THE ARTISTS
Shelly Adler, Anna Aizic, Frida Bieber, Jessica Burke, Edith DeChiara, Judith DeZanger, Gayle Dorsky
Nancy Fabrizio, Galia Gluckman, Janese Hexon, Monica Iancu, Gray Lyons, Valerie Marousek,
Margaret McCarthy, Judy Olson, Norma Salgueiro, Nena St. Louis, David Stutzner, Iza Szczepinska,
Beata Szpurza, Caroline Sun, Linda Marie Wilson
Shelly
Adler
I love the small Dutch genre paintings of the 16th century that depict ordinary
people in ordinary activities. I am trying to paint genre paintings of the 20th
/21st century.
My subjects come from small black and white photographs of the 1930’s, ‘40’s
and ‘50’s. I choose snapshots because they show persons caught
unaware and reveal a more authentic moment than a more formal image usually displays.
I imagine that I am having a conversation with the images of the people as I
paint them. They open up to me as I study the photograph and see the subtleties
of their expressions and bearing. I then try to make that revelation part
of the painting.
I also enjoy painting small-scale portraits and I have taken commissions to create
paintings for people who have old family snapshots that are meaningful to them
and which they wish to preserve and transform into art.
website: http://womenpainterswest.org/home.html
Anna Aizic
My current
body of work tells one story about creation, unity, connection
between creator, process of creation, and each one of us, regardlessof
gender, age, religion, georgraphy, nor any other boundries. Thus
although the title is FOUR and there are three images in total,
the Fourth is merely an implication of creator that created the
process of creation.
email: paizic@hotmail.com
Frida Bieber
I was born in Havana, Cuba and came to the United States in 1950. I have
always had a passion and drive to express myself in painting. I now can
devote all my time to my art. I have been told that my paintings offer
a
unique perspective that includes a new take on impressionism and the perception
of light.
email: fridabieber@yahoo.com
Jessica Burke
Jessica
Burke was born in Wichita, Kansas in 1976. She received her Masters
degree in Painting from the University of North Carolina at Greensboro
in 2005. She is currently a professor of art at High Point University.
Her work is represented in private and public collections throughout
the United States. Her work is a meditation on gender and identity.
The figurative allegories of experience, thought and emotion are
based on the visual judgments that are propagated at an alarming
rate in this "contemporary" society
of ours. We are bombarded by popular culture imagery with its imbedded
associations that operate as a teaching device; they tell us what
to think, how to look, what to believe and who to support. Her
images are inspired by the experiences that are considered fundamentally
opposed to the “accepted parameters” given to us by
this ruling majority of popular
culture. She believes we are a visual culture and our identity is defined by
the visual vocabulary we create.
website: www.jessicab-artist.com
Edith DeChiara
My mixed
media works probe the external and interior worlds. It frequently
references nature as a source of imagery, creating a calligraphic,
gestural line that physically describes the external world while
evoking mood and alluding to the internal emotional life. These
intimately scaled works hint at nature, plants and rocks.
My garden provides the impetus, reference and inspiration for forms
in nature. The series titled “Play on Nature” abstracts
flower, seeds and seed pods to create what I consider universal
shapes and formations.
I use thread as a metaphor for line. The attributes of thread, which appeal to
me, include flexibility, delicacy and tensile strength. I use different types
of thread: thread pulled from fabric and manipulated to form delicate wispy filaments
and lines of heavier weights and value, sewing and embroidery thread. I work
on paper, often with the addition of encaustic as a surface layer.
website: www.edithdechiara.com
Judith DeZanger
My focus
when working with stone or wood is to become "one
with" the
material and allow it's natural beauty to emerge. For me
the essence of art is the amount of "Chi" or "life
force" it has. My
sculpting is a process of collaboration or dialogue with the wood
or stone. I
follow the Tao of Sculpting: staying in the moment, enjoying the
journey and practicing "effortless action." My
recent work has been influenced by my interest in Quantum Physics
and is about the transformation of matter into energy and allowing
stone to dance and sing. "Gravity
is matter's memory that it once was light."
email: creativityinsititute@juno.com
Gayle Dorsky
"Flying
Birds" represents the free spirits up in
the sky, it is spiritual, a life of uncertainty and love, peace
to come together and tolerate one another. The birds can
be friends, lovers, passing through.
