Works of Excellence 2023

WORKS OF EXCELLENCE

PRESENTED BY THE STUDIO DOOR

The Studio Door

3867 Fourth Avenue San Diego, CA 92103-3113

www.TheStudioDoor.com

Cover Artwork: A Mystic Peers into the Future by Charles Compo (New York, NY)

Back Cover: Done Stuff by Amy Broderick (Jupiter, FL)

Copyright © 2023 Revised Exhibition Version. The Studio Door, Inc. All Rights Reserved. Reproduction in whole or in part without permission is prohibited.

The Studio Door, Inc. respects the rights of all artist and copyright holders. Consequently, all works that appear on this exhibition do so with the consent of the artist/s or the copyright holder. No image or information displayed in this catalog may be reproduced, transmitted or copied without the permission of the The Studio Door, Inc., artist or copyright holder.

WORKS OF EXCELLENCE

PRESENTED BY THE STUDIO DOOR

JURIED TOP HONORS

AMY BRODERICK

JUPITER, FLORIDA

PAGE 49

NEW YORK,NEW YORK

PAGE 81

SAN DIEGO, CA

PAGE 101

So much of my work has to do with inner growth and spiritual shortcomings. I do not paint to shame, I paint to let a particular viewer know, “I too deal with this, you are not alone”. If a painting can be an affirming nod and a hand on the back I want to represent that. The razors edge I balance on in conceptualizing and creating is not to come across as a satirical illustration or a moralistic ranting made from a soap box.

TOM ACEVEDO

Untitled I Acrylic I 20” x 16”

The Reveal I Acrylic I 20” x 16”

Whistling in the Dark I Acrylic I 20” x 16”

Untitled I Acrylic I 18” x 24”

JAMES ANTHONY

A work of art needs to be visually appealing to initially attract the viewer’s attention to our message, or it may go unnoticed. It must elicit a response that evokes an emotion, jogs the mind and/ or stirs the spirit. Hopefully, this in some way affects or alters the beholder’s viewpoint.

Street Corner Cowboys I Mixed Media I 24” x 36”

Big Bucks Coffee @ 6 AM I Mixed Media I 32” x 30”

Slava Ukraine I Mixed Media I 24” x 48”

Gathering of Guys I Mixed Media I 27” x 31”

Battling... The Nightmare I Video, Acrylic Block I

NORMAN ARAGONES

The main paradigm in my photographic art revolves around the concept of depth having some level of meaning within the photo and thus attempting to elicit a viewer’s reaction through deliberate imagery. My hope is that the viewer comes away with some feeling, idea, and/or perspective from seeing my photos. The techniques I use in creating photographic images are not something specific. I just try to work diligently in creating something in particular that I had envisioned previously in my mind’s eye.

8.4” x 5.8”

Distorted Generation I Film Photography/ Metal I 16” x 24”

The Bird Song I Fiber, Wearable Art I 45” x 35”

The Shaman I Fiber, Wearable Art I 50” x 40”

MARIANNA BAKER

Fiber artist + ceramic artist + sculpture + dreamer + fashionista + lover of all witty, funny modern and specially mid-century modern stuff.

I am an ex-graphic, multimedia designer who found happiness through reinvention as an artist.

.

Pinkd I Fiber, Wearable Art I 54” x 46”

ANNEMARIE BALDAUF

I have been working in 3D printing for about 5 years and its become my exclusive medium. I love the process of these sculptures as it represents a new frontier. These are self portraits. I incorporate where I am at physically and mentally at tthe time of creation. Time, health, home, family, people, houses, depression, color, mortality, covid patterns, and QR codes are ideas

111A-23 Time House I 3D Print from STL File I 4” x 3.5” x 3.5”

intertwined within my work. The amount of exactness that is possible on this scale is exhilarating and unique to this media. I love these small, precise and personal works. They draw the viewer closer to the artwork making a lasting one to one connection.

225 Time House Compartiments I 3D Print from STL File I 4” x 3.5” x 3.5”

512 QR Clock Covid People Shadowbox I 3D Print from STL File I 5” x 6.5” x 1.5”

Bishop Norman Williams I Oil I 30” x 24”

LEWIS BANGHAM

I believe art can be transformative. It has the potential to reveal something new in the familiar. To that end, my work seeks to go beyond mere representation to invoke a sense of being physically and emotionally connected.

Bangham has studied at numberous institutions, including The Art Students League (NYC) and Otis Art iInstitute (LA). 20th Century Fox, Capital Records, Motown Records and NASA are included among his clients.

Joey Composing I Oil I 30” x 40”

City Scape with Whale I Oil on Linen on Panel I 30” x 40”

Flying

Lessons I Oil on Canvas on Panel I 30” x 40”

VLAD BIBIK

Bibik is a Ukrainian-born, Los Angeles-based artist, signing his works as Bbk. He is a master of engaging your senses on a ride into a boundless game, where your feelings will become tangible. His trademark is a unique vision of integrating objects and humans, enabling natural talent to drive the art and challenge you from emotional experiences to physical matter. Juggling complex financial analytics and his passion for art, Bibik protests mediocrity using a unique and bold surrealistic style. Bibik’s talent unmistakably reshapes the canvas into another dimension of thought that is outrageous, sharply critical, and, at times, sarcastic. Yet, it leaves you in awe of its originality and intensity. Unleashing his box of paints, like a surgeon, instead of a scalpel but with a thick brush, the artist moves you with the reflection and curiosity of a child as he meticulously uses wit and distortion, evoking profound analogies and, sometimes, disturbing, yet, inviting visions.

