Marguerita Hagan
Frustule Flower, Micro Grow Series
2014
ceramic
6.75 x 7.25 x 4.25"

Artist Statement:

What does light talk about? I asked a plant that once.
It said, 'I am not sure, but it makes me grow'
- Thomas Aquinas, 1225 - 1274

Oak trees know. Their roots graft into one flesh so they may share mutual sustenance, benefiting the community as a whole. When one tree is in need, the healthy ones direct their energy in support. This goes brilliantly macro with fungi, the underpins of the terrestrial realm. Their fiber optic-like mycelium likening a high speed internet connects life in the subterranean. Micro-marine organisms connect in exquisite mutually beneficial systems or colonies in the ocean and provide over 50% of all oxygen for the planet. Rich diversity and reciprocal sharing fuel thriving communities and environments. This light-giving flow has enabled all life to thrive for eons.

Inherent potential realized moves everything, even light itself.
It certainly moves me. My work is a response to this light. The interdependent forms and projects grow in a continuous heliotropic adventure, energized with every opportunity and connection.

Artist Bio:

Marguerita Hagan is a ceramic sculptor based in Philadelphia and an activist for the thriving of all life in mutually sustainable communities and environments. The concept of interdependence plays throughout her sculpture, teaching and community arts.

Throughout her career, Hagan has brought to light the beauty and engineering of our planet's diverse ecosystems and our powerful role as stewards. The intricate ceramic shines light on the wonder and respect for the fragile, diverse life with which our lives are intrinsically linked. Hagan's practice is an ongoing discovery, magnifying our awareness, reciprocal responsibility and protection of each other and our planet.

She received her MFA is from Pennsylvania Academy of the Fine Arts and her BFA in Ceramics at James Madison University. Her projects include collaborations with artists, scientists and community, environmental art-science residencies, lectures. Her work is in collections and exhibits nationally and internationally.

Deanna McLaughlin
The Grass Is Greener On The Other Side
2017
Found & Manipulated Shopping cart.
Reversible upholstery/artificial grass orthopedic cushion.
Found lamp guard for champagne bottle holder.
47 x 32.75 x 56"

Artist Statement:
Deanna McLaughlin's artwork is not bound to one type of material or technique. She derives pleasure through the design challenge. Her sculptural work has been developed from found objects, metal, epoxy resin, fabric, wood, and other objects that inspire new design ideas. Mostly she loves to consider how to connect irony in a quirky, fun, and playful way. Problem-solving how to manipulate a single object in multiple ways underscores my love of design and out-of-the-box way of looking at the world from many perspectives.

Artist Bio:
Deanna has won numerous awards for her artwork and has been granted residency and exhibition opportunities nationally and internationally. Her work is in permanent collections in Museums, Universities, and private collections. She has exhibited in The Philadelphia International Airport, CraftNow, Craftforms International exhibit, Design Philadelphia, "Spring Break" in New York City and others. An insatiable thirst to learn new skills while working with a variety of media sustains her never-ending inspiration to create. Experiencing people from other places and cultures has greatly influenced her approach to looking at life with an ever-fresh perspective. Academic achievements include M.A./M.A.T., University of The Arts. B.S. Art Therapy, Cognate: Psychology, Bowling Green State University. She is also an ERYT500 yoga educator &qi gong teacher.

Emily Selvin
Janus as A Female
2024
cast glass
7 x 5 x 4"
1 of 2

Artist Statement:
Embracing Femininity: A Perspective on the Timeless Figure of Janus in Glass Art.
This cast glass sculpture delves into how the ancient Roman deity Janus symbolizes the dual aspects of the female experience. Janus is historically depicted with two male faces looking in opposite directions, which serves as a metaphor for the complexities women often face, such as balancing strength and tenderness, independence and community, past and future.
This ancient method of lost wax casting allows for a remarkable level of detail and texture-perfect for articulating the nuances of feminine identity. Carving the wax, casting the glass, and unveiling the finished piece serve as a metaphor for the passage of time and the transformation of self.
Approximately 30 hours are spent carving the wax for this sculpture, followed by four days of firing in the kiln and about 6 hours of cleaning the glass after it comes out of the kiln.

