wood Ron Prigat Relics monotype on paper Susan Lynn-Rivera Spirit Greeting Van Dyke Brown with cut-out negatives and real flowers on emulsion under glass, exposed to sun, watercolor

Susan Lynn-Rivera

Ron Prigat

Our perception of reality involves a complex combination of external stimuli and beliefs existing within our psychological interior. A surreal kind of truth develops when they conflict with each other. By layering different images to create my pictures, I wish to reflect the layering of internal and external influences for processing our truth. Using incongruous juxtaposition of material/and or images, I hope to transmit a deeper portrayal of reality. This approach is also a means to draw the viewer in to explore their truth.

Ron was born in Jerusalem in 1988. It is reported that shortly thereafter he started drawing and hasn’t stopped since. Ron graduated the Jerusalem Studio School Masterclass in 2014 and received an MFA from the University of New Hampshire in 2018. Ron also spent five summers under the Italian sun at the ‘JSS in Civita’ landscape painting program, schlepping a french-easel en plein-air and drinking cappuccinos to excess. Ron currently paints and makes prints and drawings while working at the Vermont Studio Center. His work was exhibited in Israel and the US. ronprigat.com

Leif Kruse Into The Darkness acrylic and charcoal

Kristy Chettle Untitled [SM05] oil

Karen Frieda Kaiser Pr ima Materia for the Fool acr ylic

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Marco Domeniconi Panta Rei II acr ylic on canvas

Elyse Elguezabal Three Places acr ylic

Elyse Elguezabal Ear th acr ylic Marco Domeniconi Panta Rei IV acr ylic on canvas

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Kristy Chettle Untitled [SM06] oil

Eloise Larson Squirrel Interrupted oil on board

Linn Kier Random Selection multi media

Karen Sarrow Vulnerable Model with Clean Air alkyd and acrylic on styrofoam

Kristy Chettle Untitled [SM05] oil

Linn Kier Wired multi media

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Sharmaine Thérèsa Pretorius Yggdrasil (5518) A paper and digital composition of original drawings.

Heather Lakers Abstract Elephant acrylic

Sharmaine Thérèsa Pretorius Don’t Panic..... Mastaba (5517) O (i) digital version of an original drawing

Michael Pannier Into my Arms photography

Eric Saint Georges Morning Lady sculpture, bronze, black patina

Christina Lehman Seat Vault resin

Darrell Ansted Desespoir polished stainless steel, steel and glass

Eric Saint Georges Désespoir sculpture, bronze, black patina

Christina Lehman Afterthought metal photograph

James Finnegan Afterthought metal photograph

James Finnegan Grendel colored pencil, cardboard, wood, ribbon, graphite James Finnegan To The Island colored pencil, cardboard, wood James Finnegan It’s Not A Tie We’re Losing colored pencil, cardboard, box, twigs

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Helen Howe Braider

expressionism, to find at last a graceful gesture, curve, or line.

Above all, I delight in the scrap of wood, a tiny carved figure, the paper to be molded around the piece of plywood which can in turn be pierced or layered. But then there is the dramatic horizon line of the world OutWest. Who are we in relation to that stretch of the horizon out to the east over the endless prairie? The horizon line speaks to me of the boundless possibilities of the imagination but also of the importance of what is right here in front of us – the immediacy of the found piece of wood, worn years of weather, spotted the trail as we strike out early in the morning. Or maybe the sight of someone else in the distance, a sudden curiousity about who that is out there.

That moment of seeing brings that person or object to the here and now and disrupts the logic of “perspective,” that system of rational measuring in relation to the pictorial horizon line. So I play off that schema. What is far away like a tiny figure, suddenly leaps forward from the picture plane as the foreground shrinks away creating a shifting back and forth between the way a sculpture shares the three dimensional world we live in and the painting’s power to project an illuArt emerges from play with materials of no apparent value sion of distant space. (paint, a lump of stone, a rough log, a scrap of wood found on a trail) transforming them to tell a story or to speak of a truth. I might be drawn to the absolute presence of a block of stone and rework it to evoke a quiet moment suspended in space and time, held in a soft skin countered the rough natural surface. Because I revel in the real, the actual, the tangible, I like to take the objective presence of a plain log of wood or a block of stone or a piece of paper pass it through a filter of traditional formalism, be it primitive, classical, gothic, or baroque, and then stream it again through my own sensibility, shaped minimalism and abstract

David Phelps My work is greatly informed by the arts & culture of Mexico. Initiated by my years as a student & renewed over the following years by travel, the country has remained a source of deep inspiration. As an artist, I work in the mediums of painting and photography. Photography is an exploration of perspective, shapes and of most importance, light.These are the key elements that I carry over into painting. Although with painting, the images and references always arrive from an internal, emotional space.

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My paintings rely on the process of redoing an image, destroying and restoring, or the “rephrasing” of a painting. This rephrasing produces a work which is rife with references of the history of its own making. A comparison might be Rome. Like a palimpsest, Rome exhibits the nuances of the history of its making. Rome exposes its own references to its past history where ancient, Byzantine, and Renaissance Rome are still visible. What all this adds up to is not only the look of aging and the revelation of the making or history of the work, but through the layers of paint an internal light is produced. It is this imagined light that is my memories of a particular place.

Marc Aronson

Emily Fisher

images published in the 2017 “Balanced Rock: The North Salem Review”, one of which was selected for the cover. Emily was a finalist in the Click Magazine 2018 VOICE competition which received over 48,000 entries. She has been in photography exhibitions in Australia, Colorado, Delaware, California and Florida.

She is in the permanent collection of the Henry H. Ferguson Museum on Fishers Island, NY. Emily lives in Westchester with her husband and three children.

Emily Neville Fisher is a photographer based in Westchester and New York City. She received her bachelor’s degree in Fine Art at James Madison University and her master’s in Arts Administration from NYU. She has worked in painting, drawing, jewelry and pottery but has been concentrating on photography for the past decade. Emily is a student at the International Center for Photography in NYC. Emily won first place in the North Salem Open Land Foundation’s juried exhibition “People, Places, Pets…” in 2016 and had two

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Irena Jablomski Three Girls By The Sea acr ylic

Douglas Green Bill in Plum Canyon Narrows marquetr y

Irena Jablomski Young Medusa acr ylic

Karen Sarrow Life Drawing Model with Clean Water acr ylic

Irena Jablonski Once Upon A Time acr ylic

Milisa Miner Fractured mixed media

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Farhad Vakilitabar #13 From The Abstract Light Series photography

Farhad Vakilitabar Flower #01 photography

James P. Anthony Teke Par ty high relief acrylic and mixed media

James P. Anthony School Daze acrylic

Karen Frieda Kaiser Don’t Plant Goldfish oil on board Terry L Taylor Ca. Delta pastel and charcoal on paper

Terry L Taylor Young Qahatika Girl pastel and charcoal on paper

Karen Frieda Kaiser You Sleep When They Sleep oil

Terry L Taylor Yosemitie Falls pastel and charcoal on paper

Karen Frieda Kaiser Prima Mater ia for the Fool acr ylic

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Karen Frieda Kaiser Wired In oil

Kathleen Caprario bioDIVERSITY: Refuge acrylic, ink, spray paint, cut outs on paper

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The execution of a painting is essentially an act of human creation, which is in itself wonderful to behold. And the rendering of ordinary objects through the medium of skillfully placed pigment generates an ennobled existence for these objects, which is unique to this human activity. Fine art should never be regarded a vain luxury but a unique mirror to behold what is fine and noble about humanity.

Michael Tupek

Diane Fairfield

Diane is a painterly and intuitive colorist. Often bypassing preliminary sketches she plunges in with quick application of color, then building the painting, line upon line, layer upon layer. She currently works in both oils and acrylics.

Loving color and light, she sometimes incorporates light diffracting films and light reflecting materials. Through these she can create pieces which appear to have light within them and in which the color is constantly changing and generating a dynamic experience.

Marie-Ange Hoda Ackad

Ackad works with a concept called “augmented reality” generally defined as an enhanced version of reality created by using technology to add perceptual information to an image. Thus she begins each piece with things that are real or tangible: items found in her studio, including among other things, open paint jars, a dried rose, and books. Some of these elements are painted in oil and pigment on birch-wood panel while are others are photo impressions adhered to the surface. Instead of using digital imagery to alter the ‘real world’ environment that is represented on the painting’s surface, she draws on her imagination, adding in lushly painted red lips and exotic butterflies. This merging of real and imagined objects, which the artist sees as belonging together, creates a third world, yet another reality.

Joy Marshall

My name is Joy Marshall and I like telling stories. I do this with my camera and imagination. I live in Massachusetts which offers stunning vistas that help me create magical worlds. I believe our greatest tool is our imagination. Without imagination there would be no innovation, no stories, no dreaming. Because of our imagination, magic exists. I spend my days chasing that magic with a camera simply

because it’s the easiest way for me to bend realities.

Photography allows me to explore concepts from a fresh perspective and catch a split second of emotion. One image is often composited from many images, then I use Photoshop to do the rest. I add textures to give the image a painterly quality and adjust the light until I’ve created an immersive, storytelling image.

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Pamela Torres

Carly McKenna

No Answers pencil and Prismacolor on paper Death Among Birds pen and pencil on paper

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Sushirama watercolor Casa Bonita oil on wood panel board

Cherie Carter

Pamela Hartvig

Serenity archival limited edition print Help Me archival limited edition print

4-Point Eyestrain oil on canvas Tribal Series oil on canvas

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Bonnie Maldonado Title???? painting???

Heather Lakers Pink Rose acrylic

Douglas Green Delicate Arch marquetr y

Sandee Lewin Nye Blue Purple with Star in Window photography Douglas Green Maroon Bells in Autumn marquetr y

Glenna Olmsted Serenity oil on canvas

David Phelps Zephyr oil on canvas

David Heseltine Lighter Than Noise mixed media

David Phelps The Orange Door oil on canvas

David Heseltine Cadence acrylic on canvas

David Heseltine Blue Danube acrylic on canvas

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Linda Fitzgerald Butterfly Magic acrylic, metallics

Linda Fitzgerald Summer on the Cape acrylic, metallics

Daphna Shull The Quiet Things printed book

Eamonn Tracy The Spirit digital photography Luis Perez Amor Brujo charcoal

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Horace Kerr II Trekkers photo on metal

Horace Kerr II Dream Start photo on metal

Krystal Koop

Krystal Koop clockwise Koh Samet, Tokyo Commute , Mirror Nor th Beach, photogr aphy

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Luis Perez

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A Luis Perez Farnese Barn Door 2A watercolor, B Justin Pope Bust of Uncle Lance screenprint on paper, C Andrew Purdy Mancelleria colored pencil on paper, D Luis Perez Cattle in Seville watercolor, E Andrew Purdy Bone Yard colored pencil

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F Luis Perez Patience charcoal, G Andrew Purdy Morning Sun colored pencil H Andrew Purdy Urban Patina color pencil on paper, I Justin Pope Ruins screen print on paper, J Luis Perez Memory is a Complicated Thing charcoal, K Justin Pope Jungle Scribbles screen print on paper salannmagazine.com | 105

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A Lindsay Gianola Zephyr machine cut and hand placed vinyl B Lindsay Gianola Central City Fire Department machine cut and hand placed vinyl C Lindsay Gianola Washington Hall machine cut and hand placed vinyl, D Lindsay Gianola Frost machine cut and hand placed vinyl, E Lindsay Gianola Vermillion machine cut and hand placed vinyl, F Clinton Wood Arlington Street oil on canvas, G Clinton Wood Brighton South oil on canvas, H Clinton Wood Office oil on canvas

top to bottom Clinton Wood Brewery Brewery Stairs oil on canvas Linn Kier 100 Years Later acrylic Linn Kier Everything Breaks Down mulitmedia

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Bev Haring Don Bailey Eamonn Tracy

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A Bev Haring Parched Earth: The Mailboxes fiber B Bev Haring Parched Earth: The Tree fiber C Don Bailey Satellites and Airplanes oil D Don Bailey Sonoran oil E Don Bailey Jeffery on Fridays oil F Eamonn Tracy Flowered Palm digital photograph 108 | salannmagazine.com

Shiela Mahaney Farhad Vakilitabar Dimitrina Kutriansky Marco Domeniconi

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G Dimitrina Kutriansky A Strange Predicament silverpoint, colored pencil on tinted ground H Shiela Mahaney Trimmed digital photography I Farhad Vakilitabar Reformation photography J Dimitrina Kutriansky Eternal Sleep graphite K Marco Domenico ni Khan S hay k hum a c r y lic

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column one: Thea Cinnamon Macker Torn Heart water based clay, polymer clay, acr ylics, wax Thea Cinnamon Macker Sheeple water based clay, acr ylic paint, Nancy Sullo Mother and Child watercolor column two: Nancy Sullo Berta watercolor Kara Marshall Desert Rain acr ylic Jamie Hoffer Through the Mud encaustic, sumi ink, pastel

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row one: Nicole Kueck Fem Portal acr ylic and digital Nicole Kueck Gateway acr ylic and digital row two: Nancy Plank Peaches oil Donna M Woods Sunday Afternoon watercolor row three: Nancy Sullo Joe watercolor

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row one: Victoria Smith Esophorous in the Clouds oil, pastel, graphite Zach Valent Old News cast concrete, recycled paper, paint row two: Stacy Slaten Nesting 3 graphite Stacy Slaten Nesting 6 graphite

row three: Jeanne Cardana Respite graphite pencil on archival illustration board Victoria Smith Burning Bridges oil pastel, graphite

top: Victoria Smith Night Swim oil crayon, oil, acr ylic bottom: Victoria Smith It is Likely To oil pastel, graphite

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David Drago

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Kathy is a figurative sculptor who has been creating sculpture and teaching three-dimensional design for four decades. She loves to work with individuals who have a vision for their community or business or private collection and are searching for an artist who can bring their dream to reality. Kathy has a Masters in Visual Arts and has studied with internationally claimed artists.