La Femme I Acrylic Diptych I 72” x 120”

Superior Carousel I Acrylic I 48” x 60”

Rather, We Applaud I Acrylic I 60” x 36”

Cultured Liberation I Acrylic I 72” x 60”

City Center Motel I Gelatin Silver B&W Print, Handcolored I 36” x 24”

JACQUELYN BLACKSTONE

We all carry millions of pictures around in our heads and are continuously bombarded with new images. Some resonate and stay with us; some make no impact at all. Some we return to with pleasure, some we try to forget. The images I make inevitably reflect something I have seen before -a painting , a movie , a photograph - sometimes deliberately, sometimes unconsciously. Often I just want to capture the object, person, landscape that I see - to notice it -to make it visible to others. I have been working in gelatin silver black and white photography for over 50 years. I hand color some of the prints using colored pencils. Lately I have begun working with digital prints. I was a studio art major in college, and later taught art while waiting on tables. I subsequently went to medical school and have been working as an Ob/ Gyn for about 35 years. Through it all I continue to photograph.

Taqueria Albuquerque I Photography I 24” x 36”

Dog House, Albuquerque, NM I Photography I 16” x 20”

Fount, Royal Academy of Spain in Rome I Terra Cotta w/Low-Fire Glazes I 17.5” x 10” x 9”

Wholly Family I Terra Cotta w/Low-Fire Glazes, Gold Leaf I 19” x 18” x 11”

JIM BOWLING

I find the male form a potent agent for dialogue and personal narrative. These narratives range from crucial personal and global conversations to a means of expressing themes of desire and sexuality. I use the body to discuss social, political, and spiritual themes, both as facilitator and as provocateur. Creating work that focuses on the male form provides a platform for expressing my personal history as a gay man, and a means of reconciling the contentious relationship LGBTQI+ people often have with their own bodies. I am inspired by the ceramic work of the artists of the California Funk Art movement as well as Surrealists works. The material traditions of ceramics inform my process, but the “story” is what gives it meaning and purpose. The connection of surface design to form is important, and I investigate their interdependence in narrative expression. I am inspired by objects that evidence signs of wear, age, and decay; these surfaces imply a sense of depth and “experience.”

Gored I Stoneware w/Low-Fire Glazes I 19” x 11” x 17”

ARIEL BOWMAN

Lumière is a series of candelabra sculptures that celebrate different people who contributed to the fields of natural history from the age of enlightenment through the age of wonder. From the mid seventeenth to late eighteenth centuries there were great developments in science and philosophy across the world. Each sculpture represents a different scientist, explorer, naturalist, or theorist whose works first expanded the human relationship to nature through discovery of prehistoric animals. Though these discoveries contributed greatly to our understanding of the natural world, they are still only candles in the dark, and there is so much left for us to discover.

Ariel Bowman has a Master of Fine Arts.

Lumiére Series: Anning I Ceramic, Mixed Media I 58” x 16” x 12”

Lumiére Series: Anning I Ceramic, Mixed Media I 58” x 16” x 12”

Lumiére Series: Cuvier I Ceramic, Mixed Media I 59” x 16” x 12”

.

ANITA BRACALENTE

My textiles are constructed of knitted beads comprising interlocking ordered patterns, which frequently dissolve into nonlinear disorder, randomness and reinvention. The knitted beads are strung (backwards) on to the working thread and then knitted off. We live a patterned existence structured by behavioral patterns beneficial, destructive, personal and communal. In material culture patterns are universally recognizable and accessible, transcending language barriers,

historical epochs and are recognized cross culturally, admired, shared and reinterpreted. My ideas derive from an intimate encounter with patterns found in nature and in the material culture of textiles found worldwide. For forty years, I have been an active exhibiting artist nationally and internationally. I am a representative for Surface Design Association. My mediums include painting, stained glass, fiber art and landscape design. I am a freelance writer, lecturer and researcher. Trained at Indiana University.

Chance Encounters I Knitted Seed Beads and Cotton I 8.5” x 27.5” x 2”

Winter Creek I Czeck Seed Beads, DMC Perl Cotton #12, Knitted Beads I 12” x 20”

Undercurrent I Czeck Seed Beads, DMC Perl Cotton #12, Knitted Beads I 13.25” x 31.75”

AMY BRODERICK

Amy S. Broderick uses forgotten photographs, discarded office supplies, found atlases, and related ephemera to make complex paper compositions. She cuts and weaves each page by hand to make elaborate layered structures and images. Her work marks time’s passing, as forgotten slivers of other people’s daily lives coalesce to tell new tales. The work invites viewers to imagine a space where obsolescence and disconnection become the warp and weft of new territories.

BEST IN SHOW

Done Stuff I Hand-cut Reclaimed Office Supplies I 13.25” x 10.5”

Broderick is Associate Professor of Drawing and Painting and Director of Studio Foundations at Florida Atlantic University. In her studio work, she uses the processes of drawing, photography, and paper construction to note the specific topography of everyday life. Amy graduated Phi Beta Kappa from the College of William and Mary, and she earned her MFA in Painting from Maryland Institute College of Art, where she studied with Grace Hartigan.

Passion of Daedalus I Hand-cut Reclaimed Office Supplies I 11.5” x 10.5”

General Information I Hand-cut and Hand-Woven Paper Ephemera I 12” x 9.5”

Bodies of Hogs I Hand-cut and Hand-Woven Paper Ephemera I 13.25” x 10.5”

ANNAKATRIN BURNHAM

Existing within an environment of expressive freedom, I construct parameters in which my creative impulses can thrive. Establishing a set of rules in which spontaneity can then take a leading role is at the root of my work. Small parts that come together to form a whole in the manner of sculptures and installations is at the core of many of my pieces. From there, I feed a hunger for diversity by branching out in myriad ways across several bodies of work.

Neon Temple Humboldt I Ceramic I 8’ x 15’ x 7”

These diverging veins include analogue form making, installations with multiples and collaborating in public space. In the studio I address an internal space, mirroring the stages of life through expression. In my sculptures I investigate form languages, using not only the aesthetics of light and shadow but also negative space and shape association. After the development of certain guidelines, I then create space for actions of the moment to take precedence.