Artist Bio:
Emily Selvin has devoted her life to the arts. She studied Geo-Textile Engineering and Textile Design at the Philadelphia College of Textiles and Science. Following her studies in the sciences, she continued her education at the Pennsylvania Academy of the Fine Arts, studying printmaking and classical painting, and completed prize-winning explorations of mixed media. Since 1997, Emily has operated Selvin Glass, a full-service leaded glass restoration and commission-based architectural glass studio. Designers and architects have sought her work and restoration services internationally. Her sculptural work focuses on nature vs. nurture, using objects she finds in nature and combining them with toys often played with by children. Emily uses glass to illustrate the fragility of life, the often deleterious impacts of adult humans towards our ecosystems, and the memories of the innocence of youth. Her illustrative works focus on the life cycle, specifically how we face death and global gender issues and how they impact all women. In her spare time, Emily makes puppets and marionettes, shoots street photography, and embroiders from her photographic imagery using the finest silk threads she can find.

Gianni Lee
Skeletal Sculpture Version 1, 2022
Vinyl sculpture
12 x 2 x 9"
Edition 1/12

Artist Statement

*Skeletal Sculpture V1* is a three-dimensional embodiment of my signature themes: mortality, resilience, and identity. This limited-edition 12-inch work features a winged skeletal warrior rendered in pink and black, outfitted with eclectic armor - including a flowing red scarf and an oversized sword - all characteristics drawn from my visual lexicon developed on city walls. The figure's exposed bones confront the viewer with the reality of mortality, while its defiant stance (wings outstretched and weapon in hand) evokes a sense of resilience in the face of adversity. By stripping the human form down to its skeletal essence, I explore identity beyond surface differences: the skeleton becomes a universal avatar, a reminder that beneath the skin, we share a common framework even as we each imbue it with our own personal and cultural narrative.

My skeletal motifs draw inspiration from humanity's earliest storytelling imagery - the pictorial languages of ancient hieroglyphics and cave drawings. I regard these recurring skeleton figures as my form of hieroglyphs, a multilayered symbolic language through which I communicate personal and cultural narratives. Over the years, armies of these colorful skeletons have populated my murals and paintings, often dancing across city facades in unified formations. With *Skeletal Sculpture V1*, I translate that motif from mural to sculpture, bringing the archetype into tangible form. This shift from wall to three-dimensional space marks a new chapter for my *Skeletal Warriors* - one that honors their origins in street art even as it reimagines them as intimate objects that a viewer can physically hold and inspect. In this sculptural incarnation, the skeleton figure becomes an object of contemplation, inviting the audience to engage with it up close and from all angles, as both an art toy and a totem of the ideas it represents.

Artist Bio

Gianni Lee is a multidisciplinary artist whose work interrogates themes of identity, resilience, history, and technology across fine art, music, and fashion. Based between New York and Philadelphia, Lee creates paintings, murals, sculptures, and sonic landscapes that merge personal narrative with broader cultural commentary. His practice is deeply rooted in Afrofuturism, using speculative world-building to envision alternate realities for Black existence. Through this lens, his work challenges viewers to reconsider contemporary social dynamics while celebrating the endurance and innovation of marginalized communities.

Lee's signature skeleton figures have become a defining visual emblem of his storytelling. Inspired by ancient African hieroglyphics and cave drawings, these skeletal characters serve as modern-day visual hieroglyphs-symbols that communicate cultural resilience, historical erasure, and the complexities of identity. Whether appearing in large-scale murals or detailed paintings, these figures navigate Lee's dystopian yet hopeful landscapes, often portrayed as warriors or spectral messengers. Their presence speaks to survival, transformation, and the ongoing dialogue between the past and the future.

Michael Biello
Orange Buddha
Clay, metal, wood, paint, stain, gold leaf
5 x 5 x 9"

Michael Biello's work will be in the "In the Soft Light" exhibition in the InLiquid Galley April 11 - June 1, 2025

Check out Michael Biello's additional works in the shop.