She knows art and is a trained sculptor.

Kathy Wardle

Discovering your gift is unlocking a combination of the Univer se.

Creativity is a force, a power that must be wielded and disciplined into specific direction. A power that begins to flow through my hands. It takes extreme patience to not become overwhelmed and miss the divine flow and connection with the Universe to create. This creativity comes when I allow this force to freely flow through me, creating my Sculptures and Design Drawings. Its a trust and faith combined. Drawing, creating and pulling from the Universe, wielding into existence. A raw creativity, an intelligence expressed through design.

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F A Lyle London Mirror Helix dichroic glass, stainless steel, computer controlled lighting B Matt Cartwright Malabar Bombax powder coated steel, C Matt Cartwright Pacific Northwest Animal Species Brain Column carved 100+year old monkey puzzle tree trunk D Lyle London Mirror Helix dichroic glass, stainless steel, computer controled lighting E Dave Haslett Equatorial Equinox # 2 NW Basalt F Dave Haslett Primordial Heart # 2 Brucite (Japanese Marble) G Dave Haslett Tomorrow Was Today NW Basalt

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Brenda Leedy

column one: Brenda Leedy Loch’s Nest oil, mixed media Maja Shaw Plumeria watercolor Bonnie Ellis Poaceae acr ylic

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column two Lynn Berkeley On the Rocks; Portrait of a Wave oil Lynn Berkeley Woodbank; Spring oil Bonnie Ellis Abounding Hope acr ylic, oil on canvas

column one: Lynn Bowden Kaleidoscope I mixed media Lynn Bowden Kaleidoscope II mixed media Brenda Leedy Marine Life oil, mixed media

column one: Mara Sippel Trois Bateaux acrylic on canvas Brenda Leedy The Fear of Freedom mixed media Mara Sippel Fog City acrylic on canvas

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row one: Lisa DeBaets Hot Air Balloon Flight watercolor Angelique Chacon Neon West photography

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row two: Angelique Chacon MB Pier Storm photography row three: Jeffery Mallo Anenome with Host photography Alan Mahood Yesterday’s Heros digital photography

row one: Alan Mahood Voyage to Nowhere 3 digital photography Angelique Chacon Aquamarine photography row two: Alan Mahood Finding Wonder digital photograph row three: Jeffrey Mallo Sunflower Coral at Night photography Jeffrey Mallo Orange Soft Coral Lightening photography

Daniele Cuzin

Molokai West Shore oil on canvas Montara Beach oil on panel Moss Beach Bluff oil on panel I am an artist inspired by the open spaces and the shorelines of the Bay Area or places where I travel.

I make realist paintings, mostly landscapes, in plein-air with oil or watercolor. Lately, I’ve painted a series of seascapes with oil and a series of windows with watercolor. When outside, I sketch the scenery with pencil and/or watercolor and, when possible, I paint plein-air. I also take photos. I then use this material in my studio to recreate the vision I had and finish the painting. I choose to paint only the peaceful side of landscapes, outside of the frenzy of contemporary life and human conflicts. When seeing my paintings, I would like my audience to pause and feel a sense of natural beauty and serenity.

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Sari Davidson

column one: Rose watercolor monotype and collograph monoprint Yellow Tulip watercolor and collograph monoprint Poppies watercolor monotype

Jamie Hoffer

Alex LaVilla

column two: Bir th of Magnolia encaustic, magnolia leaves and graphite on birch board Poppies #1 encaustic Buoyant Poppies encaustic column three: Orange Behind acrylic on plexiglass, polcarbonate film and mylar mirror Untitled 2-18-18 acrylic on plexiglass and mylar mirror Fernweh acrylic, spray paint, varnish on plexiglass and mirror Resting #1acrylic, gesso, pastel on plexiglass and mylar mirror

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column one: Susan Wehrman Beyond Words colored pencil on Canson Mi Teintes paper Susan Wehrman Catnap colored pencil Virginia Zukowski Ghost Piano photography Pamela Wedemeyer Alena oil

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column two: Jona Lou Batt Utopian Ideas acr ylic on raised wood panel Susan Wehrman Les is More colored pencil Susan Wehrman Fr-enemies colored pencil

column one: Susan Hellman It’s My Studio watercolor Virginia Zukowski Saddle Up photography Gabrielle Shannon On the Threshold of Change acrylic on canvas and Crimson Storm acrylic on canvas

column two: Bonnie Maldonado Buffalo Skull-Dia del los Muertos Theme painted skull Bev Haring The Wheel fiber ar t Lynn Berkeley Woodbank; Spring oil Mark Goldfarb Scenic West Landscape photography

Patricia Wright Cityscape Abstract watercolor

124 | salannmagazine.com Abid Husain The Lemons oil on panel

Abid Husain Ms Correllis oil on panel Jessica Hansen Randy Rhoads Guitars acrylic

Jessica Hansen My Songs acrylic

Patricia Wright Night Cityscape acrylic

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Kara Marshall RBG mixed media Harriet Tubman mixed media Simply Robin mixed media column two:

Mike Ohara Untitled #3 prismacolor on Bristol Scott Mayberry Letting Go acrylic on paper Mike Ohara Untitled #2 prismacolor on Bristol Laura Phelps Rogers Best Grass in Frame sculpture

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A Suzanne Knorr First Responder Memorial Ceremony Flag Installation flag modification B Suzanne Knorr I’ve Got Straws sketch, C Matthew Parker Politicians in Redacted Collage cattle marker on garbage, D Leif Kruse Lincoln Was a Curios Fellow acrylic, E Amy Carter Ishmael The Least of These Steamrolled Printmaking- 21st Century Automatism-Blind Manipulation F Marshall Loomey John Fitzgerald Kennedy pastel, G Gary Aagaard Nobody Builds Walls Better Than Me oil, H Veronica Lund Enlight 42 nuno wet felting sketch J Amy Carter Ishmael Baby Dreams graphite

Kay Kochenderfer Bel Canto photography Kay Kochenderfer Cello High Drama photography Pam Hawkins Healing Hands acrylic and glass gems Terry Taylor Yellow Shirt Sioux pastel and charcoal on paper, Marshall Toomey Black and Blue pastel Gabrielle Shannon Lincoln Was a Curios Fellow acrylic, Marshall Toomey Untitled pastel Pam Hawkins A Deeper Connection acrylic and Swarovski crystals

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column one: Mike OHara Untitled #1 Prismacolor on Bristol Brenda Leedy Still Waters Limited Edition oil/mixed Neva Scott Crying Over Spilled Milk mixed media acrylic sculpture column two: Lollie Oritiz Dorothy’s Rainbow mixed media acrylic sculpture Lollie Oritiz Rainbow Crayons mixed media acrylic sculpture Sue Hodgson Cold Hard Cash photography 128 | salannmagazine.com

row one: Thomas Sarc Tulips on the Beach acrylic Gabrielle Shannon Cosmic Explosion acrylic row two: Gary Hopkins Urban Dreams - Visiting Portland digital painting Neva Scott Tweet Machine assemblage row three: Gary Hopkins Urban Levitations Series No. 6 - V Fences digital painting, The Cave at Twin Peaks digital row four: Neva Scott Color Riot assemblage salannmagazine.com | 129

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Scott Lee The Eye charcoal

Kat Warwick Buskin’ bronze

Kat Warwick Elusive sculpture

Newel Hunter Cloak & Dagger acrylic

pg 130 A Zach Valent Crystal Tech cast concrete lightbulb, grown monoammonium phosphate, wood B MikeOhara Untitled #4 acr ylic on canvas C Scott Lee My Nightmare manipulated photography D Zach Valent 19th of February cast concrete, quar tz cr ystals, pigments E Kat Warwick Friday Night bronze F Shiela Mahaney Behind the Mask photography G Shiela Mahaney Broken photography H Scott Lee Sofie charcoal I Thea Cinnamon Macker Lady Justice Compromised water based clay, acr ylic paint, polymer clay, wax media J Shiela Mahaney Hidden Fear photography

Zach Valent Empire carved marble

Jessica Frances Grégoire Lancaster Animus mirrored annealed glass

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Michele Benzamin-Miki Barbara Gothard column one: Michele Benzamin-Miki Not All Ecstacies Are The Same sumi-e ink on paper Barbara Gothard Looking Glass digital painting Michele Benzamin-Miki Somewhere Between Breathing In and Breathing Out sumi-e ink on paper column two: Michele Benzamin-Miki Don’t Close Your Eyes to the Butterfly sumi-e ink on paper Michele Benzamin-Miki The Sky is Ten Thousand Shades of Blue sumi-e ink on paper Barbara Gothard Origination digital painting

Ken Bowman

Mark Goldfarb

Cayce Hanalei

row one: Cayce Hanalei Unfinished acr ylic, Cayce Hanalei Harbinger acrylic row two: Cayce Hanalei The Goondock Saints oil, Mark Goldfarb Colorado State Capitol exterior architecture photography row three: Mark Goldfarb Colfax Sunset photography, Ken Bowman Game Hunters oil

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Jady Bates I went blind 5 years ago...

I began photography only 4 years ago Surgeries saved my vision (mostly) and once I could see again, I was terribly disappointed in how flat and ugly “reality” looked. You see, when I was blind -for about 9 mos/1 year- I had experienced all my previous 40 years sighted. While I manuevered around the world in a new way, with a “twig” or “stick” as we call them (a blind cane), I envisioned reality, in my mind. It looked so much more vibrant and beautiful in my mind. So, when I could SEE again, it was flat. And suddenly, I found a camera and realized I could make the world look as bold and vibrant as I wanted. I became obsessed with the art of photography.

My story gets even crazier because I am also chronically ill with kidney disease from being a Type 1 diabetic who never took care of herself while working full-time through my bachelors, master’s and on toward my PhD; also while raising a strong young daughter. AND...about a year and a half ago I had been given this wondrous opportunity to interview famous photographers through Creatr video platform; which was part of Papercut Magazine... When my liver failed the first time, and I died...I was dying online in a live video interviewing Benjamin Von Wong! I don’t even remember that interview but it’s online somewhere. My friends said it was a great interview. Shortly after that I went into the hospital ICU...died and came back.

What is important in me relaying these incredible stories is not the stories themselves, but what they represent on a meta level. To all of us. In learning “all the secrets,” I know what I’m doing here. I know that I am an infinite soul in a human experience. I know that LOVE is the most and only real power in the universe and that it is the power that creates worlds. I know that each and every one of us, is a unique drop, all part of a glorious ocean. I know that we can create and do anything we want in this world. I am just beginning to realize this fully and implement this into my human life. I am a daily walking miracle - for somehow I just keep going with a vibrant heart, body and spirit.

“I don’t believe in miracles. I rely upon them.” -anonymous

Adorned No. 6 photography

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Adorned No. 1 photography

Adorned No. 4 photography

Adorned No. 5 photography

Adorned No. 3 photography

Adorned No. 2 photography

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Dick Nosbisch

top row Dick Nosbisch Flaming Hot photography Dick Nosbisch Glacial Grace photography bottom row Dick Nosbisch Harlequin Mosaic III photography Simon Geoffreys Saint of Ephesus medium??????

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Simon Geoffreys

top to bottom Kat Cactus dyesub metal print Mortal Danger 2 dyesub metal print Broken Arch (Rock Womb) dyesub metal print

Elsa Marie Keefe

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Dan McCormack

Arnold Clayton Henderson

Sharon K Berkan-Dent

The awe that I feel for the splendor found in gardens and forests combines with my love for all that is mystical in my artwork. A walk through a garden or woodland inspires images of the beings that are hidden there if only our minds could see. I approach my wor k from the viewpoint of a naturalist, combining it with the realm of fantasy. I create my drawings with great attention to the detail of trees and fauna, all the while overlaying realistic figures of mystical beings.

With the creation of my drawings I not only explore the natural world as it combines with the spiritual, but also hope to impart the impor tance of the environment to the world in which we live.

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Yiru Chen

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I often feel like I live in two parallel worlds, where my body dwells in reality and my mind lives on a spiritual plane, where my inspiration comes from. I started to build my imaginary world when I was little, and life in China is not pleasant for a girl who lives in her own world. As the adverse reactions to me grew, so did this imaginary world and it became the only place to release my emotions and I escaped further and further. It was my spiritual pillar. My main purpose is pulling my mental world, that consists of different aspects of trauma, healing, thoughts on social phenomenon and cultural conflicts, into reality through my art. All pieces are surreal ceramic sculptures.

The earliest ceramic culture dated back to 29,000 - 25,000 BCE, and were mostly related to body worship or Phallism. I was born in China, which has one of the longest histories in the world, especially in ceramics and porcelain. I decided to use ceramic as the medium for this project, because on one side, clay is a primitive and natural material that belongs to mother earth. Clay allows me to express sex in a similar way as sex is a primal desire for human beings. On the other side, I create them all with modern twist and used vivid colors to indicate no matter how society develops and changes, our natural instincts cannot be changed.