Plattenbau I Earthware I 27” x 14” x 14”

Mother Nesting I Earthware I 25” x 20” x 20”

JOHN CALABRESE

Delicate nuance of value and texture become tools in conveying powerful dramatic statements about earthly beings who are not afraid to wonder, think, dream, and take that one step beyond. The inhabitants of the cosmic atmosphere appear at odds with their surroundings (many of which are actual, specifically named astronomical objects). This is the result when the merely earthly confronts its unavoidable connection to the awe, majesty and mystery of the heavens. However, when fragile earthly beauty confronts sublime heavenly beauty, the earthly is reverently and silently humbled.

Two Venuses: Sacred and Profane I Graphite on Paper I 16” x 20”

The Magnetic Field II I Graphite on PaperI 20” x 16”

When

Worlds Collide I Graphite on Paper I 20” x 16”

Eyes Have Been Opened I Graphite on Paper I 20” x 16”

MIGUEL CAMACHO-PADILLA

These are streams of existence; desire, compulsion, fear, and reverie. A process of layers and a layering of processes, my hand faithfully refers back to disrupted classical forms, inescapable cultural roots, and traditional crafts that challenge my own reconciliation of identity, gender, sexuality, and the self-imposed quest for defining the male and the masculine.

Corolla I Mixed Media on Paper I 20” x 16”

Velo (Veil) I Han-Embroidery on Tulle over Mixed Media on Paper I 24” x 18”

En Flor (In Bloom) I Hand-Embroidery over Mixed Media on Tyvek I 18” x 8.5”

Vacio Florido (Florid Emptiness) I Hand-Embroidery over Mixed Media on Tyvek I 18” x 12”

Sioux Warrior I Bronze on Walnut Base I 22” x 9” x 16”

GARRY CARLSON

I have been an active fine artist all my adult life. Although, I’ve painted prior to sculpting, my passion for figurative sculpture developed in 2010 after joining “Lynn Forbes Sculpture Studio”. Since then, I have found a deep admiration to the early Native American culture. With detailed research, I sculpt, and or oil paint their customs and livelihood. I am pleased to say, I have won several awards and accolades in the art community. Recently my wife and I researched my mother’s maiden name of Parker from our family ancestry. We discovered that I am a distant cousin to Quanah Parker, the last great Comanche Chief from 1845-1911. This newfound discovery has heightened my passion for Native American Indians. My pieces have been shown in galleries in Sedona Arizona, La Jolla and San Diego

Soul Mates I Bronze I 16” x 11” x 8”

War Chief I Bronze I 26” x 17” x 10”

Elk Foot I Bronze on Walnut Base I 26” x 13” x 10”

LANCE CHANG

Inspired by the mysterious and ever-changing Aurora Borealis (northern lights), I use distortion and blur to enhance the movement and dreamlike quality of my images. Through this distortion, I allow viewers to tap into their own fleeting and familiar recollections to shape the story behind the image. My art is sometimes beautiful, sometimes dark, and often evokes memories of childhood fairy tales. My watercolor-like prints are included in multiple private collections and the permanent collection of the National Museum of Dance in New York. I earned degrees from Pomona College and the Brooks Institute of Photography and work in Southern California.

AB 7391 I Archival Pigment Print I 8” x 12”

AB 7611 I Archival Pigment Print I 8” x 12”

AB 7925 I Archival Pigment Print I 8” x 12”

The Big Cry I Encaustic Acrylic I 48” x 36”

MARC CHICOINE

We’re fools whether we dance or not, so we might as well dance. - Proverb from Tokushima

As a painter and freestyle dancer, my work is driven by a deep appreciation for corporeal experience and its possibilities for expression. Heavily inspired by embodied cognition and the research of pioneers such as George Lakoff, I believe that bodily narrative and sensorial perceptions are responsible for how we conceive of and engage with every aspect of our lives. Cognition, emotionality and the metaphors we live by are all married to our bodies.

Through visual-spatial mediums, fine art and improvisational dance pull participants into the present moment. When creating visual narratives, be it with brush or on the dancefloor, I strive to bridge the universal with my own intimate psychosocial experiences. This thread remains consistent irrespective of emotive outlet. A strong directive of my visual work is to challenge viewers to reassess the integration between mind and body. I aim to inspire them to consider how they ~wiggle~ through this life.

Pedestrian I Encaustic Acrylic I 26” x 20”

Communion with a Seal I Archival Pigment Print I 15” x 10”

MARK COGGINS

I am a novelist and photographer. Images of mine have been shown in galleries across the United States and Europe, including exhibitions jurored by acclaimed photographers and curators Amy Arbus, Elizabeth Avedon, Judy Dater, Henry Horenstein and Michael Kenna. I have won multiple awards, participated in solo and small group shows, and have published a monograph entitled Street Stories. In deciding where to aim my camera, I look for groups of people interacting or engaged in a common activity, rather than individual subjects. As a photographer who has also published seven novels, I am perhaps drawn to tableaus that suggest or hint at a story.

Ice Cream Eaters I Archival Pigment Print I 10.75” x 13.75”

Shadow Play I Archival Pigment Print I 10” x 10”

CHARLES COMPO

My paintings are made to represent life and the complex forms and spirits that inhabit the world around us. Many of my subjects are taken from everyday life in and around New York City where I live and work, as well as through my own interpersonal relationships. As part of my process, I spend a lot of time observing people and situations. I contemplate my own inner world and experiences, while allowing my non-conscious mind to make connections between people, non-human forms and the environment, and then I express those thoughts on canvas.

BEST IN SHOW

The Meeting of the Subcommittee I Oil I 36” x 48”

I find myself deliberately arranging items with or without so-called symbolic significance in a way that may or may not be affecting emotions and intellect. With each stroke, thoughts emerge and find their place in the collective hallucination known as reality. I’m engaged in the ritual of exploring the boundaries of my imagination and passing the hours dedicated to an activity that has no practical use in the world other than the elevation of life.