The sky is a wholesome effect
that intrigues the birds to fly high up to the sky. They are tired
but keep going with their energy never giving up on them. They
might get fatigued, but they want to succeed with the other clan
and are strong to achieve their goals
email: sweety3222@aol.com
Nancy Fabrizio
I have always been inspired
by the moodiness of Maine and the mystical shores of Ireland. These
beautiful places have captured my imagination and inspire me to
depict, through my watercolors,
the essence of these locations. The
ever-changing and magical qualities of light and the delicate hues of the sea
fascinate me and influence my art. My palette is filled with the subtle
blues, violets and greens of the ocean and its surrounding light. These
colors, as well as the elements and atmosphere which are expressed in my artwork,
are constant and timeless. It is my hope that my paintings will invite
the viewer to feel the mist of a rocky coastline, see a glint of sunlight and
to enter into a peaceful retreat - and be briefly transported to the places of
my inspiration.
web site: http://nancyfabrizio.blogspot.com
Galia Gluckman
I am driven by exploring the endless possibilities
of form found in natural landscape. My extensive international
travels have influenced my perception of life. The English countryside, African game reserves, deserts in Egypt, Jerusalem, Greece
and the Amalfi coast of Italy. Specifically, I am biased to the
landscapes of South Africa, the Cape’s breathtaking coastline and countless Safari expeditions
as a child.
Inspiration comes from the complexities and
intricate shapes found in natural landscapes. I am fascinated by
the repetitive patterns found in nature - the endless variety of
forms. Pattern, whether in nature or art, relies upon three characteristics:
a unit, repetition, and a system of organization. I question how
these regular and irregular patterns develop and what sorts of
rules and guidelines shape the patterns in the world around us.
It seems as if order often arises spontaneously from disorder,
and that patterns can emerge through a process of self organization.
Many irregular patterns are not simply random; they often display
an underlying structure.
Color is important in my art to expose the harmonious mood and
lighting of the world that exists in my imagination. This is the
language I use to communicate the splendor I see. By using colored
paper, I am able to achieve complex and intricate color combinations
through layering, which would not be possible with tile or glass.
I developed a unique recycling technique
of using layered magazine and painted paper which I cut into mosaic
like forms and paste onto hardboard. Although I work quite deliberately,
and consciously, the repetitive cutting and pasting frees my imagination
and provides many opportunities for natural progression and movement
in the finished product. Once complete, I seal the artwork with
several layers of sealer. The intensity of color is permanently
preserved this way and gives the artwork durability.
website: www.galiagluckman.com
Janese Hexon
Through the
vision of art, moments in our lives can become foremost and clear. My
intent with my sculpture is to momentarily magnify a common emotion. Feelings
frozen in time, experienced by the viewer as a participant, bringing their own
thoughts and interpretation to the work, the art becomes successful and valued. The
language of art needs to communicate, touch, and evoke a connection to the viewer. I
believe universal feelings and thoughts must be accessible and clearly expressed
for the work to become intimate and meaningful to the viewer. Using the
human form in its elegance best expresses my inspirations rooted in emotion and
beauty.
emal:: hexonstudios@aol.com
Monica Iancu
As a visual
artist, working within the process of drawing, Monica Iancu hopes
to “stimulate
the tactility, subtlety and infinite breath of the natural world.” Her
pieces are often made up of subtle hand-made drawn, printed or assembled materials.
She overlaps and transforms spaces, to achieve a synthesis of both abstract and
natural patterns using forms within the landscape some of which reference
mountains, glaciers, and deserts. Her objective is to maintain an increasing
awareness of process and history as it relates to and transforms the drawn and
the lived experience.