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H A Lauren E. Davy Celestial Goddesses body paint B Lauren E. Davy The Offering acrylic/watercolor C Lauren E. Davy Celestial Goddesses body paint D Robert Ryan Juliet is the Sun oil E Veronica Lund Eve nuno wet felting F Bob Sanov Hanna photography G Robert Ryan Goodbye oil H Michael Pannier The Reckoning photography

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column one: Tanya Porter Sunburt Through Tree photography Robert DeFreest Midnight at Milepost 38 photography Newel Hunter Preaching to the Choir acrylic on canvas column two: Robert DeFreest Devil in the Details photography George Gonzalez Ethiopia 22 photography Newel Hunter Fiddle Faddle acrylic on canvas Robert DeFreest The Dark is Rising photography

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top row: Tanya Porter Sun Setting Over Greek Island photography row two: Kat Brady Lob Tail photography George Gonzalez Ethiopa 15 photography row three: Newel Hunter Lightkeeper Glow acr ylic on canvas Maeghin Alarid A Long History photography row four: Robert DeFreest Gothic Wheels photography Melissa Jones-Fish Wonderful Wooded Fog photography

column one: Lauran Jackson Droplet, Ice Fishing, Dinnertime, Deer in Snow, Family Reflections photography column two: McKenzie Paxton Elk in the Valley oil Kat Brady Pine Wolf photography Kat Brady Cabbage on Aster photography Robert DeFreest Wye, It Too Snowed medium format 120 transparency film

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column one: Kat Brady Looking Over Shoulder photography, Melissa Jones-Fish Wrought Not Wilt photo on canvas McKenzie Paxton Thailand Waterfall oil on canvas middle column: Melissa Jones-Fish Protection is Prickly…

Thistle in the Park photography Sue Hodgson Cactus Plant photgraphy on metal Melissa Jones-Fish The Ascent of Fog Amongst Grandma’s Angel Statue photograph on canvas column three: Tanya Porter Mountain Goat photography Tanya Porter Golden Eagle photography Maeghin Alarid Empty Nesters photography McKenzie Paxton Rice Fields and Roads,Thailand oil

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column one: Becki Whittington Rainbow Reimagined mosaic, Bloom Where You Are Planted mosaic (photography by Gerry Case) column two: Diana Ferguson ‘difergi’ Families acrylic, Remembering and Waiting acrylic Jona Lou Batt Demeter acrylic on gallery wrapped canvas

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column one: Florence deBretagne The Adventurous Cub acrylic, Gabriele Gracine GG Abstract D 2019 abstract digital Florence deBretagne Encounter acrylic, Florence deBretagne Pandas Playing acrylic column two: Bruce Sanders Families acrylic, Remembering and Waiting acrylic, Florence deBretagne Playing Scrabble acrylic Sandee Lewin Nye Dogs at Play photographic print

row one: Robert Ryan Whiter Shade of Pale oil, Teresa Ann Volgenau Flamenco Performance acrylic row two: Edi Matsumoto Wounded Healer oil on canvas, Teresa Ann Volgenau Flamenco Fans acrylic row three: Elizabeth Spritz Coast Rhododendron, Alex, Bluebonnets constructed watercolor

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column one: Chris Triplett Flower Cowgirl watercolor Becky Herbst Bonsai acrylic Robert Ryan Flame oil column two: Edi Matsumoto Spring Flower oil, Chris Triplett Done watercolor, Jeanne Cardana Wishful Thinking colored pencil on Bristol BVellum paper

row one: Johanna Porter The Bad Seed mixed media digital drawing printed on metallic paper Johanna Porter Screen 24-7-365 mixed media digital drawing printed on metallic paper row two: Barbara Jacobs Ocean digital painting, available as archival pigmented print Jennifer Kumer Keep It Simple watercolor, acrylic, markers, collage Barbara Jacobs Popped mixed media monotype, available as archival pigmented print row three: Valerie Smith Full Wolf Moon oil drawing Alex Alimohammadi Lovers acrylic

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column one: Patrice Sullivan White Dresses oil on board Wanda Waldera New Maps 11 acrylic Jennifer Kumer Escape ink, pastel, acr ylic, markers, collage column two: Patrice Sullivan Dad oil on board Barbara Jacobs Tropical Bamboo available as archival pigmented print; original is stencil/print plus digital manipulation Florence deBretagne Mommy and Me acrylic Thomas Curran Blind Drawing 1 charcoal

Tamar Mag Raine Cherry Moon, Joyful Colors mixed media

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Lana Fultz Let’s Go Sailing oil

Lana Fultz My Waterfall Garden oil, Looking Through the Woods oil Julie Thomas-Zucker Peacefull Waterfall acrylic

Iko Prochal Spirit Lake oil on canvas

A Audrey Breed Blue Moon acrylic, ink on canvas B Barbara Skelly Self Portrait acrylic C Audrey Breed Fido & Fifi acrylic, ink on canvas D Barbara Skelly And a Little Child Shall Lead Them acrylic E Julie Thomas-Zucker Country Mill acrylic F Barbara Skelly Rainbow Madonna acrylic on paper G Julie Thomas-Zucker Wilderness acrylic H Sue Hodgson Partners oil I Barbara Skelly Curious Doctor acrylic J Kristi Ponder Family acrylic K Jona Lour Batt Enigma acrylic on raised wood panel L Alex Alimohammadi Friends acrylic

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row one: Ben Bohnsack Seney National Wildlife Refuge - The Ponds, Marshes and Forests woodcut relief print row two: Ben Bohnsack Moose in Summer woodcut Patrice Sullivan Running Wild charcoal on paper Kristi Ponder Tigard, OR mixed media row three: Ben Bohnsack Snow Day woodcut J’Tailyn Mullins Aaliyah acrylic and oil Debby Dermberger Ryan Orange Hibiscus acrylic on canvas

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Tony Armadillo Strength, Faith, Resolution oil Kenneth Wheeler Angel Semi Abstract acrylic

Kenneth Wheeler Angel of Painting acrylic Thomas Sarc Owl acrylic

I’m Not Dead Yet is a photo based series that examines the sociopolitical ramifications of white poverty from the artist’s personal experience.The mixed media images incorporate handwritten elements that are emphasized by a masking tape border.The materials are non-archival and are commonplace rather than fine art based, which indicates a sense of haste and urgency.The aesthetic emphasizes the exigency of intervention.The handwritten border narrative serves as a caption to the image and is the personification of poverty, social rejection and deprivation.The text utilizes the first person pronoun and many of the images are composed from the first person perspective.

Spectatorial identification occurs through the use of “I” when consuming the text and provokes the audience to investigate their own political position with regard to the working class.The intention behind this series is to elicit a political dialogue about disenfranchisement.

Shelby Poor

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A Marjorie Lutz Mustafa’s Home acrylic collage B Marjorie Lutz Continental Rift of Africa collage C Kenneth Wheeler Koi Fish acrylic D Kenneth Wheeler Sun with Tree acrylic E Marjorie Lutz Red Wins Blue Blues acrylic F Marjorie Lutz Libations acrylic G Kenneth Wheeler Chakra Rattle Doll porcelain

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A Andrew Winegarner Citrinitas mixed media digital B Andrew Winegarner Prima Materia mixed media digital C Marjorie Lutz Green on Black acrylic D Anne Parker Flying Numbers manipulated digital photography E Andrew Winegarner Rain King acrylic F Sue Hodgson Spike Floral phtotgraphy on metal G Anne Parker Poppy manipulated digital photography

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A Wanda Waldera New Maps 14 acrylic B Bruce Sanders White Bouquet acrlic on canvas C Gabriele Gracine GG Abstract E 2019 digital D Clay Harris Riding the Wind composite imaging E Maeghin Alarid Summer in Aspen photograph

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Jackson Zorn The Turnbuckle Prophets Series is my most current body of work. I am using visual language to earmark the parallels of contemporary religion and professional wrestling.

For example, the physical sacrifice of Christ for a pre-destined end and the physical sacrifice of professional wrestlers to reach a pre-determined ending. Both, while suffering immense physical consequences, know the outcome of their efforts has already been set. And that the efforts are purely for the masses.

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row one: Judy Leventhal Red Tail Hawk Soaring mixed media sculpture Mario Sostre Parachute Jump inkjet transfers on wood panel Donna M Woods Orange Poppies watercolor

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row two: Zach Valent English Antique vintage teacup and grown monoammonium Phosphate crystals Judy Leventhal Manzanita Roots Merging mixed media sculpture Debby Dernberger Ryan Yellow Hibiscus acrylic on canvas

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A E F Tammy Schrock Blue Lotus mixed media, glass, copper wire sculpture B Jessica Lancaster Tomb reverse oil on mirrored tempered glass C Judy Leventhal Epiphany From the Heart mixed media sculpture D Ken Bowman Lithograph 4 lithograph G H I Beth Van De Water Matriarchal March fine silver and 24k gold foil Horses fine silver, oxidized fine silver Three Rings fine silver, sterling silver, 18k gold, turquoise, diamonds

Max Tzinman Max Tzinman’s images explore mob mentality. He is fascinated and disturbed by the hypnotizing appeal of the mob and its link to the desire to escape from the complexities of life and individual responsibility. Is groupthink the inevitable, irreversible result? Can we hold on to our individual humanity in the face of this drift towards the seductive comfort of merging with the mob? Tzinman’s works start digitally, in two or three dimensions, adding layers of mixed media (acrylic, oil, collage, metal) to create still structures and moving images, light and sound. Each project is based on a specific vision which may be realized, changed, extended during the creative process.

Dai Giang Nguyen

1944 - Born in Hanoi, Vietnam.

1961-1965 Graduated at High-School Industrial Fine Arts Hanoi.

1966 -1968 Studied at Industrial Fine Arts College Hanoi.

1968 -1974 Graduated at industrial fine arts university in Moscow 1992 to now: living in Seattle, Washington U S A

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Kathleen Caprario

Kathleen Caprario’s work has evolved from the question, “how am I shaped by my environment?” and seeks to reconnect personal and cultural identity with the land and the intersection between physical place and cultural space. The abstracted contours and toile de jouy-style cutouts in her work reference appropriation, boundaries and privilege. Painted trompe l’oeil fragments from European-inspired wallpapers contrast with organic patterns gleaned from the land to create a compression of time, a dialog between the past and present and a conversation for today. She is a founding member of Gray Space Project, a group of Oregon artists based in the Mid-Willamette Valley area who came together in 2016 to claim agency and circumvent institutional structures.

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row one: Marti White Lilacs in a Golden Sun acrylic David Valentine Fire Over the Ridge mixed media row two: Noreen Larinde Neon Red oil on linen Marti White Touching Red acrylic row three: Heather Schroeder Majestic Sunrise acrylic

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column one: Michelle Bond If I Had Wingls Like a Book Has Pages watercolor and ink David Valentine Mandatory Evacuation mixed media on paper Michael Zabinski Paths fused and coldworked glass David Valentine Light and Smoke mixed media on paper

column two: David Valentine Moisture In The Air mixed media on paper Sharon Bock Mystical Mountains acrylic Sharon Bock Imaginary Mountains watercolor David Valentine Construction on Fire Next Door mixed media

Sarah Banks

top to bottom: Bellows intaglio, Goya May 2 intaglio, The Seamstress oil on canvas

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Mario Sostre Alan Mahood Susan Montgomery

column one: Sarah Banks No Choice oil on canvas Alan Mahood Almost There digital photograph

column two: Mario Sostre Brooklyn Bridge inkjet gel transfers on wood Susan Montgomery Lone Cypress archival inkjet print Susan Montgomery Dress Me Up With Love oil on linen

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Sharron V Porter

Alan Mahood

row one: Fabricated Obstruction mixed media acrylic painting on canvas Abide acrylic and mixed media on canvas

Yesterday’s Heroes digital photograph

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row two: Pond of Dreams mixed media acrylic painting on canvas Cave of the Mother mixed media acrylic painting on canvas Visitors of Light mixed media acrylic painting on canvas

Nate Russell

The ar twork I create consists of various different typed of genres and styles. I use many different mediums to por tray my ar twork; pen & ink, marker, color pencil, water color, acrylic paint, chalk, and graphite pencil. The variations of both styles and mediums from piece to piece is so I don’t get bored, or stuck making the same thing over, and over again. Some pieces I have a clear plan in my head of how I want to to look, and be put together. Others are created “on the fly” and I let them come together as it’s being created. My goal in all of my art is to simply make something original, that is pleasing to the eye. Many of my works are made by using different layers to separate the foreground, figures, to the back ground. There is also the use of different styles and mediums to separate the layers and create more contrast. left to right St. Croix color pencil, water color, mar ker, pen & ink Beast Spirit pen & ink, marker, colored pencil

Stephen Mauldin

left to right Three Two acrylic on canvas String Theor y acrylic on canvas

Beginning around 2006, I used a ver y energetic mark I had discovered to create images of “the universe of mind and spirit” as I envisioned it, inspired by images of the physical universe produced by the Hubble space telescope. I worked for several years to refine these, especially the spatial aspects, then moved on to a series of radiant “figures” set against a web inspired by the distribution of galaxies and galaxy clusters in the early univer se. All through this period, I wondered about mixing color optically by overlapping the fine skeins produced by this mark and eventually began a series to explore the matter. The “Poles” series began as single panels, but evolved into two panel pieces and ultimately three panel pieces followed by the “IMP” series.

row one: Michael Pannier Dreams of Life photography Stacy Honda The Messenger archival digital print row two: Michael Pannier Break it Up photography Michael Pannier Paths That Cross photography Stacy Honda Connection archival digital print

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row three: Anna Bruce Emotions digital photography Jay Coy You Speak My Soul archival pigment print on fine ar t cold press

row one: Anna Bruce Field of Dreams digital photography Jay Coy Warrior archival pigment print on fine ar t cold press row two: Anna Bruce In Fear There is Temptaion digital photography

row two, contd: Jay Coy Decaying Beauty archival pigment print on fine ar t cold press row three: Jay Coy Self Doubt archival pigment print on fine ar t cold press Jay Coy Mother Earth archival pigment print on fine ar t cold press

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Karen Brauns

Jeanne Raymonde Bieri

Jeanne Raymonde Bieri

Stacy Honda

top to bottom: Stacy Honda The Wind at Your Back archival digital print Jeanne Raymonde Bieri Seep fiber Mended Crazy Quilt army blanket, army suture cotton, silk, felt

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top to bottom: Karen Brauns The Golden Touch acrylic, gold leaf Got Honey? acrylic, glitter, and gold leaf Into The Light acrylic, glitter on canvas

Chris Hudson

Carol Kay

row one & two: Chris Hudson Connect The Dots acrylic on canvas, Puma acrylic on birchwood, 2+2=5 mixed media

row three: Carol Kay ?????????? ?????????? ?????????? ??????????