Carlsbad Power & Light I Photography I 20” x 16”

Heavenly Monsoon I Photography I 20” x 30”

SUSAN COPPOCK

I have been photographing for 45+ years and I am still thrilled every time I capture something special in nature. I live, breathe, work, dream, judge, and teach photography. My work has won numerous awards including Best of Show and has been shown in magazines, museums, galleries, and personal collections. I am first and foremost a storm chaser and nature photographer. I go storm chasing every summer during monsoon season in Arizona and New Mexico. Being able to get photographs of nature’s most spectacular shows, where no image is like another, is my greatest joy. Most of my work is night photography of the Milky Way, star trails, moon shots, and thunderstorms, including cloud formations and lightning. I try to share with others the awe and spirit I feel when surrounded by the power of nature, her fury, and the incredible beauty in the storms and oceans she produces, where each image is unique and special.

Quartzsite Power & Light I Photography on Metal I 20” x 30”

Corkscrewed Up I Photography I 20” x 30”

JEFF CRUSBERG

Capturing light and shadow is the whole enchilada! As a still life painter the moment the painting begins to speak the language of our eyes is the moment I always recall. When I paint I want to share the experience of painting and pass this on to the viewer. I always strive to let the paint act as the star and the brush to “show it’s work”. If I do everything right it seems as if I’m “Painting with Light”!

Mandevilla I Oil on Panel I 12” x 12”

Little Dedo with Bougainvillea Blossoms I Oil on Panel I 16” x 12”

Still Life with Grapes I Mixed Media I 14” x 11”

Pair of Pairs I Oil on Panel I 10” x 10”

DONNA FLEETWOOD

Growing up fairly isolated on a large ranch in Kansas, Donna became a keen observer of her inner worlds and outer surroundings.

“My art journey began when, as a young child I drew life size stick figures on the walls of my farmhouse bedroom. I can still remember the satisfying feeling of pressing a crayon into the wallpaper to make my mark. In spite of this poor choice of drawing surface, my parents continued to encourage my creativity, sending me off for an art degree after high school. Over the years,

If You Could See What I See I Mixed Media on Panel I 24” x 18”

I still find that moment of kinship from my past to the present moment informing my choices of subject matter, composition, and color. “

“The artist Donna Fleetwood expresses many pure and graceful sensations capable of immersing the viewer into the painting, starting from the process of creation until the last stages of its realization.” - Alessia Perone, Senior Art Curator, M.A.D.S Art Gallery, Milan Italy.

Displaced I Mixed Media on PanelI 14” x 14”

Hiding I Mixed Media I 14” x 14”

Red Girl I Mixed Media I 18” x 18”

Variance #21 - des Esseintes Garden I Mixed Media I 14” x 11”

ERIK FRIEDMAN

Erik Friedman completed his BFA from Parsons School of Design in New York, and his MFA from San Jose State University in San Jose, CA. He has been a Lecturer in the Pictorial Area at San Jose State University since 1999, and resides in Oakland, Ca, where he has been a practicing artist concentrating in drawing and painting for the last 30 years.

His work has been shown throughout the Bay Area and California, including the Palo Alto Art Center, NIAD Art Center, Monterey Peninsula College, The Institute for Contemporary Art in San Jose, The

Variance #29 - des Esseintes Garden I Mixed Media I 14” x 11”

Marin Museum of Contemporary Art, Southern Exposure, The Headlands Center for the Arts Annual Auctions, The Crocker Museum in Sacramento, and The de Young Museum in San Francisco. His work has also been included in Art Fairs in Portland, Oregon, Miami, and New York.

The Variance series begins as an investigation that considers the structural foundation of form and shape within pictorial space, related specifically to visual language and the deconstruction and obliteration of typographic letter forms.Its ongoing progression is inspired by metaphorical ideas related to Gaston Bachelard’s “The Poetics of Space” and Joris-Karl Huysmans “Against Nature”.

Variance #31 - des Esseintes Garden I Mixed Media I 14” x 11”

Variance #36 - des Esseintes Garden I Mixed Media I 14” x 11”

STEFAN FRUTIGER

San Diego photographer and artist Stefan Frutiger explores the impact of human alterations in the American West. He shows how minuscule humans are in the vast desert landscape, yet how many permanent traces we leave. Stefan shows the decay caused by anthropogenic changes and researched the conflict in the multi-use of public land. These places teach an authentic, walkable history lesson of how industrialization permanently altered the landscape of the American West.

Stefan’s most recent project Sacred Land, Scarred Land is a critical investigation into landscape alterations, environmental concerns and impact on the local community caused by uranium mining on Navajo land near Monument Valley at the border of Arizona and Utah. Uranium mines were operated until 1969. Permanent scars remain visible in the landscape, land that is sacred to the people of the Navajo Nation. Stefan documented the legacy of uranium mining and juxtaposes the invisible threat with smoke and light paintings.

ALAN GARRY

I am an architect with a firm in NYC and the focus of my painting is the builtscape: what people have built in relation to each other.

There is a geometry created by the multiple decisions: a beauty and movement in their assemblages, even in the most economically impoverished areas, as each builder had to deal with what their needs were and what had been constructed before them. I see these works not as a social statement, but as an acknowledgement that we are, in everything we do, part of the beauty of this world.

Yellow Poncho I Mixed Media on Paper I 18” x 24”

Me and My Cat I Mixed Media I 20” x 24”

ROSARIO GLEZMIR

Rosario’s art is the expression of her soul that leads her to corners of light and darkness that were unknown to her, that were brought to the surface after she experienced life changes, and experiences that took her out of her comfort zone. Her Mexican heritage and open appreciation of all techniques allow her to play with color and different materials that convey the emotions and thoughts that are displayed in her paintings. She has participated in International Exhibits in Mexico, France and USA. She moved from Mexico City to Tijuana in 1990. In 2005, she decided to live in San Diego.