Artist Bio

Michael Biello is an interdisciplinary artist who draws inspiration from his Italian American roots, his passion for theatre, his longtime commitment to LGBTQ+ cultural activism, and his belief in the healing power of art. Biello is one of the artisan/makers who helped create the revivals of Old City Philadelphia in the 1970's and Noho New York in the 1990's. Biello's work has been exhibited internationally and is in numerous private collections including many in the entertainment industry. In addition to his work in visual art, Biello has a long history as a performance artist and lyricist in collaboration with his life-partner, composer Dan Martin.

Darla Jackson
PROBABILITY // staring at the sun, 2022
Fired clay, model sunflowers and corn, acrylic paint
2 x 10 x 2"

Artist Statement

Staring at the Sun is a series of ten pieces about overthinking the divide that seems to touch everyone's emotions these days. While we are excited to go back to "normal," we are still trying to figure out how to exist in this world, trying to make a lasting change if we can, and still processing all that has happened. We are looking for clear answers and just not finding any.

As I do, I fumbled my way through my thoughts and emotions, trying to capture that universal uncertainty. I attached these thoughts to "Staring at the Sun", a song by Tv on the Radio. The chaos the words stir up felt fitting. There aren't any answers here, only more questions.

Artist Bio
Darla Jackson (b. 1981) is a sculptor living in Philadelphia. She received a BFA in Sculpture from Moore College of Art in 2003 and, after receiving a John S. and James L. Knight Arts Challenge Grant in 2011 and 2013, founded the Philadelphia Sculpture Gym, a membership-based community sculpture studio.

Her work has been shown in numerous exhibitions locally and across the country. She has shown internationally in Belgium and Germany and has lectured about her work at venues including The Barnes Foundation. Jackson has taught sculpture at Pennsylvania Academy of the Fine Arts, Tyler School of Art, Fleisher Art Memorial, and various workshops across the country.

Jackson is currently a Medallic Artist for the United States Mint in Philadelphia, PA.

CP Lighting
newGROWTH Floor Lamp, 2022
Aluminum, paint, electric light, linen shade
72 x 22 x 22"

Artist Statement
Poehlmann designs and fabricates each newGROWTH light fixture as if a tree's DNA was predetermined to grow into a light fixture. Functional art has always been his priority, infusing sculptural intent with his objects of everyday use.

Artist Bio
Christopher Poehlmann has been designing and fabricating custom light fixtures for his company CP Lighitng since 1990. His newGROWTH fixture series launched twenty years ago was on the forefront of Modern Rustic style. This work has been widely published and has influenced countless other designers across the globe. Poehlmann's work can be seen in residential, commercial and hospitality interiors (and sometimes exteriors) across the country and internationally.

Marilyn Arnold Palley
Tome 3165 AmSVOx, 2004
Amber, silver, vermeil, onyx, leather
9 x 2.25 x .75"

See this work in person in the InLiquid Gallery.

Artist Statement
"My Totems are an incantation of the shards of history.

This realization struck me as I wandered the ruins of Rome last year, standing amidst the columns of ancient marble and broken stone. The aura of past generations is manifest as well in the millennia-old amber, turquoise, jade, fossil, coal, stone, shell and biblical Hebron glass that I use in my work. Believed by ancient cultures to have inherent magical properties, these gems and stones are, to me, an exciting medium on which to expand my three decades of work creating fibre and woven sculptural art.

I believe adornment for the human body should be unique, natural, and androgynous. Each piece I create has a 'spiritual DNA', like the inimitable DNA of the people who choose to wear them. There is a particular Totem for each of us in my collection, a Totem where the form, texture, and color create a relationship with the wearer, defining the wearer's whole body as a work of sculpture."

Linda Celestian
Natural Phenomena, 2024
Polyester organza, spray paint
30" x 40" x 5"

Artist Statement

I am fascinated by the energy, forms, and colors found in nature.
My sculptures highlight aspects of nature's beauty that may be overlooked. Small details are pulled from intimate studies of natural formations and specimen collections.