Oshi Rabin, Mahlstedt Gallery Public & Urban Art Team

Steve Caulfield The Blues 270 photography

Oshi Rabin Lead Artist and Executive Director Mahlstedt Gallery Public & Urban Art Team Steve Caulfield

Steve Caulfield The Blues 270 photography As part of an ongoing redevelopment and beautification campaign in downtown New Rochelle, NY, the Mahlstedt Gallery Public & Urban Art Team recently completed “Radiant Passage,” a multidimensional, illuminated art installation located at the overpass of North Avenue & Memorial Highway. Oshi Rabin, Mahlstedt Gallery’s Lead Artist and Executive Director, designed the LED interactive mural and led the project’s installation in collaboration with muralist Misha Tyutyunik.This project began with an open request to artists to design an innovative, dynamic and contemporary art and light installation as a gateway to the downtownarea, improving pedestrian safety and inspiring pride within the community.The artworkserves as a visual connection to New Rochelle’s overall redevelopment activity, which we expect will have an important impact on the City.

A Katherine Irish Vermillion Glow pastel B Katherine Irish Silent Resolution pastel C Steve Caulfield Peacock photography D & E Oshi Rabin Lead Artist and Executive Director Mahlstedt Gallery Public & Urban Art Team A B

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column one: Kathleen Steventon Care For A Swim? oil on canvas Justin Behnken PM Study 145 watercolor on paper Bonnie Ellis Poaceae acrylic on canvas

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column two: Carter Thompson The Nautilus watercolor Chris Warot WBA 1137 acrylic on canvas Wanda Waldera New Maps #9 acrylic on canvas

Carter Thompson Cur ios Shelled Friend watercolor Justin Behnken PM Study 140 watercolor on paper Chris Warot WBA 1349 acrylic on canvas

Kathleen Steventon I’m Here Momma oil on canvas Carter Thompson Leatherback Sea Tur tle watercolor Kathleen Steventon Blue Bear Bliss oil on canvas Bonnie Ellis Suddenly Overflowing acrylic on canvas

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David A. Olsen

top to bottom: Yosemite, Sunset Wilson Arch, Sunset photography

top to bottom: To Skinny Dip Falls, Sunburst Swim Hole, Cherokee Trail Marker archival inkjet print

Vicki Provost

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clockwise: Marlene Herrera Raindrops on Succulent photography on acrylic Eloise Larson Stopping oil, gold leaf, discarded monk’s robe and was on panel Kathy Curtis Cahill Wild Oak archival inkjet print Eloise Larson Queen “B” oil and gold leaf on panel Junyi Liu Neon oil on linen

Marlene Herrera

column one: Junyi Liu To Be Or Not To Be oil on linen Kathy Curtis Cahill Lone Cypress archival inkjet print Junyi Liu Dress Me Up With Love oil on linen

column two: Marlene Herrera Flight of Igauazu Falls, Brazil photography on acrylic Junyi Liu Beauty Won’t Hurt You oil on linen Marlene Herrera Raven Profile photography on acrylic

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Swann Freslon

A Whale Song acrylic on canvas

Swann Freslon

Killing Me Softly acrylic on canvas

Eiffel Tower, Seattle Space Needle, Lady Liberty mixed media

Lisa DeBaets

Behnaz Ahmadian

Family Portrait acrylic, fluid acrylic ink, paint pens Symphony of Flowers acrylic, fluid acrylic ink, paint pens

Behnaz Ahmadian was born in Iran and raised in the United States, and is currently living and working in Colorado. She’s an artist and an art instructor. Behnaz is very fascinated with pattern and color and incorporates them in her paintings.

Pattern and color stimulates the eye and creates interest. Creating each piece is like a journey that takes her back to when she was introduced to fabrics and patterns through her mom who was a fashion designer. Watching her mom’s work influenced Behnaz and captivated her and made her who she is today. Behnaz takes traditional subject matter, modernizes it by giving it character and emotion through color and patterns. She paints with acrylic paint, fluid acrylic ink and paint pens.

If Trees Were Artist, Sunny Sunflower acrylic, fluid acrylic ink, paint pens

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Ron Nation

Spring Surprise acrylic Dusk at the Cherry Blossom Festival acrylic

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Niki Stearman Arms Around You mixed media

Niki Stearman Niki Stearman I Wish I Could mixed media Robin Becic Manzanita Siesta watercolor, acrylic

Robin Becic You’re Always Dreaming watercolor, acrylic on Yupo

Robin Becic Robin Becic Brook in November watercolor, acrylic

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David A Olsen

Art has inspired mankind to express their inner most feelings. For me, the colors and light that I see inspire me to meditate and wonder at the world I live in. I strive to capture the world as I see it and experience it. Sometimes it is seen more in black and white than color, but in those instances it is the light that is speaking to me and what needs to be shared with you, my viewer.

Clay Harris

Clay Harris

“If I could say it in words, I wouldn’t need to photograph.” ~Lewis Hines Lewis Wickes Hine was an American sociologist and photographer. Hines used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States.

Photography for me is an expression of art as well as a pursuit to document the world as I see it.

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The Curious Art I call “Abstract Art” a curious art because of the great many varied ways it is perceived! Abstract Art is so skewed by its beholder, that in many cases, two viewers may never agree on what they see. In that sense, Abstract Art is different than other forms of art. Curious!

Clay Harris

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Alex Alimohammadi Sphinx oil

Jimmy Strange Steve’s Cat oil pastel

Jimmy Strange Lulu and Dante oil pastel

Becky Herbst Chimp in the Shade acr ylic Jimmy Strange Asian Cat oil pastel

Tabitha Benedict Aaron Sea Bird venetian plaster, acrylic, oil on gallery wrapped canvas

Souls can conceivably become trapped in the human heart. A persons spirit becomes stuck between two worlds, abstract and reality. I desire to bridge that gap, free the soul that lingers in this energetic matrix unable to move on. When someone comes along and understands their story only then can a soul be released. My work opens a portal to this understanding and enlivens the energy of the soul. Patrons have described feeling calm, a sense of peace when they stand in front of my work. They have voiced that my work touches their soul and inspires sense of hope. I believe that my work helps to create a unique, divine connection to oneself as well as to others. In this new collection “The Peace of Wild Things” I use Venetian Plaster to create an abstract background, the idea existing only in thought, I then let my intuition guide me. The Venetian Plaster adds depth, texture, and layers representational of how our lives are formed. I use wildlife as my subject matter because animal

Tabitha Benedict Aaron

top row: Wild venetian plaster, acrylic, oil, on gallery wrapped canvas, Existence plaster, mixed media, on heavy weight gallery wrapped canvas bottom row: Essence venetian plaster, acrylic, oil, on gallery wrapped canvas Patience molding paste, mixed media, on gallery wrapped canvas

spirits remind us that all living things are connected. If a species goes extinct it isn’t just that species that disappears, they are a part of a whole global ecosystem and so are we. I paint the wildlife transparently revealing their soul to the world, showing only their true nature. Animal beings are such great teachers, connectors, portholes to the big simple unlimited love of the universe. Tabitha has been showing her work locally in Galleries and Outdoor Art Festivals throughout Colorado. She was awarded Best of Show at the Parker Fine Art Festival in Parker CO in 2017. Tabitha was awarded the Art Collectors Award, 2016 at Creative Framing Art Gallery in Louisville, CO. She has recently been selected as the finalist for her first large Public Art Project for Colorado’s Mental Health Institute in Pueblo, expected to be completed in May 2020.

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E. Ingrid Tietz

Hamburger Heaven slip-cast porcelain, laser decals Fast Food Nation slip-cast porcelain, laser decals

A Snowy Evening oil and cold wax on panel

All the King’s Horses oil and cold wax, slip-cast porcelain, Kintsugi gold

Stoppping by the Woods oil and cold wax on panel

Drawing on her experimental career as an academic neuroscience researcher, E. Ingrid Tietz’s conceptual and gestural abstract works revolve around contemporary, representational and non-representational forms.

Her evolving artistic images derive from her intrinsic responses to life and death, to social issues, and to her environment. This range of internalized emotions is expressed and continuously revised using a variety of tools and media to create provocative porcelain sculptures, as well as abstract oil and cold wax paintings. Her current work focuses on integrating these two approaches.

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Otherness can be related to all varieties of identity. We all experience challenges regarding group membership or non-membership throughout our lives - in different places and across different time scales. From the momentary feeling of the outsider experienced when entering a new social setting, to lifelong social dynamics centered on identities such as race, class, and gender. For some of us these barriers are easily overcome, but for many it may be impossible. Frequently, our internal perceptions of self and the social world around us produce these experiences. But often they are

Paul Meadow

engendered by our society’s constructions of tribe - of ‘us and them’. In this series I am attempting to elicit experiences of ‘otherness’ for the viewer, using iconic Campbell’s Soup cans as a social stand-in. Some represent specific situations where ‘otherness’ is a function of being part of a group that is not a full and equal member of our society. The rest are more generic and represent situations in which any of us may have been, or could find ourselves at anytime. Interestingly, we all share the common experience of being the ‘Other’.

Susie Biehl

Susan Hellman

Susie Biehl

Susan Hellman

Donna Woods

column one: Donna Woods Traditional Neighborhood watercolor Susie Biehl Life With Fish multi media Susie Biehl Sunrise multi media column two: Susan Hellman Desert Storm watercolor, Susan Hellman Yakushima Cedars watercolor Susie Biehl Metropolis multi media

Susie Biehl

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Big Nude collage Summer Solstice collage

Susan Denison Geller

Susan Geller has designed costumes in New York and Los Angeles for theater, television and film. Costuming characters by choosing and shaping fabrics, effectively composing patterns and colors with them, led her to collage. In this work, without a preconceived form in mind, she often starts with paper attracting her eye or that she randomly tears from one of her discarded works. Moving from the center out, while layering more papers as well as paint and other materials, she develops both figure and background at once. As the piece emerges, it might fill out from two to three dimensions. Its edges often end up irregular, rather than confined to a rectangle.

In the longest and last phase, she pares it all down to essentials.

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Lark Sundsmo Point Defiance Pottery

Lunar Sugar Saggar Pot ceramic

Point Defiance Pottery is a family mash up of talents and ideas. Lark and Tyler Sundsmo, along with their three children are often to be found in their small studio in their backyard where their family has attempted to corral all their art supplies, tools, spare parts, creations and inventory.Their clay is bought from local sources, here in the Pacific Northwest, and every bit is used minimizing waste and recycling as much as possible.

Of their pieces incorporated recycled or repurposed materials. Every ounce of it is a team effort and achievement. With their dedication to ocean conservation and Maritime history is soaked into every detailed ware they produce. What started out on their dining room table as an experiment in 2012 has evolved into something that brings a lot of joy to their family and community today, a testament to the eternal work in progress, in itself, an artform- ever painting the story of a craft evolved.

Cobalt Saggar Pot ceramic

Small Saturn Saggar ceramic

top to bottom: MGM Reflections oil and collage on canvas, LACMA oil on canvas, The Atrium at the Getty, L.A. oil on panel, The Hammer oil on board

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Moon Saggar Pot ceramic

Mark Roko Jurasin

Basilisk Saggar Fire Vase ceramic Because my artwork isn’t and cannot be displayed in the traditional gallery setting, the work is able to inspire those who aren’t typically exposed to art. There is a sense of serendipity attached to my environmental installations; any unsuspecting passersby can stumble on them and experience the art without preconceptions or expectations.

There is an inherent violence in all things- a violence that can and should be harnessed. My art highlights the elegant subtext of this violence in both the natural and man-made worlds- two spheres which are perpetually and intimately entwined. This violence is made manifest in my assemblages that mimic natural phenomena.

Wires, screws, metal shavings, and other industrial refuse are assembled into structures that seem at-odds with the material from which they are constructed. A careful ensemble of many, small pieces becomes a singular, more powerful form.

top to bottom: MGM Reflections oil and collage on canvas, LACMA oil on canvas, The Atrium at the Getty, L.A. oil on panel, The Hammer oil on board

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Stuart Marcus

My passion for form and color has led me to a unique ar tistic expression. With my keen design eye , I constantly formulate ideas inspired by Urban Architecture

top to bottom: MGM Reflections oil and collage on canvas, LACMA oil on canvas, The Atrium at the Getty, L.A. oil on panel, The Hammer oil on board

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Ar t is almost like an unknown exploration and journey for me. The minimalist tendency in my work reflects the relationship between reality and myself. This relationship is constantly changing and is difficult to grasp at various times despite my attempt at reinterpretation. As an individual, I’m always forming different relationships with various objects and people, and this forming process is often times fluid. Since relationships are metaphysical, I choose simple dots, lines, spaces and blocks of color

to represent them in my work. I enjoy experimenting with mixed media, collage and silkscreen techniques as well as creating digital illustrations and installations. My previous light installation series consisted of numerous frames with lights around them that glow in various colors with drawings on transparent fabric inside them.