Sublime I Mixed Media on Paper I

36” x 24”

Salvia I Mixed Media on Paper I 18” x 24”

KAREN HOCHMAN BROWN

Karen Hochman Brown is a digital artist who uses her own photography as a base for manipulation in 2-D formats and animations. Her projects involve multi-layered kaleidoscopic constructs, prints on fabric married to laser-cut wood elements as well as purely digital forays based in line, shape and movement. Hochman Brown studied art at Pitzer College, California College of Art and Art Center College of Design, but self-developed her processes through experimentation, relying heavily on skills learned as a graphic designer.

“I was a bit of a math geek in high school, but went on to study my other love, art. The allure of geometry never left me-the precision, the interconnectedness, the beauty, the logic. I was drawn to the graphic nature of computer art in 1984. This world married the flexibility of art and the precision of mathematics into a virtually unlimited paintbox. The computer has been tied to my artwork, and my life, ever since. I never looked back.”

ADRIAN HUTH

If a scale existed where on one end there was maximum “abstraction” and on the other end maximum “realism”- the results of my work would fall somewhere in the middle. At times, I might lean more one way or the other, but usually I keep the form(s) or the object of view(s) from completely disintegrating yet abandon the majority of details a realist wouldn’t dare consider

Tiny Blue Socks I Oil and Acrylic on Linen I 54” x 54”

removing. That said, I’m not completely alienating the idea either of what the original form had of interest to me in the first place. The colors and shapes from a nature scene, the curves of bodies in some kind of movement or the energy from crowds of people in a religious parade. In this context, my work as a painter is “form” based executed as an “idea”.

Gold Earring I Oil and Acrylic on Linen I 60” x 50”

The Naked Cowboy I Oil and Acrylic on Linen I 54” x 54”

Here Comes The Judge Part Five I Oil and Acrylic on Linen I 54” x 54”

KYUNG HEE IM

Kyung Hee Im is a Korean-American sculptor and installation artist. Her artwork explores cultural differences, connectedness, intimacy, and isolation which depict the ways people maintain remote relationships, staying connected with digital communication tools and complex networking systems. The sculptures portray bodies that are often fragmented, their parts isolated from one another in space, but also bound together by a network of fragile threads. Those physical threads represent intangible connections, which are in a state of constant flux.

Remote II I Threads,Fabric, Wood I 12” x 10” x 30”

Imprint I Thread, Plaster, PLA, Electronic Parts I 11.4” x 10” x 10”

Inyeon (Fate) II I Mixed Media I 9” x 10” x 10”

Childhood Play: Siltteugi I Thread, Plaster, PLA, Yarn I 7.75” x 6.25” x 18”

Homage to Dr. Seuss I Oil I 20” x 20”

KAY KAPLAN

Kay Kaplan is always painting, completing her last inspiration then reaching inward for more enlightenment, understanding and rushes of creativity all inspired by San Diego, California’s seascapes and Joshua Tree’s deserts. She loves holding the flow and focus that she has come to, in a place of calm exhilaration and excitement, while portraying all the wonder and beauty that Southern California and its deserts have to offer. I pull inspiration from the San Diego urban areas to our vibrant coastline and surrounding deserts. My work includes a touch of realism and abstract to my impressionistic style. My hope is that the enthusiasm and gratitude I feel to have painting in my life, shines through with each artwork I create. I discovered Impressionist Alla Prima classes and completely fell in love with oil painting. I have had years of classes, intensive workshops and travel for plein air workshops. I paint almost daily in my home studio and enjoy painting through classes and travel.

Desert Blues I Oil on Linen I 24” x 36”

Desert Magic I Oil I 48” x 24”

All Together Now I Oil on Linen I 40” x 30”

LINDA KLIEWER

My clay work is both hand-built and wheel thrown. Often vessels are begun on the wheel and then finished with coils to allow for off-center additions. I carve and incise each piece when it is slightly hard and then sponge the carving smoothly. After the initial firing, I add iron oxide washes, underglazes, and glaze to get the earthy look I want. Every piece features leaves, grasses, or flowers in a different configuration or pattern. I like leaving open-washed areas, so I often use brown or gold base clays to add texture and color. Each piece is unique.

Ginko Vessel I Clay I 13”x 11” x 11”

Round Lantern with Base I Clay I 13” x 14” x 14”

Grasses Vessel I Clay I 13”x 9” x 9”

Origins #1 I Clay I 16” x 16” x 16”

Peace in Turbulent Times I Textiles, Beads I 18” x 16” x 13”

KATHY KNAPP

My design process uses traditional quilting methods and attempts to elevate it. I find inspiration in historical periods of fashion and art. In addition to a strong sense of color and incorporation of blending, I enjoy unusual embellishment items. Use of deconstructed pieces from discarded costume jewelry to create focal points within my designs are a favorite technique of mine. In this way I can transform something unwanted into beauty.

Dichotomy of Red I Textiles, Beads I 34” x 28” x 18”

SHERRY KRULLE-BEATON

My work has an emotional basis with the object not to imitate nature but to define its essence and celebrate its intensity. My wish is to create art that evokes emotion excitement and wonderment.

Dreamcatcher I Acrylic I 22” x 28”

Cockcrow I Acrylic I 36” x 18”

De la Tierra Blanca I Acrylic, Mixed Media I 48” x 32”

SONNY LIPPS

I am a North County, San Diego based contemporary painter. My start was with abstract work emphasizing the beauty, wonder, nuances, and order of nature while connecting to the primal/ subconscious thread present in all humans. As my work has progressed, it has become punctuated with themes of reproductive sexuality, science-fiction, architecture, human intrigue, and natural

Supply Chain I Acrylic I 24” x 30”

design. My submissions for this show are from my Political Landscape series of which I have been producing for the last five years. I like to take a current “hot-button” sociopolitical issue and create a satirical image in an effort to get the viewer to contemplate both sides of the political divide that is currently separating the world into conflicting “tribes”.