Artist Bio

Linda Celestian attended Moore College of Art and Design in Philadelphia, receiving a BFA in Fashion Design in 1987. After a 5th-year study program in fine arts also at Moore, she entered the workforce as a designer. Learning how to design prints and hand-knit sweaters and the ins and outs of Chinese manufacturing was a fun challenge. After 3 years of keeping up with the fast pace of the fashion world, she found herself burnt out and ready to explore self-expression.
She creates forms small and large that describe the natural world she loves to explore and document. She sees her work as bringing to light aspects of nature's beauty that may be overlooked. This is evident in her works that resemble coral reefs, ocean waves, and fungus growths.

Kathran Siegel
Snapper, 2024-2025
Acrylic paint on wood
19" x 16" x 4"

Artist Statement

One in a series of works inspired by Asian fans. Mixing 2 and 3 dimensional vocabularies within a culturally familiar format. I saw in these a shaped, uniformly undulating shape against a more dimensional handle.

Artist Bio

Born and raised in New York City, Kathran Siegel attended Bennington College, where she studied painting with Jules Olitsky and Paul Feeley, sculpture with Anthony Caro and David Smith, and printmaking with Vincent Longo. She worked towards an M.F.A. at the University of New Mexico, but at the invitation of Newton Harrison and Paul Brach, (shadow wives: Helen Harrison and Miriam Shapiro) stopped her studies to help develop the program for a new art department at the University of California at San Diego.

While working on an MEd., Siegel took a woodworking class, which led her into 25 years of making studio furniture and other carved and turned objects. Until her retirement from teaching in 2011, she combined her studio practice with teaching art in Florida and in and around Philadelphia, where she currently lives. Her work is in several regional museum and public art collections. She was awarded an NEA Ventures Grant and later an Andy Warhol Foundation Grant. She has published a monograph on the artist, Mildred Thompson, as well as articles on the arts and arts education. Siegel is currently a member of Muse Gallery in Philadelphia.

Kathleen Studebaker
Fragment, 2023
Cast iron, steel, brass, aluminum, walnut
6.5" x 6" x 6"

Artist Statement

This piece is a fragment of some unknown history; just a left-over piece of mysterious, broken machinery. I have a thing for mechanical objects, and for gears in particular. I find gears to be beautiful, but also meaningful: they are powerful symbols of purpose and potential. Sometimes the pieces I create tell a story; more often, as with this piece, they exist inside the context of one. While the story of this object is not clear, it is my hope that the viewer will consider its details and form, and imagine what its life may have been.

Artist Bio

Kathleen Studebaker is a multi-media sculptor focusing on wood, metal, cast plastic and a variety of other materials. She is a fabricator and all-around tinkerer, and has developed her broad knowledge-base of material processes through work in many different shops (from all-glass furniture and elaborate corporate trophies, to traditional wood working and academia). She has a great love of detailed fabrication and problem-solving, and makes every element of each of her works by hand (no CNC machines, lasers, etc). Her work often references the far-flung future, or perhaps alternate realities, and is inspired by astronomy, narrative fantasy, and the intersection of digital technology with mechanical function. She earned her MFA in sculpture from Southern Illinois University in Carbondale, IL in 2013, and is currently working as a studio artist based in Philadelphia, PA.

Cimone Kind Berman aka Argent Mirror
Orbital Explosion, 2024
handmade mirror
24" diameter

About the work

My art is a fusion of time-honored craftsmanship and transformative alchemy. The exhibited works unite the old-school method of silvering mirrors with my own experimentation. Each mirror tells a unique story, blending history, craft, and artistic vision, inviting observers to glimpse both their own reflection and the enchanting metamorphosis of existence itself.

This series draws inspiration from nature, entwining the rhythms of ocean tides and lunar phases with my practice. By infusing the essence of alchemy into my work, I transmute clear glass into ethereal portals. These mirrors become vessels where copper, silver, and gold meld together, embodying the intrinsic beauty of the elements.

I repurpose vintage glass as often as possible. Infusing vitality into forgotten fragments, I honor their history and reimagine their purpose. In giving new life to discards, I advocate for sustainability and the beauty of honoring the past while embracing the potential of the future. Each mirror becomes a harmonious blend of heritage, artisanship, and reinvention. Within my creative process, I honor the connection between the Earth, moon, and the essence of art, drawing inspiration from the natural rhythms that guide my work

Bio
Cimone Kind Berman, the self-taught visionary behind Argent Mirror, merges artistry with sustainability, specializing in crafting custom antique mirrors and fine art from repurposed glass. With a creative journey spanning over six and a half years, Berman has perfected a signature patina method adaptable across diverse artistic expressions.