This series of installations has opened new potentials for me and is something I am currently focusing on.

Huiming (Adela) Li

top to bottom: From Reality to Dream 7 oil on canvas From Reality to Dream 5 oil on canvas From Reality to Dream 2 oil on canvas

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“Painting is my passion, to trust the process, finding peace is understanding the joy of discovery- beautiful little gifts. Being open to that. Finding peace in your art journey is just that, a journey. It is the process not the product that inspires me.

“I embrace the freedom to change courses many times along the way, knowing each and every choice will be an important part of the finished painting. By letting go of desired outcomes, I open myself to a world where anything is possible and there are no mistakes only gifts.”

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Suz Stovall

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Swann is an abstract painter. She paints in acrylics, using multiple layers to enhance the texture or manipulating the stunning effects of the resin. Influenced by the colors and energy of her life, she seeks to create abstract paintings as an exercise of letting go the flow of her emotions and the viewer’s emotions; to the point where you don’t exactly know how to express what you’re looking at, but you deeply feel it in your soul. She is born in France, has been raised in multiple countries of Africa and has lived in Europe and Canada. Art has always been part of Swann’s life. She lives now in the San Francisco Bay Area. She recently painted one of the San Francisco Hearts, true landmarks of the city.

Swann Freslon

Ruth Neubauer Ruth Neubauer

I work with what already exists. I see beauty in the ordinary. Without intention, I find myself unexpectedly captivated and compelled by texture, light, form, and surprising detail. I see mystery in nature, in the work of human beings, and in the relationship between them. Fixed in a moment in time, stilllife photographs allow the viewer to wonder what came before and what may happen next which then becomes dynamic - the conversation between the image and you. My work as a psychotherapist for over thirty years has profoundly enhanced my appreciation of all things seen and unseen, known and unknown.

These recent photographs are from a collection called “Seldom Seen” which represents my photographic and personal journey. Looking in from outside - looking out from inside - and everything in-between - liminal space, I find that the deeper in I go, the more abstract the images and the less attached they are to Time or Place.

Meditation photograph Century Plant photograph Hood of an Old Truck photograph

I was born and raised in Tehran, Iran. I left Iran right after high school and attended college in Houston, Texas. I grew up in an artsy family. My father was a poet and an author. I began painting and writing Persian calligraphy at an early age. I attended one of my dad’s friends’ school of calligraphy who was a master calligrapher. Little by little I expanded my art. Currently I live in Corona Del Mar, CA where I paint mainly impressionism.

My goal in all my paintings is to find the light where the heart is touched.

IObtaining a BA in graphic design and fine art, I worked for many years as a graphic designer and art director. I made a switch from realism to abstract art, allowing me to be more expressive and expansive with my paintings.

Working primarily in mixed media paint, I create on four to five canvases at once, allowing for a very creative work atmosphere. I have exhibited all over the world, extensively in the USA and Italy. I have won many awards in the USA, Italy and England. I invest in the

Stephanie Holznecht

Ruth Neubauer Gold Mine photograph

Ruth Neubauer Gold Mine photograph

Reza Safa

creation of a piece of art to convey what I have inside: my thinking, my emotions, my life, my essence and my soul. The inspiration that I take from experiencing life creates a feeling that continues to inspire me. I don’t think that is something I will ever lose.

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Ted Wilson Ebrace 2 steel

Tracey Chaykin Small but Mighty colored pencil Tracey Chaykin The Gathering colored pencil

Ted Wilson Sol Gersh Tracey Chaykin Frances Listou Shannon Kaye

Frances Listou Demure bronze-patina on wood base

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Shannon Kaye Ethnic No. 1 folded paper

Ted Wilson Gateway steel and stained glass

Ted Wilson

Sol Gersh Masterpiece acrylic

Embrace steel

middle row left to right: Frances Listou Different Views, Joined in Heart, Solid as a Rock bronze on black granite base Shannon Kaye Untitled folded paper Frances Listou Eagle’s View Rosa Portogallo Salmonato Marble on black granite base

K. Carrington

Because my artwork isn’t and cannot be displayed in the traditional gallery setting, the work is able to inspire those who aren’t typically exposed to art. There is a sense of serendipity attached to my environmental installations; any unsuspecting passersby can stumble on them and experience the art without preconceptions or expectations. There is an inherent violence in all things- a violence that can and should be harnessed. My art highlights the elegant subtext of this violence in both the natural and man-made worldstwo spheres which are perpetually and intimately entwined. This violence is made manifest in my assemblages that mimic natural phenomena. Wires, screws, metal shavings, and other industrial refuse are assembled into structures that seem at-odds with the material from

which they are constructed. A careful ensemble of many, small pieces becomes a singular, more powerful form. My work consistently sets two ideas in stark contrast: structure with chaos, strength with fragility, decay with rebirth. The environment in which each piece lives is of equal importance to the forms. Growing up as an adopted child, I had a peculiar relationship with my environment, bending and twisting myself to achieve some sort of harmony though acutely aware of the disparity I had with my surroundings. The idea of adapting to create a sort-of-symbiosis, is shown by permanently installing the artwork in undisclosed locations; left to the elements or any unsuspecting passersby.

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My Inspiration comes from life and all that it brings emotionally, spiritually and physically. My Series have been inspired through personal inner struggles and successes as well as my journey in this lifetime. I would say my work comes from a place of intuition and emotion. There are times I will be reading or reflecting, and a brief vision of a painting will come to me. At that point it’s my inner emotion that brings the art to life on the canvas. Once I start a painting the music that I listen too amplifies that emotion which works its way onto the canvas. With each painting I listen to a particular song over and over as I paint and name the piece after that song title. I have had many individuals who have purchased my paintings ask for the name and musical artist who I painted the piece to. I have been told from several collectors that this has created a deeper emotional connection to the painting. My artistic style consists primarily of Mixed Media and Abstract mediums. I love to experiment with various mediums, texture and paint. I use acrylic, fabric, tissue paper, mesh, spray paint, ink, oil pastel, chalk and other mediums.

Niki Stearman

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Steve Nielsen

Bringing Metal to Life Steve Nielsen born and raised in Oroville, which is in Northern California. It’s surround by lakes, rivers and foothills. He grew up fishing and hunting with his father, Richard Nielsen, who was a fishing guide for over 30 years. His father was a falconer, and raised a couple hawks in the 1980’s. It’s no wonder most all of Steve’s art shows the heavily influenced wildlife area he grew up in and his experiences with his father. “ Tools of the trade, I can’t live without them, and I’ll never acquire enough of them. My metal shaping tools consist of many different shaped hammers, anvils as well as a huge selection of dies for my TM Technologies pneumatic power hammer. There’s also my Mittler 36” bead roller, a Lazze english wheel, and recently acquired Baileigh hydraulic shrinker / stretcher.There are hundreds of shapes I have to create in my art, and every tool I have plays a role in creating them. Sometimes if I can’t get the shapes I need, I’ll create my own tools. Tig welding, plasma and laser cutting all play a part also. Now let’s talk about custom paint. I have paint brushes, airbrushes and paint guns for all occasions. My good friend and entrepreneur Tammy Miller recently started her own company called ORION Automotive Finishes. I use and promote ORION products in everything I do.”

To read more about Steve’s story: https://salannmagazine.com/steve-nielsen

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Also known as Virginia Lee Zukowski, Ginger’s background in Modern Dance (University of Illinois, Champaign) provides a vital framework for her more recent venture into the visual arts. She strives to use the key elements of space, light, color, pattern and movement to highlight the unexpected within the ordinary. Through photography, she is able to show the viewer something that eyes could not see, but imaginations can ponder. Over the years, Ginger has learned a great deal from teachers like Nevada Wier, Chris Brown and her friends in the Flatirons Photo Club.

Virginia Zukowski

Margaret Galvin Johnson

My art is inspired by nature, relationships and the boundaries you establish to create health and well being. These are of primary importance for me. Getting out in nature makes me feel focused and expansive and informs my work. Through both a meditative process and spontaneous expression I create one of a kind images in photography, painting, illustration and monotype printmaking. Starting twenty five years ago, meditation became something that I practiced in conjunction with my creative process. Meditation and mindfulness keeps me grounded in the present moment so this translates naturally into my creative work.

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The most important thing in creating my work is finding the joy throughout the process. This comes directly out of working with color, whether placing these colors on paper, panel, canvas or plate. Using palette knives and paint brushes and colorful paints and inks I find happiness in the present moment.

Pulling one of a kind prints, getting the paint down, discovering the unknown, this process is meditative, informative and zen-like. While the experience is reflective, the outcome is calming, happy and minimal.

STAR TRAUTH Star Trauth is a an experimental fiber artist that often creates new processes to complete the vision of her pieces.

Her art has been in over fifty exhibitions in under five years; including Miami Art Week, Yoko Ono’s Arising, and The Florence Bien. Star prefers to work immersed in music to keep the purity of her vision.Trauth is meticulous when it comes to sensory engagement.

She will often limit sight, sound, even diet, while engaging her pieces. Each piece is inspired by a personal experience. Her art practice draws on the ideas of abstraction, minimalism, Dadaism, the concept of ikigai, anti-consumerism, and a dedication to legacy. Star’s art has been described as tribal and innovative, art you want to touch but shouldn’t. Her process melds ancient techniques with signature innovations. She prefers to use vintage, found, and new fibers in unison to form her creations. The inspiration comes from memory. Music purifies it. In music she sees color and original techniques unfurl. Star says, “I am creating my imagination and inviting you on the journey.”

Scott Leahing From Tangiers With Love mixed media Scott Leahing America encaustic

Scott Leahing Internment 2016 encaustic Scott Leahing The New Colussus acrylic

Scott Leahing

Concurrent to my life in the world of art I also worked in the field of mental health in a variety of capacities over a thirty year span. It was this combination, as well as the privilege of having a multicultural background and having lived in several countries, that gave my visual art a voice. As with any language the visual arts provides another platform for communication. Much like Jung’s play therapy the act of working in a visual medium communicates thoughts, ideas and emotions, aspirations, hopes, dreams, fears, anxieties and much more. What I could or could not verbally articulate the visual medium allowed for a more expansive and complete way of sharing ideas and interacting with. I want my viewpoint to challenge and to explore the social issues that concern me.

Tony Armadillo

Tony Armadillo School Age Wasteland XX mixed media

Tony Armadillo Sins of My Father will Never Expire oil, Political, Surrealistic, cultural Heritage, Family, evolving, and large works are terms I would use to identify my artwork.

My expectation is that you may relate to my work and find it speaking to you and realize that I may have shared your same thoughts. On occasion, I may discuss the nature of my work while other times I will simply allow the viewer to explore the work and experience it on their own personal manner but see the world through the eyes of an artist.

I have been told by others at times that my work has a narrative and that it speaks to them. My belief is that art should have a soul and that soul speaks to its viewers. It says something new and many years from now it should speak to a new generation. My soul lives in my work, may it speak what I can not say with words.

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Philip Levine Blue Wave oil on canvas The Good,The Bad, and the Ugly oil on canvas Humpty Trumpty oil on canvas

Margaret Claire White

Nuclear Energy & Natural Gas are not Clean Enough lithography Thawing Permafrost Releases Bacteria lithograph Chicken Timeline lithograph

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Gary Aagaard White Lie oil

Eamonn Tracy Heavy Soles digital photography

Gary Aagaard The Dulling oil

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J M Jenson I enjoy many different styles and approaches in my work. My first love is the classical approach and ultimately I see myself as a classical artist working in a contemporary age.

I value the works of the twentieth century and the new approaches to materials that I hope to incorporate into my own work.

This allows me to explore a wide variety of approaches to art and also to explore the theme of the space between the worlds of matter and spirit. I also often incorporate scratching into my work.

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scratching into my work. Sometimes as a technique and sometimes to purposefully damage the work. I see it as a parallel of the human experience as we move between chaos and beauty, between the damage that we do to ourselves and the healing that we are also capable of.

Phyllis Anderson

Phyllis Anderson is a Philadelphia based artist, with a second home in Colorado. She received a BFA at the University of Texas, and has studied at the Arts Student League in New York. Phyllis has been featured in solo shows in Philadelphia, and her work has been included in numerous juried shows and private collections.

Her current series of paintings focuses on the wild places she loves. The landscape tradition has long embraced a range of artistic interpretations, and Phyllis explores expressionist, visionary and abstract methods, suggesting everything from energy and joy to foreboding, even devastation. The result is an abstracted, hyper-kinetic landscape, one more suited to our age of anxiety and the reality of climate change.

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William Underwood

Kim Taggart

Kim Taggart Although her early years’ training began in charcoal, pastels, pen and ink, and oil paint, Kim has enthusiasm for graphite medium above all. As a student at Kansas State University, her Senior Show included pastel and graphite works of art. After earning a Bachelor of Fine Arts Degree, Kim’s pursuits led her to graphic design using learned skills in art directing. Her passion for fine art continued throughout the years as she received commissioned art opportunities including murals in homes and businesses.

Her discoveries of new graphite tools led her to take pencil to a whole new level defined as “Extreme Graphite.” She developed a technique of smooth, precisionist saturation of tones influenced by Charles Sheeler’s drawings and other modern American artists from the late 1920s and 1930s, including women artist like Mable Dwight. Using loose graphite applied with a brush, erasers model subtle delineation in delicate values. Compositions take form when graphite sticks create contrasting shapes and small paint brushes soften edges as if painted.

William Underwood My body of work draws on nature for inspiration.