Big Oil I Acrylic I 24” x 30”

White Guilt I Acrylic I 40” x 40”

Angel I Digital Photography Augmented with Fabricated Imagery I 45” x 30”

DON MANDERSON

My work examines the simultaneous sensory experience present in a society that is increasingly technical and transitory. This is exemplified by expectations for individuals to constantly act on input from multiple digital and analog sources. My work is inspired by subconscious and dream state attempts to reconcile this sensory bombardment,

Servitude I Digital Photography

Augmented with Fabricated Imagery I 45” x 35”

Roundup I Digital Photography

Augmented with Fabricated Imagery I 40” x 40”

Resilience I Mixed Media, Photo Encaustics with Pastel I 12” x 12”

MARYANNE MCGUIRE

My underwater photography salutes a woman’s strength in an ever-changing world where we continue to navigate turbulent currents. We generally give water a feminine face, associating its changeable nature and sensual rhythms with women. Water is life. A current that stirs within each of us. So it’s no surprise I would take my camera into this weightless world to share a siren’s point of view on the women who swim courageously against a undertow that tries to stifle our cries for equality and fundamental rights. But united, we rise and boldly breach forbidden horizons to breathe free.

Rise Above I Photography I 24” x 20”

Our Minds,Our Bodies, Our Power I Photography I 20” x 24”

NATALIE MCGUIRE

My award-winning Photozaics are inspired by where Van Gogh’s textures meet Ansel Adam’s simplicity near the intersection of Bob Ross’ healing vibes. This technique is a labor-intensive multistep process and starts out with my journey into nature; recording the landscapes that spark my eye may it be rolling hills or a babbling brook. After modifying the composition, I take the print and head to the stained-glass shop to find matching colors. I cut the glass by hand taking smaller shards and placing them in a rock tumbler to remove sharp edges while larger pieces are sanded by hand and assembled the frame. Grouting finishes the artwork allowing the detail of each cut glass shape to add texture to my art.

Gateway to Racepoint Beach I Mixed Media Photography, Mosaic I 16.5” x 22.5”

Breakpoint at Racepoint I Mixed Media Photography, Mosaic I 16.5” x 22.5”

Forest of Birch I Mixed Media Photography, Mosaic I 17.5” x 13.5”

Wolf n Bear I Mixed Media Photography, Mosaic I 17.5” x 13.5”

MAIDY MORHOUS

An accomplished printmaker and painter as well as sculptor, Maidy Morhous was born in New York and currently creates out of her studio thirty minutes north of San Diego. Morhous received her Master of Fine Arts degree while studying at Stanley Hayter’s Atelier 17 in Paris in the mid-1970s. Before returning to the States, she traveled to Italy to further her studies in casting techniques at the Fonderia Artistica-Marinelli Foundry in Florence. Morhous expresses herself through the medium of bronze, which allows her to portray extremes, from the soft flow of water to the harsh asphalt pavement of our world. Her work encompasses the pop art concept of presenting commonplace objects as fine art in a very permanent medium. It is meant to engage viewers and to allow them to contemplate and pull from within, to disengage for a moment from the outside world.

Liberty Abatement I Bronze I 8” x6” x 16”

Bound by Tradition I Bronze I 15” x 12” x 3”

JESS SELF

My recent work is comprised of figurative sculptures made from my own life casts, embedded with or covered in wax, wool, wood, or mixed textiles. I am inspired by archetypes such as stereotyped versions of femininity: in folklore, mythology, western classical art as well as in spiritual practices. For example, in Buddhist practices, chakras are a way to illustrate growth and highlight what areas of life can be improved on, these have their own characteristics and Archetypes. Carl Jung believed Archetypes are embedded in our brains, we collectively and unconsciously experience similar things, creating a bond. Usually, a character is required to make a change or choose a path in order to learn more about themselves, as we do, changing from one archetype to another. I make an emotional connection with the viewer by creating figures based on my own life story as it relates to archetypes I have embodied. These figures encourage relate-ability, and personal reflection on our personal growth.

Enervated Foilness I Sawdust, Lavender I 32” x 32” x 43”

Wholeness I Metal, Textiles I 50” x 24” x 24”

Twoness I Wax, Metal, Mixed Textiles I 54” x 24” x 25”

Sheepness I Wax, Wool, Mixed Textiles I 64” x 30” x 50”

STEVAN SHPALL

I have always looked at life from a different perspective, and that is reflected in my work. I’ll shoot anything I can get in front of my lens, and if I can get it to splash, even better. Inspirations often start with a random conversation. Words turn into images and ideas evolve. I will start with a photograph, and then add or move elements to achieve the final image. In altering every day objects I am able to create a more abstract or surreal scene. My goal is to have an image that the viewer has to look at more than once, in order to make sense of it. If they wonder, “How did he do that?” then I have achieved my objective.

Photography I 20” x 24”

Rehydrate I Photography I 24” x 20”

Fresh Sushi I Photography I 20” x 24”

Fish Tacos I Photography I 20” x 24”

RICH STEWART

Rich Stewart began working in metal in his early teens, focussing on constructed, functional art, but always with an eye towards the surreal. “I like to make things from dangerous materials: molten metals, constructed metals, found objects and hot glass. American manifest destiny, the industrial revolution, pop culture and Breton’s manifesto; these threads combine to drive me toward imagery that I like to call, “punk surrealism”. For me a piece has to offer the viewer a story, risk sharing a vulnerability, ideally have some sort of humor about it, and at its best inspire the viewer to ask a difficult question.”

Complicated Potato I Cast Bronze I 11” x 24” x 7”

I Got to Google Me Some Shit I Cast Iron, Found Objects I 18” x 5” x 7”

Devil’s Playground I Hot Glass, Cast Iron, Found Objects I 54” x 24” x 18”

Taka is a self-taught photographer of mixed race (Makah, Palouse, and Volga German) living in San Francisco. They specialize in documentary work, street photography, and conceptual portraiture.