website: www.miancu.blogspot.com
Gray Lyons
My photographs
are a method by which I examine the incidence and repercussions
of trauma, and the ways in which recovery is attempted. I use my
body as an instrument of this exploration. I am interested in the
physical, psychological, and emotional aftereffects of trauma,
and the various coping behaviors adopted by survivors in service
of their recovery. I stage reenactments in an effort to reclaim
the body, as survivors reenact traumas to reclaim the mind. It is my hope, and
the goal of my artistic striving, that through a thorough examination of the
narrative of trauma as visited on the body I may achieve a fuller understanding
of it's effects on human lives
email: houseonfire.gray@gmail.com
Valerie Marousek
Art,
for me, should convey a life beyond what is visible. My focus
is the consciousness of the human body, or more importantly the
life-force behind it. I’m
striving to convey a body’s energy, even when at rest, through abstracting
and blurring together shapes. Much like my influence of Abstraction Expressionism
I allow the medium a movement of its own to bleed and spread, I simply control
the placement.
"Gentle Midas" is a work in a series of paintings in which I have explored
the emotion and vibrancy of colors as they relate to the body. The addition
of Gold Leafing in this painting provides an insight into what “Midas” might
mean. Transforming to gold suggests that the body itself is becoming an
object. What’s left of Midas is felt through the intensity of the
color surrounding him and the raw emotion that can only be seen by its abstraction.
Margaret McCarthy
Inspired
and indebted to mythology, photographer Margaret McCarthy brings
the eye of a poet to her photography. Neo-romantic in style, her
work is inspired by the archetypes of myth and dream.
"I want to reach the viewer on an intuitive level, with photographs that
are visually, psychologically and spiritually compelling,” she says. “My
goal is to make images that bridge past and future, inner and outer worlds, art
and commerce. My philosophy: Beauty in an ugly age is
revolutionary."
Her techniques have included working with B&W infrared film, using images
in sequences, and collage in order to create a sense of “otherworldliness” and
a mystical vision of the human imagination. Her landscapes capture a sense of
the immanent divinity of the natural world, and its fecund creativity.
A graduate of New York City’s School of Visual Arts, McCarthy has
exhibited her photographs extensively, including the Fogg Art Museum, The Overseas
Press Club and The Hudson River Museum, as well as numerous galleries, universities
and public exhibition spaces. Her work has appeared in journals, publications
and books, including Writing on Water (MIT Press) PARABOLA
Magazine, In Praise of the Muse: Women Artists Datebook, and Combinations
A Journal of Photography. Her work was the subject of an Adams-Russell
Cable TV documentary, Margaret McCarthy Photographs Ireland. The
National Tourist Office of Spain, The Irish Tourist Board, The Council on International
Education Exchange (CIEE) and The Agean Institute have supported her independent
photographic projects all over the world.
website: www.margaretmccarthy.com
Judith Olsson
As a photo
artist I am fascinated by the many ways a scene or object can be
manipulated with a camera. I have explored the use of color, contrast,
lighting, composition, and perspective, to convey my point of view.
My image is a moment captured not only as I saw it, but also as
I want to reveal that moment to others. My latest works are composed
of two individual photographs, layered one atop the other with
varying opacities. The second image provides texture, depth, and
interest to the underlying image. This technique was born of a
desire to add complexity and to bring more of my own thoughts and
feeling into the work.
website: www.judyolsonphotography.com
Norma Salgueiro
Painting
is for me as if an energy force from the Universe takes over my
hands, my mind, my soul and transports me to a place where I start
creating my paintings.
My works are the pure expression of myself with colors that empower
and bring each painting to life in a special and unique composition
As an impressionist I give form to either landscapes or still life
by mixing and applying colors on the canvas, copying from photographs,
working from life or painting from my imagination, I like to start
and finish my paintings in one or two session (al fresco) so they
look spontaneous.
I find in painting the happiness to enjoy life to the utmost.
website: www.normasalgueiro.net
Nena St. Louis
Every thing
is good, bad, beautiful & ugly all at the same time. This is
true for precious things and the way we feel about them. It
is good to have a precious thing; it is bad to lose it or even
just to fear losing it; it is beautiful to have a precious thing
to look at and to share; it is ugly to be jealous or covetous or
selfish about a precious thing, and to act on those ugly feelings.