My goal as an artist is to instill in the viewer the desire to explore the sculpture with curiosity and wonder even at the expense of being repulsed or uncomfortable. To feel the desire to explore with touch as well as sight. To give not just a passing glance but a deeper need to understand somthing that is just out of the realm of reality. To give the impression of life though alien, frozen for the moment in time but alive none the less.To give the viewer just outside the peripheral the sense of movement ever so slight drawing you back in, but observing something different with each exploration.

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Kim Taggart

Margueritte Meier

Margueritte Meier Currently my artwork is focused on the beauty, mystery and power of Nature within the genre of contemporary realism. While painting the natural elements, I strive to capture the magical still point between realism and the ethereal world by integrating observational studies with memories to create an atmosphere of a luminous earthiness. I love to paint clouds, water, rocks, mountains, trees and flowers. They are the quiet oracles in my life illuminating tidbits of insight and spirit.

I love to work in a variety of mediums, such as oils, watercolors, handmade tempera and a method I developed combining watercolor, oil glazes and beeswax all together in different layers.

On a good day, painting connects me to the essence of my subject, and it will teach me to pause, observe and reflect. Art isn’t just my passion, or creative expression, or even a product of years of diligent practice. Painting is my daily compass to get through the day.

Kim Taggart

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Heidi Brueckner

My work focuses mostly on cultural allegories and norms conveyed through a collage-like juxtaposition of figurative imagery, symbolism, and elaborate patterning.

Often the figures personify the precarious, dark, grotesque, and sleazy side of human nature, subjects by which I am continually fascinated. These topics seem to require, and in fact dictate, frontal, discomforting, and intrusive compositions. I revel in playing with bright color and pattern, tilted and flattened space, and distorted

Milisa Miner Growing up I trained as a classical ballerina, danced professionally, traveled the world, got injured and quit. Not knowing what to do with myself I switched gears graduated college and entered the workforce where my day to day takes place in a world of numbers, guidelines, and structure.

Realizing that I still need a creative outlet to maintain a balanced, fulfilled life, I began to paint. I allowed myself to freely create, regurgitating my emotions, highs, and lows, dreams, and fears onto a canvas. My creations are an extension of who I am, they are my soul stories.

Inspire & Be Inspired I am inspired by creation, original ideas and ways of thinking.

I am inspired by adventure, new faces, and new places. I am inspired by passion and perseverance, love and loss.....I am inspired by extremes

Heidi Brueckner…continued form in order to achieve this needed psychological expression and visual activity, but also to create an element of humor and fun. A recent body of work, entitled Monsterbet, is a series of 26 oil and mixed media paintings, all 16” x 16”. The works are based on the traditional format of children’s alphabet rhymes, but with a layer of social commentary. The subject may be a bit more benign and childlike, but I still strive to keep a gritty edge in the work. Each letter of the alphabet stands for an invented monster that has a particular quirk. Every two paintings form a rhyming couplet, which has given me the opportunity to play with language. They are meant to be silly and fanciful while simultaneously touching on some of my favored themes of human vice, morality, and fear.

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Sheila Daube Sheila brings an unexpected power and dynamism to the canvas. Her large, bold brush work, along with her wild and free-use of color and gestural marks harkens back to the mid-century greats.

Sheila Daube Amour Fou mixed media

Circe Dreams in Blue (diptych) mixed media Amour Fou mixed media

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clockwise: Oracle at Delphi mixed media Return of Prometheus mixed media Iphegenia acrylic

Robert Doi

In today’s world of almost instantaneous access to information perceivable by our senses, artists have an increasingly unlimited means of communicating visually.

Thus the artist who accepts this challenge with all its complexities may initially feel overwhelmed.

Yet have not all ar tists throughout the ages, been expressing themselves using this universally understood visual language?

We, unlike other life forms, have an insatiable need to know, feel and envision this phenomenon we call “life.”

I believe artists have unique opportunities through visual expression to holistically explore and document the often inexplicable, ever-changing moments we may not be able to otherwise describe.

Idea Birth pastels Impact pastels

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S o n g o f th e S pi r i t- W i n d H a r p alloy aluminum, powdercoated steel, nylon strings Tr i nit y W i nd Har p titanium harp, powdercoated steel pedestal

Crystal Titanium Bell crystal titanium bell, aluminum frame

Seed of Life Wind Harp alloy aluminum, weathered steel ,nylon strings

Bh a k ti Be l l s 18’ dia.- anodized titanium bell, stainless steel frame

Ross Barrable

Ross Barrable One day, a miraculous event occurred while playing my folk harp outdoors. A breeze came up and suddenly the harp began to play itself— the wind strummed the strings, creating an enchanting and harmonious melody that stirred within my imagination, a singing choir of angels.

Since that day I have been inspired to create contemporary Aeolian Wind Harps specifically designed to capture the transcendent songs of the elemental nature spirits.

These acoustic instruments create captivating harmonic tones that call out to many, to stop, tune in and listen.

In the past 37 years, Harmony Wind harps have created more than 250 wind harps, installed in public and private settings. Their visual and auditory presence has produced interactive landscape environments for residential gardens, city parks, sports parks, memorials, universities, hospitals, hospice gardens, retirement communities and botanical gardens. Feedback from our clients has shown that our wind harps give a voice to the full spectrum of the human experience as they sing the song of the wind across their strings.

Harmony Wind Harps are sculpted to create an environmental symphony of timeless beauty that resonates with the balance and harmony within nature. This is accomplished through enriching the auditor y experience of your soundscape through the placement of our finely crafted Wind Harps.

Our contemporar y harp designs incorporate the principles of sacred geometry, which have been used since ancient times to construct temples, monuments and artworks with proportions that reflect the Divine blueprint of balance and harmony.

Our public installation clients say the wind harp engages their visitors and residents with an attitude of intrigue and awe that draws them into a group experience, reinforcing a sense of place and connection within the community.

We enjoy collaborating with our clients to enliven their ideal ambient soundscape that expresses the Power of Connection through the dynamic synergy of sound and form. These instruments inspire a sense of magical anticipation—you never know when the harps will sing.

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sebastien courty

60” x 13” weavings from left to right: Morocco, India, Jordan, Egypt, and South Africa

Sebastien Courty is a French Textile Artist based in New York.

For his new textile collection Courty chose to showcase individual hand woven TOTEMS that embody different countries with their natural and manufactured resources. With the artist’s vision, the textile reaches a new dimension, where design meets with art in a prospective and contemporary reflexion.

Courty picked countries based on the materials they export most, as an opportunity to draft a singular identity through natural resources and commercial success. Framed in an elegant wooden box, the weavings are composed of 24k gold and silver threads, rubber, natural fibre, Swarovski crystal beads and precious stones which underlap in meaningful patterns.

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William Wiebesiek I am a photographer. I use the photographic process to create pictures that I hope will be appreciated by the viewer. I began my photographic journey using film, and printed these images. I am now using digital process for my photographs.

I merely try to use photography to show what I see in the world around me. My images are generally shown in color, but occasionally I feel the pictures are best rendered in black and white. I enjoy using long exposure and night photography.

I have been experimenting with solarized images for a few years.

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Stan Yeatts

I work in a unique blend of photography and graphics that I refer to as “PostPhotographic Impressionism”. While I value the detail photography can generate, even the finest compositions can come-off too much like documentary snapshots that somehow feel static or dated. Impressionist paintings, on the other hand, have an internal rhythm and movement of light that better approximates how the experiential moment felt to the observer. Yet even these stylistic works can lack deeper layers of detail—offering a vision that can collapse if viewed at close-range.

My concept fuses both the energy of the moment’s impression with an intricacy of detail that can be visually sustained even at massive-scale prints (e.g., or viewed up-close in galleries, hotel lobbies or residential settings).

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Nancy Kempf

Nancy Kempf is an award winning American contemporary artist whose vibrant and expressive paintings of women have brought her international attention. Most recently, Mona Yossef Gallery invited Kempf to exhibit at the Carrousel du Louvre Art Shopping 2019 exhibit in Paris, France.

Kempf’s paintings can be found in private collections in the United States and have been seen in national and international exhibits. Significant past or future exhibits include the Carrousel du Louvre Art Shopping 2019, Hilton Head Biennale 2019, Olaf Wieghorst Museum and three international juried exhibits. She has also freelanced for

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nonprofit organizations such as Missouri Botanical Gardens, St. Louis Symphony and St. Louis Children’s Hospital.

Kempf is a Signature Member of the International Society of Acrylic Painters. She lives in North Carolina with her husband Mike and their big chocolate Lab named Lizzie. top row: Summer Reading acrylic on canvas Grace acrylic on canvas bottom row: Poppies acrylic on canvas

Rich Sheaffer

Blue Period acrylic on canvas

No Chaos acrylic on canvas

Rich Sheaffer chooses current, controversial topics to arouse complex thinking and lively dialogue. Most of his works portray social topics in the political milieu, presenting those in abstract form, to which he refers as “Socio-Political Abstractionism”. His works offered for exhibit are almost all this genre, inspired by current events, questioning the connectivity of the President and his administration to the people and the planet. How did we get to this current state of affairs? Do we support that state of affairs? Do we dare to act in response to the policies and actions of the President and his administration, and if so, how should we do so? It is questions like these that the artist hopes to raise for discussion by his works.

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Robert Canaga

“

I often find myself thinking about my first death and what I brought back from it.

The realization I keep coming to is, once you have died, you are always there. All of the trappings of everyday life here are merely a shadow of what is happening there.

At sixteen I was hit by a train and killed. In September of 1965, on a bright and sunny morning, my life changed forever.

”

Read more at: https://salannmagazine.com/robert-canaga

clockwise: Plane View oil and wax on linen NEED TITLE oil and wax on ??

Red Vineyard oil and wax on linen Driving the Gorge oil and wax on panel

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David Johansson David Johansson is a working artist in Seattle. His studio is located in the funky art district called Georgetown. David has been making art since the early 8o’s. Prolific and fun is often how David’s work is described. “I like to express myself and find bold gestural strokes, colorful imagery and whimsical objects a perfect subject for my paintings’. David paints on many surfaces, canvas, wood, wearable art on hats, also creating mixed media on found objects, installations, performance art, video and produces music, which can be found on all the world music sites.

(I-Tunes, Spotify, Beatport, Etc). If in Seattle come visit the Johansson Art Gallery in Georgetown and take home a memory and have a great conversation.

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Ted Glasoe

When choosing a subject and creating a piece, my end goal is a captivating, often large-scale, image that infuses wonder and calm into the soul of the viewer while inspiring an appreciation of nature, promoting stewardship of our natural resources, and instilling a sense of pride and place. I focus largely on the unifying thread that links them together: Lake Michigan.

Terry Orletsky

Nebulosity acrylic on canvas

In my photographic work, I seek out unexpected moments — of action or calm, of drama or subtlety, of color or gray — in the natural and manmade worlds. The intersection of these two powerful forces is where I discover the most beauty and interest. Specifically, I draw insight and inspiration from the conflict between nature and man’s strengths and fragilities.

Turner is a great inspiration. “Indistinctness is my forte.” Turner’s work glows with light and everything is infused with motion. He is arguably our greatest landscape painter. None of his landscapes are static. My work emulates his.

Landscapes are fluid; skies threaten, clouds move, grain sways, trees rustle. A city scape is frenetic with abstract traffic.

Mist rises and a path beckons one into the scene. The canvas is attacked with knife and brush and enthusiasm. I like my paintings to exude moods and motion and the evolution of my art tends more and more to the knife and the abstract; expressionism vs. impressionism. I now live in San Diego next to the sea. My roots are in the prairies of Alberta and the mountains of the Canadian Rockies. I paint what I know from my past and my present and my travel destinations - whether it is a vista before me or a memory entrenched in my mind. One reviewer wrote: “Beautiful depth, perspective and feeling emits from these works of art. The artist actually takes you into the painting so that you can feel the work. I will look forward to keeping an eye on future works!” - Laurie Ruffner, Executive Director at Bitterroot Performing Arts Council Another said:Your works are metaphysical. There is a mystery of life in them, of becoming and existence, and affirming the existence of God, all accoutered in a special atmosphere. -Roland Kay Less

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This magnificent body of water is a huge, powerful and life-enriching force, but it is relentlessly challenged by man.

Sometimes the lake perseveres — eroding breakwaters, altering shorelines, and filling in shipping channels and boat launches. But it also battles the infiltration of industrial pollutants, the attack of invasive species, and the effects of

neglect and indifference, all of which compromise its water quality and aquatic life. I aim for my photographs to serve as a reminder of the simultaneous strength and fragility of Lake Michigan and the impor tance of protecting it. left to right: White Water archival print, Canada Geese at Dawn archival print, Moonrise 26 archival print, Shallow End archival print,

clockwise: Blizzard Warning acrylic on canvas, Prairie Winter acrylic on canvas, Prairie Winter – Old Country Road acrylic on canvas,

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Shlome J. Hayun

Shlome J. Hayun is a Los-Angeles native and multi-media artist with a positive outlook for the world. Shlome’s literal name translation is Shalom, which in Hebrew means peace so his art truly mirrors life and is an extension of himself.

He believes that as an artist he has an obligation to spread positivity and light through his artistic mediums which reflect a spiritual intensity, a vivid color palette, and immersive patterns.