“Acts” is the laying bare of a journey through what it is to become and remain human in a sick and dying world. It is a love story, it is a life story, and an expression of gratitude.

20” x 16”

Believing (Thunderbird) I Photography I 20” x 16”

TRUDY THOMSON

When I create my fiber work I am inspired by the rhythms and patterns found in nature. There is repetition and variation in both my process and form. I begin my tapestry work by drawing a detailed design on a grid of graph paper where I draw various shapes. To these I add color that represent the skeins of yarn I plan to use in different portions of the design. When I settle down to weave the tapestry planned I swipe across the loom and position yarn that varies in color, texture and tone. As a result what one views is carefully planned but also contains random features that un-expectantly materialize in the design. I vary the types of fiber I use; sometimes my fibers are twisted and spun in unusual ways. I even incorporate various scrap materials from shredded rug selvages and saris. When a work is complete it appears to float around a frame on the wall, or hang on a hand-crafted rod.

Rocky Ridge I Textile I 41” x 29”

Surge Through Sands I Tapestry I 57” x 37”

River Runs Through I Textile I 52” x 26”

Memories for Sale I Oil I 18” x 18”

TIM WEEDLUNWEEDLUN

When painting landscapes or portraits of people or animals, I like to experiment with a number of different painting styles. With still lifes, I am drawn to the classical approach that arranges elements in the composition like characters in a stage drama complete with theatrical, chiaroscuro style lighting. In these glamorized renderings, ordinary objects take on a new meaning allowing us to find beauty in the unexpected.

Peach Basket I Oil I 11” x 14”

Japanese Tea I Oil I 20” x 16”

ELAINE WEINER-REED

“Focused on individuals impacted by transience and human frailty, my figurative works juxtapose strength and inner beauty with vulnerability and external imperfections. They celebrate the human spirit in all its color, power, and beauty. True beauty lies beneath the surface and truth often lies in shadows.”

An award-winning bilingual visual artist living in Maryland, Elaine Weiner-Reed has distinguished herself as an abstract expressionist artist with uncommon vision. Her art qualifications include juror, lecturer, blogger, committee member, and instructor. Weiner-Reed takes her role as an artist in society seriously, shouldering it responsibly as a public trust. Her “Every Painting is a Song (Story)” creative transdisciplinary initiative, now in its seventh year (2022), grew out of her commitment to ignite the imaginations of others and foster community interaction and respectful, creative dialogue. Her artwork has been in 90 international, national, and group shows.

The Gathering I Acrylic, Latex I 48” x 48”

Resurrection I Mixed Media I 18” x 38” x 14”

Primal Scream I Wire, Plaster, Acrylic, Plaster, Latex, Glazes I 24” x 36” x 4”

BRADY WILLMOTT

Born to a creative family of musicians and artists and raised deep in the woods of Vermont. Willmott started on the path to becoming an artist from a very early age. Often drawing upside down or with both hands, it was clear that he had a unique perspective. During his high school years, his commitment to art led him to take vocational art classes, night art classes at a local

Huntington Crude I Oil I 24” x 18”

community college and a summer program at Parsons School of Design in NYC. In 1998, he earned a BFA from the School of the Museum of Fine Arts, Boston with a focus on oil painting. While in college his love for lowbrow influences of skateboard graphics, hotrod style art and graffiti fused with newer interests in surrealism and old masters work. He was developing a distinctive style by graduation.

Spilt Milk I Oil I 20” x 16”

LESLIE WINOKUR

These pieces are part of my ongoing still life series called “Seemingly Ordinary.” I studied at several Bay Area ateliers in order to learn old master techniques, which I use to create completely contemporary paintings. Emotionally, these pieces resonate as spaces of calm in this time of great upheaval.

Seemingly Ordinary #4 I Oil I 10” x 20”

Seemingly Ordinary #13 I Oil I 16” x 20”

REDIN WINTER

I delve into the realm of abstract art to bridge the gap between our inner and outer worlds. I work intuitively and instinctually without any premeditated end goal. I imagine myself to be an alchemist who transforms and transmutes materials into artistic creations. Inspiration stems from the natural world, exploring the connection between human experience and the environment. My work investigates the tensions between light and dark, fantasy and reality, myth and faith. I am fascinated by our emotional, psychological, and spiritual relationships to these tensions. Every aspect of our fast-paced environment demands our attention, constantly and persistently, turning everything into a quick-to-consume experience. My artwork resists this trend. The art offers a respite from the fast-paced world, inviting the viewer to slow down, encouraging introspection, selfreflection and daydreaming.

The Black I - IV I Acrylic I 36” x 12”

LARRY WOLF

Larry Wolf’s work utilizes an intriguing and unique process whereby the artist pushes acrylic paint through the back of a silk screen canvas. Traditionally, silk screens are used for making prints on paper or T-shirts or any number of materials, but then the screens are washed and reused. For Larry Wolf, the silk screen becomes a permanent host for a one-of-a-kind artwork. The process results in strikingly vibrant abstract compositions, layered in eye-catching shapes and textures.