As an entrepreneur, wife, and mother to twin daughters, Berman champions the belief that determination and hard work pave the path to limitless possibilities. This ethos is reflected in her artistic endeavors and life pursuits.

Argent, meaning silver in French, began as a collaboration with parent glass and mirror company, Philadelphia native Gordon & Sons. Berman's art installations range in size from jewelry, to enormous walls of mirrors. After years in the industry, she has decorated the interiors of award-winning restaurants, luxe personal homes, and gallery-based art exhibitions.

With an unwavering commitment to sustainability, Berman's art not only embodies exquisite craftsmanship but also encapsulates a narrative of possibility, determination, and the beauty of repurposing materials to create timeless works of art.

You can see Cimone's work in the exhibition "hearth, frame, foundation" at Park Towne Place

Terri Saulin
All The Things You are (I), 2024
Porcelain, luster glazes.

4.5 x 3 x 3

Artist Statement

In the "Shaker" spirit, I imagine a tiny wasp-worker making imaginary homes for important collections of most special memories. Saulin's process begins with cartography. The drawings and sculptures created are a visual "counterpoint" The layered information, produces an imagined, time-lapse view of a world. Inspired by the landscape of her urban garden, drawings become maps that document plant life,
fleeting shadows, secreted places where mantis eggs were found, caterpillars ate, and dragonflies landed. They map the cold feeling felt in between the discs of her spine as she lay on her back on a freezing night watching a Perseid Meteor shower.

Intricate ceramic constructions are three-dimensional memory maps. They are invisible cities, liminal urban planning, and love letters to treasured and influential authors, artists, musicians, friends, and family members. A mise en place of ingredients float between surface decoration and building blocks. They are carrots, onions and celery and they are meditations on the thousands of loops her mother made while crocheting piles of blankets, wondering what thoughts may have passed under the weight of each accumulated stitch.

Artist Bio

Terri Saulin received her MFA from the University of the Arts and her BFA from Moore College of Art and Design. She is a long time member and press coordinator for Tiger Strikes Asteroid, Philadelphia and a Member/Supporter of The Clay Studio, CFEVA and In liquid Gallery, Philadelphia. She currently teaches a variety of Studio Art courses at The Agnes Irwin School, in Rosemont, PA. Terri is the owner of No. 5 Butchie Alley. No. 5 Butchie Alley is an outgrowth of Terri's studio. The space is secretly tucked away on a small easement in South Philly and opens into a garden of inspiration.

Donated By The Artist

Terri Saulin
All The Things You Are II, 2024
Porcelain, luster glazes.

4.5 x 3 x 3

Artist Statement

In the "Shaker" spirit, I imagine a tiny wasp-worker making imaginary homes for important collections of most special memories. Saulin's process begins with cartography. The drawings and sculptures created are a visual "counterpoint" The layered information, produces an imagined, time-lapse view of a world. Inspired by the landscape of her urban garden, drawings become maps that document plant life,
fleeting shadows, secreted places where mantis eggs were found, caterpillars ate, and dragonflies landed. They map the cold feeling felt in between the discs of her spine as she lay on her back on a freezing night watching a Perseid Meteor shower.

Intricate ceramic constructions are three-dimensional memory maps. They are invisible cities, liminal urban planning, and love letters to treasured and influential authors, artists, musicians, friends, and family members. A mise en place of ingredients float between surface decoration and building blocks. They are carrots, onions and celery and they are meditations on the thousands of loops her mother made while crocheting piles of blankets, wondering what thoughts may have passed under the weight of each accumulated stitch.