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Hayun’s work has been seen at Art Basel, LA Fashion Week, the W Hollywood Hotel, and at various galleries throughout Los Angeles including Studio Bancs, The Stone Malone Gallery, Gallery 38 and The Gabba Gallery, LA Art Show, and the Hollywood Palladium. row one: Tupuzina acrylic on canvas Chalom acrylic on canvas row two: Cassette cassette and resin Ray Charles aerosol, acrylic on canvas

R. Wayne Reynolds

In my Solo Show in the East Village of NYC, titled, Infinity Takes Forever, I presented six large reverse paintings on sheet acrylic that represented my visual description of the Universal Energy holding our world together. It draws me in, spins me around, and on a good day, allows me temporary access to the illusive place where my creativity lives. It simultaneously drains me, and frees me of myself. I experience a connection to the cosmos, causing me to feel more like a whole beach and less like a single grain of sand. I strive to paint what I am feeling at that moment in time, without concern for what came before or what will be next. My only goal is to record an image of the continuum of time and space that I believe in. I pay homage to the Impressionist’s and their celebration of complementary color, to Leonardo da Vinci for his relentless pursuit of merging art and science, to the precision of the Dutch Still Life masters, and to the creativity of Picasso.

By painting in reverse, I used the acrylic sheet as a unifying flat “lens” to reduce the physicality of the paint surface on the viewing plane. The paint texture becomes illusionary and at the same time, the spatial relationships of form and color become more vivid. I consider these paintings to be maps of the internal space in my mind, and the vast unknown external space in the universe. In each painting I use the Infinity Symbol to represent myself, as I navigate through the visual territory I have made public and consider worth sharing. As with other map makers throughout history, I am driven by the love of discovery, combined with an unquenchable thirst for new frontiers. I invite the viewer to enter these space scape’s to explore, to consider, and to remember that: INFINITY TAKES FOREVER.

row one: Preparing to Fly Low and Draw Big acrylic on canvas column two: Spring is a Festival reverse painted on sheet acrylic in acrylic and gold leaf Biology 101 acrylic on canvas

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Sentries photography

Rod Haynes Bob Sanov

Tsunami Wave; Oregon Coast, Fallen Tree; Redwood Forest, Untitled, Dunescape; Death Valley photography

I am drawn to light and form rather than specific subject matter, which may be the sensuous contours of a sand dune or the sensuality of the human form. Regardless of subject matter, it’s almost always the quality of light to which I’m responding. My images are reflections of my feelings about the subject, rather than merely literal depictions of the scene in front of me. I especially love the element of non-reality inherent to the black & white image, along with the poetic and somewhat mystical aura it creates. When I set off to photograph, I rarely have a specific goal in mind, but prefer instead to explore the possibilities as they reveal themselves to me. The darkroom is where I feel the images really come to life, and a continuation of what I saw and felt when exposing the negative. All of my work utilizes traditional gelatin-silver materials (non-digital) and my darkroom techniques include dodging, burning, multiple filtration, flashing, bleaching, unsharp masking...... anything it takes to make the image come alive.

Rod Haynes Padden Shoreline photography Fog at the Golden Gate Bridge photography

Eric Wiles Eric Wiles

Rod Haynes

Born in Chicago IL. USA amidst great architectural and old world surroundings, I groomed an eye for the beauty of art and the creativity of photography.

As a world traveler at an early age the appreciation of earths beauty and the allure of man made objects sparked my creative imagination. Photography allows me the opportunity to capture moments in time and share this artist expression through Still Life and Fine Art imaging.

“The Pacific Northwest offers us a kaleidoscope of soft colors, products of filtered and unfiltered sunlight. We are inspired by nature’s beauty and serenity. Form, texture, and light of all shapes and sizes reveal themselves if we allow it to happen. Brought to life by modern technology, such impressions are captured by an I-phone camera. Exciting new possibilities, limited only by our willingness to explore and engage our imagination, suddenly emerge.”

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Sue Hale I’ve been involved with fiber art in various forms for almost forty years, but nothing has intrigued me the way that felt-making has. I’m inspired by the versatility and resilience of felt as it lends itself to the decorative and functional alike. I choose to work mainly in three dimensions and enjoy the sculptural aspects that can be achieved by using multiple resists. Exploring and pushing boundaries, using a medium that seemingly has none, keeps me motivated and I am continually excited by the endless possibilities that felt-making presents. I currently show my work at the Lansing Art Gallery & the Muskegon Museum of Ar t.

left to right: Nest fiber, traditional wet felting with resists and embellishment Initium Novum/New Beginnings fiber, traditional wet felting with multiple resists Renascentia/Rebirth fiber, traditional wet felting with resists & embellishment

Robert E Gigliotti

top to bottom: Rocked in the Deep cast bronze, Cirque cast bronze on granite base

This type of art is sometimes called transpersonal ar t. It occurred to me recently that what I am attempting could be called “visual koan”. The intent of a written koan is to instill the understanding that the separation between subject and object is an illusion. Some of my artwork is a visual attempt at this type of practice. Purely representational art can expand ones consciousness as well, if it captures a timeless moment because Spirit itself is timeless; meaning not time everlasting but beyond time. I believe that any art that disarms you, makes you smile, or makes you think, is successful. I approach sculpture from two different perspectives. First, I try to make each piece interesting on a purely visual level. Secondly, I attempt to use symbolism from the physical world, mythology and spiritual practices to challenge the viewer’s paradigms about our relationship to each other, to our environment and to the universe. In my opinion, the unveiling of the true Self and, consequently, nondual Spirit is the ultimate goal of art. You can substitute the word God, Tao, or whatever, for Spirit but it’s basically about the realization that “All is One” that I’m getting at.

clockwise: Know Your Box steel rod and fiber Out of Chaos found par ts, ceramics, fiber Let Us Rejoice Together steel and fiber

Roberta Rousos

I work intuitively, rarely star ting with more than a general vision, but intuition can only point the way. We must be willing to put in the effort; we must choose to follow the path and then figure out why we were compelled to go there. Creating led to learning and discovering. Making followed by analysis and reflection trained my intuition by adding new experiences to my unconscious and strengthened my ability to express the unrealized and wonderful.

I am a mixed media sculptor. I returned to college at California State University Sacramento to discover new paths in creative expression after the passing of my husband. My three adult children suppor ted my decision and added to my resolve. The process of earning my Bachelor and my Masters degrees showed me how strong I could be and where my life’s passion lies.

Miki Masuhara-Page

I am a young native Hawaiian, female ar tist, in love with creating interactive creatures from my unique, colorful, and playful imagination. I enjoy working with many different mediums, a couple of my favorite are metal and glass. I like to change the material I’m working with from its original form, into an entirely different looking medium, I love to create mythical creatures in par ticular. clockwise: The Cosmic Messenger metal and glass Skull Lamp, Beauty in Life and Death steel

My goal is to bring smiles to all ages and give the viewer a feeling of pure joy, the realization that magic is real, the power of the imagination, and that anything you put your mind to is possible.

Toucan steel The Cosmic Messenger metal and glass

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Megan Mickael

As an artist, I do not set out to cultivate my images. I find them. They find me. What presents itself in my lens is always honest, real, and raw. My primary artistic process consists of converting the energy of my thoughts into a

tactical visual representation of these senses and releasing them from the chamber of my mind, activating an innately visceral element to my artistic vision and voice.

Water Kerner

I find it absolutely captivating my body and soul have always been magnetized by the beautiful outdoors. Nature will always be the origin of my awe and my greatest mentor of originality. I believe the more virtual our lives become, the more we crave creative experiences with the power to engage our senses and connect us to our feelings and others.

Fine Art creation begins age 5 in NY + BFA from M.I.C.A + Skowhegan School of Painting & Sculpture Grant recipient (under tutelage of Francisco Clemente, Judy Pfaff, Mark di Suvero, Ed Moses) + Director Janet Jackson music video + 17yrs founder & Director animation & design studio: L@ it2’d Inc. in LA, CA. Please see WaterKerner.com for artwork, credits, awards, and national & international exhibits.

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Rachel Weissberger My stor y is the unconventional one; I did not paint or draw as a child, nor did I attend ar t classes or ar t schools; I was always told that I have to study to succeed in life, so I studied and became a registered nurse. At the age of 36, I decided to register my kids for ar t classes. As I waited for them to finish the session, a young instructor approached me with a pencil and paper and insisted that I draw through my boredom.

Needless to say, I was touched by the magic and I signed up for ar t classes along with my children.

That one moment of apparent boredom while waiting for my kids made it clear to me that I would be creating art for the rest of my life. The joy I find in creating images from my imagination is indescribable. Using vibrant colors and loose brushstrokes to put a mind full of thoughts onto canvas is a rewarding, relaxing and surreal experience.

Happy Hour oil on canvas Reflections Triptych oil on canvas Girls Night Out 3 oil on canvas

Rachel Weissberger

Nicholaus Clawson

Waning Crescent Series glass Nicholaus Clawson born in 1983, is a multidisciplinary artist originally from San Diego, California.

During a stint in college in 2008 he first explored sculpture studying bronze casting, fine jewelry, ceramics and multimedia assemblage. Eventually at the behest of an instructor Clawson turned his focus towards glass. The material suited the immediacy and potential that he was looking to incorporate into his work. While attending Palomar College for glass making in San Marcos, California in 2012 Clawson discovered Pilchuck Glass School and made the journey nor th to the school’s secluded forest location. After many summers working and participating in various roles on campus, Clawson decided to base himself in the Pacific Northwest. Living and working in and around the Washington area 2015-2017 he was given a studio art residency along with an apprenticeship at Cat & Snake Gallery located in Bellingham, Washington in 2017. At the conclusion of his residency in late 2018, early 2019 Clawson migrated closer to Seattle where he currently resides and continues his artistic practice. This current body of work revolves around themes of nature and the experience there of. The palette reminiscent of the polychromatic nuances of the morning and nights’ sky.

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top to bottom: Sunrise Looking West acrylic, The Elders acrylic, Fresh Pick mixed media

I enjoy the recognition I receive for my expressionist use of color. I see the world in a composition of shadows, lights and awe inspiring colors, and take liberties in portraying evocative venuettes. I cannot boast of roots in the arts that led me down a familial path. I can say that after decades of encouragement and positvie feedback I immersed myself in color and loosed the floodgates. I work in acrylic, in studio from scenes I capture on my phone camera. My other current motif is sassy floral bouquets in mixed media . I’ve been told I could be a very good portrait artist. My goal...Painting Genius! I would like to recognize: The group of women ar tists I paint with weekly in Boulder CO. We are a tribe of talent and locally recognized artistic voices. And most importantly my loving husband, who believes in and supports all my journeys.

Penny Peterson

Paul “Gilby” Gilbertson

Paul “Gilby” Gilbertson has been called one of the last “Renaissance Men” from his friends and peers because of his love for the arts, music, poetry and his masterful watercolour paintings. Gilby, as he was known by his high school classmates back in his childhood home of Chetek, Wisconsin was a name that he decided to resurrect for his painting passions. Gilby loved painting ever since he was a kid growing up on a resort in northern Wisconsin and was instrumental in bring a relatively new technique of watercolour painting to the forefront back in the 1970’s. This technique of adding “Sea Salt” to his paintings while they are still wet was pioneered by his high school art teacher and himself and few others in the art world. This technique which he has somewhat perfected is now taught in classrooms across America as one of the basic watercolour styles.

For the majority of his life, Gilby spent his time in the real estate and home building industry and raising his family along with his wife/mother of their four children... who are all now adults and thriving on their own! He has virtually recommitted himself to developing a “Watercolour Legacy” for his family and friends around the globe. Since the beginning of 2018, he has devoted himself to painting on a full time basis after being inspired by his eldest daughter that gave him an easel and frame for Father’s Day in 2017 and asked him to paint her a picture... because in her words, “Didn’t you use to be an Artist when you were growing up?” that was all he needed to rekindle that hidden passion for painting!

Already in 2018 alone Gilby has created over 44 watercolour masterpieces, most of which are landscapes except for his latest “Wildlife Series - 2018” which has already become an art lovers favorite. His inspiration comes from the beautiful surroundings he finds here in the state of Colorado which he has taken root in since 2014. He has already logged a number of Artfests here in the state this year and is already planning for another dozen or two to attend and display his works at in 2019. For more information on Paul “Gilby” Gilbertson kindly visit his website at www.OwnAGilby.com or Instagram @paulgilbertson1223 or contact him via email at Paul@OwnAGilby.com or call/text him at 719.696.5335. He is available on a limited basis for commissioned artwork, however, some of his originals are still available and all of his work can be acquired as a “Limited Edition Signed Print”.

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Shandy Staab Shandy Staab, rooted in colorful CO., paints what she lives. Paintings created with her own inclining’s embrace the equestrian, agricultural and outdoor lifestyles; depicting horses and other domestic animals, wildlife and landscapes. Since realizing her BA Fine Ar t and BA Economics in 2010 from Colorado State University, Shandy has continued to pursue creative evolution through self-study. Her devotion to the draft horse industry and depiction thereof, she believes, resurrects a gratefulness to the past with earnest innovations. Her artistic outlook is ever changing, and creating rich, purposeful art, has never been more at the forefront of her musings and focus. In the face of an otherwise severed eventuality, Shandy hopes her works inspire connectivity to something absolute. “I’m deeply inspired in such a way, that few words can muster definition… So; I Paint.”~ Shandy O’s We Did Good oil on canvas Trois Chevaux oil on canvas

Renee Peterson Fascinated by colors, patterns and the effect of light on objects I remember “itching” to draw when I was young. I wanted to capture and hold on to the interesting effects of the things around me by recreating them on paper. With a school pencil in hand I would study the lights and shadows, shapes and values in close focus and then put them on paper as a way of owning them. As I grew older and studied art formally I developed an interest in the animal and human forms. Now that I have my career behind me and I can create what I wish, I most often choose to do representational figurative work in acrylic. As challenging as it is to paint or draw a face, hands or figure it is endlessly thrilling to capture their infinite variety of expressions and moods.