I offer these precious things, which I hope embody both the beauty
and horror of preciousness. Nena St. Louis © 2007
website: www.nenastlouis.com
David Stutzner
I am attracted
to spatial relationships which feature
floating forms that are not earth bound – with forms, lines
and colors
that drift through the air. Images expand beyond the borders or
imply
that they are selected views of larger wholes. A prominent central
theme, usually characteristic in my work, can be large in scale
and
shaped to interact with subordinate but supportive themes. Each
form has
its unique individuality and personality, but is tethered to the
commonality of the whole.
My compositions emphasize the harmony of color, line, form and
blended
tonality as opposed to the dissonance of competing elements. I
want
these compositions to be “beautiful”, i.e., works which
stimulate
aesthetic pleasure. I always think of my work in terms of musical
melodies so that the composition of color and form unfolds like
a melody
in an image that retains a melodic identity.
website: www.wvi.com/~stuntzga/
Iza Szczepinska
I work
in a variety of mediums: charcoal, pastel, pencil, red chalk, etching,
silkscreen. But whether I paint, draw or print it all begins
with a drawing. It’s my key to the secret garden of
nature, human body and soul. A play of lights and darks, day and
night, black mark on white paper. A subtle play of different
tones of colors transforming into shapes.
I always work from observation.
First I develop my ideas through a series of sketches, and then
draw the chosen composition directly on paper using charcoal or
pastels. I begin drawing the thin layers of darks then gradually
build up subsequent layers of tones until I achieve desired contrast
between lights and shadows. Dry mediums give me freedom
of a wide, loose gesture and allow me to define forms using different values
of tonal drawing.
website: www.izasz.com
Beata Szpurza
Flowers
are quite traditional subject matter. I enjoy painting flowers,
and Woodside gardens in my neighborhood provides me with exquisite
floral specimens to paint from. I have done it for many years using
watercolor and oils. Trying to portray flowers digitally is a new
venture for me, but I am excited. I want to capture energy and
vibrancy of blooming magnolias (which grow right next door) and
show them in a differnt, more contemporary way.
website: www.bszpura.com
Caroline Sun
I paint animals
as I see them in my dreams—capturing them in a fleeting
moment of their lives. I paint directly from these images rather than from
photographs or from life. My animals begin as a feeling and I use vibrant
acrylic colors to express my excitement and awe. My animals’ body postures
and eye contact enable them to “tell” their particular stories using
a blend of the realistic and the whimsical. I want the viewer to first
feel the immediacy of the moment before them, and then try to figure out what
is going on.
As a child, I devoured everything I could about animals: television documentaries,
fact books, and especially fiction. I am drawn to animals’ individual
lives, both real and imagined. As my animals make dangerous journeys, find
mates, play with siblings, and fend off attacks from predators, I want my viewers
to share in my animals’ feelings of surprise, delight, or pain.
website: http://home.att.net/~csun
Linda Marie Wilson
I am
compelled to create. I must take moments of time, bits and
pieces of things, places and people and steal them away into my
imagery. I do
this because I must; it is my freedom, my joy, my purpose.
Within my artistic pursuits, identity is deliberately used as my main resource. My
photographs are about conflicts within and acceptance of identity and its continual
evolution, strengthened by struggle, fear, desire, and aspiration. The transformation
of who I am, who I was, and who I am becoming make up the tangled paths of the
journey. I photograph what I cannot verbally articulate. To photograph
oneself is to explore, to search for satisfaction, and an attempt to remove facades
in order to reveal some truth and achieve resolution.
The experience of life and the aggression of time transforms and defines. All
beings have struggles, trials, and challenges and in these endeavors beauty and
wisdom is gained. It is the realm of psychological, physical, and emotional
metamorphosis. This is what I strive to represent: a cycle endured by all, one
that makes up the innards of identity both in grotesquerie and complexity.
email: linda_marie_wilson@hotmail.com
Shelly Adler, Anna Aizic, Frida Bieber, Jessica Burke, Edith DeChiara, Judith DeZanger, Gayle Dorsky
Nancy Fabrizio, Galia Gluckman, Janese Hexon, Monica Iancu, Gray Lyons, Valerie Marousek,
Margaret McCarthy, Judy Olson, Norma Salgueiro, Nena St. Louis, David Stutzner, Iza Szczepinska,
Beata Szpurza, Caroline Sun, Linda Marie Wilson
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