Fractured I Acrylic through back of Silkscreen I 21” x 23”

Razzle Dazzle I Acrylic through back of Silkscreen I 19” x 22”

WORKS OF EXCELLENCE

TOM AVECADO

Pelham, NY

tomacevedoartstudio.com

beguilestudio.msn.com

617-642-9544

JAMES

ANTHONY

San Diego, CA

jpanthony.com

beartrader@outlook.com

619-226-6233

NORMAN

ARAGONES

San Jose, CA -

norie22@yahoo.com

408-391-7088

MARIANNA BAKER

Irvine, CA

mbfiberandclay.com

bbidesign@cox.net

949-433-2632

ANNEMARIE BALDAUF

San Ramon, CA

sites.google.com/view/

annemariebaldauf

annemariebaldauf@gmail.com

925-833-7144

5 - 8

LEWIS BANGHAM

healdsburg, CA

lbangham.com

bangham.art@gmail.com

415-596-6424

VLAD BIBIK

Encino, CA artbbk.com

info@artbbk.com

818-390-0109

JACQUELYN BLACKSTONE

Albuquerque, NM -

droghedahome@hotmail.com

207-233-1915

JIM BOWLING

Columbus, OH jubowling.com

jimbwlng@yahoo.com

614-634-3505

ARIEL BOWMAN

Flower Mound, TX arielbowman.com

arielbowmanceramics@gmail. com

817-266-6976

ANITA BRACALENTE Bloomington, INanitajerry@gmail.com 812-325-3738

AMY BRODERICK Jupiter, FL amybroaderick.com

@amybroderickstudio

amysbroderick@gmail.com 305-720-1725

ANNAKATRIN BURNHAM

Trinadad, CA

annakatrinburnham.com

alk42@humboldt.edu 916-813-1032

JOHN CALABRESE

Denton, TX

johncalabreseart.com

jcalabrese@twu.edu

614-634-3505

MIGUEL CAMACHO-PADILLA San Diego, CA macp.us

miguel-09@sandiego.edu

949-397-7612

PRESENTED BY THE STUDIO DOOR

GARRY CARLSON

Vista, CA artpal.com/gcarlson gm.carlson@yahoo.com

760-889-4886

LANCE CHANG

San Diego, CA changstudio.com chang@changstudio.com

619-251-2747

MARC CHICOINE Brooklyn, NY mmc.design mchicoin@pratt.edu

929-530-0358

MARK COGGINS

Napa, CA markcoggins.com

mark@markcoggins.com

415-902-9099

CHARLES COMPO

New York, NY compoarts.com

anna@compoarts.com

212-769-6369

SUSAN COPPOCK

Vista,CA

@susancoppockphoto susancoppock@cox.net

760-803-8549

JEFF CRUSBERG

San Diego, CA -

jeffcrusberg@yahoo.com

619-572-1561

DONNA FLEETWOOD

Sante Fe, NM -

buzzendonna@gmail.com

717-439-3459

ERIK FRIEDMAN Oakland, CA erik-friedman.com

efriedman1968@gmail.com

515-343-4986

STEFAN FRUTIGER

San Diego, CA frutigerphotography.com

stefan.frutiger@outlook.com

619-430-5983

ALAN GARRY

WORKS OF EXCELLENCE

SHERRY KRULLE-BEATON

Jamul, CA

beatonpaths.com

info@beatonpaths.com

619-468-9123

SONNY LIPPS

Fallbrook, CA

sonnylipps.com

sonnylipps@sbcglobal.net

626-340-5113

DON

MANDERSON

Penesacola, FL dmandersonart.com

donalde.manderson@gmail.com

850-449-2912

MARYANNE MCGUIRE

San Diego, CA

finearttravelphotography.com

maryannemcguirephotography@ gmail.com

619-543-0033

NATALIE MCGUIRE

Saint Paul, MN nmcguirestudio.com

nmcguirestudio@gmail.com

651-470-0872

MAIDY MORHOUS

Del Mar, CA

maidymorhous.com

maidymorhous@gmail.com

619-981-1857

JESS SELF Decatur, GA jessiself.com

artofjessselft@gmail.com

678-783-9091

STEVEN SHPALL Palo Alto, CA shpallphotography.com

snshpall@aim.com

650-325-7933

RICH STEWART San Diego, CA rawmetalworks.com

PRESENTED BY THE STUDIO DOOR

Oceanside Museum of Art

Maria Mingalone has lead the Oceanside Museum of Art since 2016. Previously, she spent 14 years at the Berkshire Museum in Pittsfield, Massachusetts, where she held several positions including Director of Curatorial Affairs and Interim Executive Director. She has a Masters of Science degree in museum education and leadership from the Bank Street Gradulate School of Education in New York City.

______________________

Maria Mingalone

Executive Director

Megan Pogue

Executive Director

Timken Museum of Art

In 2015, Megan Pogue accepted the leadership position of the Timken Museum of Art in an effort to modernize the galleries and reinvigorate its community programming, including launching its artist-in-residence program.

The Timken is a fine art museum located off the Prado in Balboa Park. Established in 1965, it remains a museum dedicated to being free to the public. The museum is known for is collection of European Old Masters, American paintings, Russian icons, and French tapestries. It is the only San Diego museum with a Rembrandt in its permanent collection.

Sonya Sparks

Owner and Chief Curator Sparks Gallery

Sonya Sparks studied art in conjunction with obtaining her Bachelor’s degree in Business Administration at the University of San Diego. Sonya founded Sparks Gallery in 2013 to encourage the patronage of local artists, support local art groups and institutions, and to educate the public about Southern California artists. Sonya has curated exhibitions for multiple organizations, including, the Oceanside Museum of Art Artist Alliance, Allied Craftsmen of San Diego, Cannon Art Gallery (Carlsbad, CA), and the Escondido Arts Partnership..

Special Acknowledgments to San Diego’s Arts and Culture community for their support of The Studio Door, our studio artists, our art exhibitions and other efforts to elevate the region’s creatives as we assist artists on their journey from creation to marketplace and introduce new works of art to patrons. We are especially grateful for national exhibitions, like The Crow Show and PROUD+, which have allowed for local artists to hang alongside of their contemporaries. In that spirit, our biennial 50 To Watch has now been transformed into Works of Excellence.

Thank you our guest jurors who helped to create such a powerfully diverse exhibition with artists from across the United States.

For more information on the artists, specific artworks, city-to-city exhibition exchange or participation in The Studio Door’s juried shows, please contact The Studio Door directly. Our staff is available to assist with any questions concerning sales, services or products offered within this catalog or online regarding Works of Excellence.

WORKS OF EXCELLENCE

PRESENTED BY THE STUDIO DOOR