I studied fine ar t at the University of Wisconsin and University of Colorado. I attended Rocky Mountain School of Ar t in Denver focusing on commercial ar t. I worked as a commercial artist at the Daily Camera in Boulder for a period of time. After that I worked for myself as a commercial illustrator in the Denver Metro area.

Gentle Giants at the Fair oil on canvas New Baby in the Family oil on canvas

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This abstract collage invites the viewer in with its soft and pleasing colors and movement. There is an air of subtlety and mystery as the viewer’s eyes move between foreground and background with the colors and shapes aiding in this process.

Take a break from the real world as you allow your imagination to explore in this mystery landscape.

top to bottom Tasman Glacier alcohol ink on Yupo paper Peace on Earth alcohol ink on Yupo paper Mystery Landscape alcohol ink on Yupo paper

Peace on Earth 2 represents the wish of many now living on planet Earth to be and live in a peaceful world with no wars, strife, competition, etc.This collage presents a mood/feeling, abstract representation of this thought from which many on the planet are working to bring into reality and fruition. The hope is to bring this more quickly into existence by sharing images which impact the subconscious and the psyche positively.

This bold, colorful, semi-abstract collage captures the scenic vistas of Tasman Glacier, New Zealand. The pleasing colors from the ar tist’s imagination take the more bleak, winter monochromes to a new level of pleasure for the senses, while still capturing the majesty and rhythms of the scene. This is only one of many such beautiful vistas found in New Zealand.

Ramana Karkus

I’ve been a digital artist and multimedia producer in Denver for over 30 years. My company, Cimarron Denver, has a long track record of success. I, personally, have a long track record of loving my hometown of Denver. That’s why I star ted Sam Brennan Ar t, to create visual valentines to the town I love best. I have expanded my work to include some of my other favorite places. Greece is right at the top of that list! I offer color

options for much of my work. And in keeping with my years of satisfying client needs, I can also offer you CUSTOM COLORS AND DESIGNS suited to your specific decor. Please get in touch with me at sambrennanart.com if you’d like to explore the options.

Sam Brennan

Mykonos Walls Blue digital Santorini Church Blue digital Mykonos Paraportiani Blue digital

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Pink Ladies

Colorado-based artist, Natalie Ventimiglia, explores her inner-world through a spiritual lens. Utilizing flame-working and kiln-formed techniques, Ventimiglia creates colorful, expressionistic, conceptually self-reflective compositions. Her glass artwork is both, whimsical and systematic; mirroring two worlds in opposition. Natalie creates art that is transformative, art that creates an experiential environment that projects spaces to a “high vibe” state. This high vibrational energy connects people to the love available from God, the Universe, the Force, or whatever name one gives to a Higher Source. “My art ​

White Bowl

Natalie Ventimiglia Love in the Lesson- Ho’oponopono

“I am continuously grateful for the collectors I have for trusting me with this responsibility by allowing me to push the limits of creativity so I may pursue, practice, and prosper with the manifestation and creation of high vibrational, inspirational pieces that trigger love to be released.”

intentionally grounds down this energy which influences viewers to reach their highest potential.

The more people who do this , the bigger shift we make as a species and the distance between us all eventually diminishes.”

Divinely Guided

Nerissa Balland 3b acrylic, oil bars, paper on canvas This piece incorporates the entire passage of the Book of Numbers. Numbers is the fourth book of the Old Testament or Torah. The theme of the story is about the divine human relationship through covenants and about accountability. My hamsa portrait represents a personal journey of struggles and covenants that visually explore faith, holiness, and trust.

I Know Where You Live acrylic, oil bars, paper on canvas The foundation level of this piece has the pages from the book of Leviticus along with butterfly prints that are more hidden than the the first three pieces preceding this one. The hamsa portrait visually explores love, justice, sacrifice and freedom with a not-so-happy expression. Meaning I focused more on the process of atoning which is not an easy one. I chose vibrant colors because I found this piece to be bitter-sweet and color makes everything brighter and uplifting.

Likeness II acrylic, oil bars, paper on canvas This piece has the foundation level of the pages from the book of Genesis. It’s then wrapped with paper, painted and drawn on. The hamsa portrait visually explores what it means to be made in the “likeness of God”.

Fleeing acrylic, paper on canvas The foundation level of this piece has the scattered pages from the book of Exodus along with sheet music. Then wrapped with paper and painted on. The hamsa portrait visually explores what it means to “flee from oneself ” in other-words unlike the physical departure in Exodus this piece reflects on the internal battles and conversations in our own heads. Touching on the subject matter of depression, internal conversations, and suffering in silence.

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Scott McIntire

My hybrid style of painting comes from custom car pin stripping, studying color under Albert King at the Art Center College, Op Art and Photorealism painting. For the past 10 years science and biology have become influential to my subject matter. In my current work I use color it to invite the viewer into my observations. I like to place a subject in an environment that depicts the unseen energy forces surrounding us: such as cellular transmissions, radio waves, sounds, smells, magnetic fields and the micro-biome. My goal is to make the viewer more aware of their surroundings and respectful of the world in which we live. top to bottom: Butterfly & Calla Lily, Sumac Energy Field, Blues in the Garden enamel on canvas

I create crystals on microscopic slides using household friendly chemicals.

I put those slides on a microscope and photograph them with my camera.

Finally, I examine the files on my computer, choose my favorite images, and compose them into eye pleasing renderings.

clockwise: Southwest Sunset, Sand Castles, Balloon Fest, Monolith digital microscope photography

Scott Taft Although my work looks like an abstract painting it is an actual photograph.

3 steps are involved:

Consequently, I connect abstract ar t with reality. When viewing abstract ar t, I believe there are some viewers who have a desire to know what an abstract is showing them. All of my works are based on actual photographs of polarized microscopic crystals. Each slide consists of its own world. I get to visit that world, photograph it, and bring that world to you in the form of art.

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Ragnar is photographer who has loved to create and make things since he was a young boy in a rural town in nor thern Indiana. This joy of creating led him to Purdue University where he worked his way to a degree in Mechanical Engineering.

From there he pursued a career at a Fortune 500 chemical company in mid-Michigan. His work with this company took him all over the world exposing him to many cultures, sights, and experiences that shaped his life and his creativity.

Since retirement, photography has become one of his creative passions inspiring him to explore and shoot images in magnificent locations like Oregon, Iceland, Ireland, and Hawaii. He also uses photography to quench his creative curiosity by exploring studio, macro and nature photography. But the most satisfying photography for Ragnar is when combines travel with landscape photography which has produced some of his strongest and most recognized images.

Ragnar Avery

Secret Beach Magic photography Bandon Blaze photography

Landscape is the foundation of my inspiration. I often work more from memory or an impression than from a particular place.The compositions are the framework on which I hang a sequence of layered colors in rhythmic patterns to create mood and a harmonious image. Using reduction printing techniques and multiple blocks allows me a level of complexity that suits my drive to create artworks which evoke my imaginings, my experiences, my creations.

The technical challenges and severe limitations of the medium have become a part of my natural vocabulary with time. I’ll often add additional blocks as I progress.The process of carving and printing an edition offers me much time to consider every aspect of each print as I am working.

William H. Hays

Moonlight Lead linocut print Acadian Moon linocut print

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Tamara Stephas

My work explores the relationship between humans and our environment – man-made and natural – by combining landscape painting with architectural elements and text. I am par ticularly interested in the interface between urban, rural, and wild in this era of rapid environmental change. I am influenced by the technical virtuosity and transcendent luminosity of romantics such as the Hudson River School painters. But my landscapes necessarily reflect contemporary interventions in the natural world, as seen by a contemporary eye.

For several years, I have been working on a series about construction in Seattle’s arboretum during SR520 bridge replacement and removal of the giant, never-used “Ramps to Nowhere.” Visually, few places show more disconcerting contrasts between the humming hush of dense green growth, and massive infrastructure development.

Conceptually, these images juxtapose a wetland only sixteen feet above sea level against highways and all that they imply: carbon emissions, climate change, habitat erosion, and eventual ocean rise.

column one: On Second Thought oil on canvas column two: Temporary Bridge oil on canvas Water Under the Bridge oil on canvas

Black Canyon National Park dye sub on aluminium Shenandoah National Park dye sub on aluminium

Topher Straus

Ar tist Topher Straus is a Colorado born, New York trained fine ar tist, who sells internationally and has had his work is featured in numerous ar t galleries. Topher is known for his uplifting color combinations and imaginative concepts. He creates his compositions using his unique blend of photography with digital painting that is printed onto transfer paper then applied to large sheets of aluminum.The pictures are then finished off with a transparent acrylic resin to create a wet looking surface.

Denver’s Westword Michael Paglia reviewed Topher’s work as “expressionistic handlings that are conventionalized abstractions with a retro cubist quality, along with a dash of Yellow Submarine.”

Topher’s zest for transforming established iconography by infusing his personal techniques and vision make for an intoxicating blend of traditional vistas and modern style. Be it colorful animals flying through the galaxy in his “Space Animals” series, or showcasing our national treasures from a never-before-seen perspective in his unconventional representational landscapes series, “The Parks,” Topher Straus provides an exciting new view of us, our world, and even the Universe itself.

Straus says, “I am inspired by the vast beauty that is found in nature and presenting it an unconventional way. I see rhythm and order in everything which drives my compositions and lines.”

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Valerie Ghoussaini Beach Beauties oil on canvas

Tony Armadillo Extinction oil

Trevor Messersmith Pool photography

Valerie Ghoussaini La Piscine oil on canvas

Thea Cinnamon Macker Breaking Out Of The Icy Depths water based clay, resin

Tony Armadillo Female Empowerment Denied mixed media

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Valerie Ghoussaini Afternoon Sun oil on canvas

W. Max Thomason

She Devours Men Like She Devours Cigarettes acrylic and oil on canvas The Art of Coming Back acrylic and oil on canvas

W. Max Thomason is a contemporary painter whose work encompasses Realism & Abstraction. His works frequently depict figures in various states of focus. Most recently, Max has begun to employ urban settings in a realist approach. His early influences as a painter can be attributed to the work of the Fauvists & American Realists of the 60’s & 70’s. Max studied studio art from 1990-97 at Metropolitan State University/University of Colorado at Denver under the guidance of the likes of Amy Métier & Robert Mangold. His work has been exhibited nationally and internationally in galleries & museums and has been selected for album covers for Carolyn’s Mother & Mike River. Max currently resides in Denver where he is the curator and owner of Bitfactory Gallery & Studios.

Evelyn Woods column one: On Second Thought oil on canvas column two: Temporary Bridge oil on canvas Water Under the Bridge oil on canvas column one: On Second Thought oil on canvas column two: Temporary Bridge oil on canvas Water Under the Bridge oil on canvas

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It’s the autumn and winter landscape that intrigues me most on my daily walks. The smell of the ear th as decay sets in getting ready for the dormancy of winter conveys a time of quiet and personal introspection. It’s the light of autumn and winter that I find most compelling.

The smell of the earth as decay and dormancy set in conveys a time of quiet and personal introspection. I’m drawn to the stark beauty of the landscape in its stripped down structure and subdued color. I’m more interested in composing with a micro rather than macro perspective that in turn reveal the life, pattern, rythym, color and depth that interests me.

Debbie Magellan

Debra Magellan started using her creativity professionally in her early 30’s when she star ted her own clothing business, creating two successful apparel lines for women and children all consisting of custom hand painted and embellished garments.

Debra began painting several years ago after her curiosities led her to an oil painting class. She soon discovered her desire to be less intentional and more explorative, and began the exploration into her own magic and creativity. Primarily self taught, Debra’s first painting were done with her hands, then began taking formal art lessons to explore abstraction, and found a new love for mixed media. Debra has been juried into gallery showings for several of her paintings, along with one National Exhibit at Ashton Gallery in San Diego for “Mr. Big’s Lover”.

It is her belief that we are all artists in some form, just waiting to burst out into the light of our own creativity.

row one: Scott Mayberry Two by Two mixed media row two: Mario Sostre Grill House inkjet gel transfer on wood panel, Susan Hellman Desert Storm watercolor row three: Crystal Hinds In the Market acrylic, The Moot acrylic

Randy Jordan

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Andrea Zinn

Jessica Frances Grégoire Lancaster row one and two: Andrea Zinn From the High Line, City on Fire, On the High Line, photography row three: Jessica Frances Grégoire Lancaster Cicadas photography Nicholas Nicola The Ninth Gate photography

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Jessica Frances Grégoire Lancaster Carpeted Kitchen photography

Nicholas Nicola

Nicholas Nicola Those Neighbors, Haunted photography

Nicholas Nicola Moxie, He Sees You photography

Corey Swenson Cemetery Vessel oil and gold leaf on wood panel

Gary Aagaard Blinded by Delight Redux oil

pg 264 column two: Crystal Hinds Sowing Seeds acrylic Patrice Sullivan Blue Paradise oil on linen Wanda Waldera New Maps1 acr ylic pg 265 Veronica Lund Enlight 54 nuno wet felting Marshall Toomey The Calling pastel Barbara Jacobs The Landing monotype

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topto bottom: McKenzie Paxton Lower Bassackwards oil Farhad Vakilitabar One Snowy Day photography Maeghin Alarid Welcome to San Francisco photography

Zhiqiang Ma

Natural Wonderland in Black and White, a true fantastic natural world around us.

Huge negative space, the small but focused subject, awkward scenery within the photos. And all of these sceneries are reflections of people’s inner hunger for real beauty of the world and much more beyond which can merely be felt deeply in heart or touched by mind.