Artist Bio

Terri Saulin received her MFA from the University of the Arts and her BFA from Moore College of Art and Design. She is a long time member and press coordinator for Tiger Strikes Asteroid, Philadelphia and a Member/Supporter of The Clay Studio, CFEVA and In liquid Gallery, Philadelphia. She currently teaches a variety of Studio Art courses at The Agnes Irwin School, in Rosemont, PA. Terri is the owner of No. 5 Butchie Alley. No. 5 Butchie Alley is an outgrowth of Terri's studio. The space is secretly tucked away on a small easement in South Philly and opens into a garden of inspiration.

Carrie R Crudd
0011 Red-Pink-Pot

Made from Aqua-Resin, a water-based, non-toxic, sculpting resin. Green-sustainable.
For decorative or functional use; heat and water-resistant. Please handle with care! This is a functional artwork. You may rinse gently with water, or dust lightly with a paintbrush. The piece is supported by an internal wire structure/skeleton.
12" x 14" x 13"

Donated By The Artist

Carrie R Crudd
0007 Midnight Garden Mirror
Aquaresin, acrylic, mirror, wire
Material: Made from Aqua-Resin, a water-based, non-toxic, sculpting resin. Green-sustainable.
Use & Care: For decorative or functional use; heat and water-resistant. Please handle with care! This is a functional artwork. You may rinse gently with water, or dust lightly with a paintbrush. The piece is supported by an internal wire structure/skeleton.
Durability: Pots have shipped from Philadelphia to California and Switzerland successfully!
15" x 15" x 6"

Donated By The Artist

Aerisbotanica
Datura Branch
Cast bronze

Artist Statement

Aerisbotanica designs and hand makes beautiful cast bronze vessels and botanicals for the luxury home dÃÆ'Ã'©cor accessories and gift market.

We use the lost wax process to create our work. This process, also known as investment casting, is an ancient and intricate method of sculptural and artistic metal casting. The technique involves creating a detailed wax model, which is then encased in a mold. The mold is heated to melt and remove the wax (lost wax), leaving a hollow space in the shape of the original form. Molten bronze is then poured into the hollow mold, filling the space left by the wax. Once the metal solidifies, the mold is broken, revealing the cast metal object. This process allows for exceptional detail and precision, making it an excellent method for producing intricate and finely crafted bronze botanicals and decorative vessels.

Artist Bio

Chris Collins, an accomplished sculptor, leads the creation of our work. He holds an MFA in sculpture, with a specialization in metal casting. He has over 20 years professional experience in all aspects of sculpture production, including holding leadership roles in major art foundries. He is also an educator, teaching this process at the university level, and in private workshops.

Jennifer Joseph, the lead designer, is an accomplished artist, with over 30 years' experience in various types of design, organization and creative entrepreneurship.

Life and creative partners since 2008, both Chris and Jennifer maintain artistic practices, and their work has been shown and collected nationally and internationally.

Donated By Woodmere Art Museum

Aerisbotanica
Devils Claw
Cast bronze

Artist Statement

Aerisbotanica designs and hand makes beautiful cast bronze vessels and botanicals for the luxury home dÃÆ'Ã'©cor accessories and gift market.

We use the lost wax process to create our work. This process, also known as investment casting, is an ancient and intricate method of sculptural and artistic metal casting. The technique involves creating a detailed wax model, which is then encased in a mold. The mold is heated to melt and remove the wax (lost wax), leaving a hollow space in the shape of the original form. Molten bronze is then poured into the hollow mold, filling the space left by the wax. Once the metal solidifies, the mold is broken, revealing the cast metal object. This process allows for exceptional detail and precision, making it an excellent method for producing intricate and finely crafted bronze botanicals and decorative vessels.

Artist Bio

Chris Collins, an accomplished sculptor, leads the creation of our work. He holds an MFA in sculpture, with a specialization in metal casting. He has over 20 years professional experience in all aspects of sculpture production, including holding leadership roles in major art foundries. He is also an educator, teaching this process at the university level, and in private workshops.

Jennifer Joseph, the lead designer, is an accomplished artist, with over 30 years' experience in various types of design, organization and creative entrepreneurship.

Life and creative partners since 2008, both Chris and Jennifer maintain artistic practices, and their work has been shown and collected nationally and internationally.

Donated By Woodmere Art Museum

Aerisbotanica
Sycamore Ball
Cast Bronze

Artist Statement

Aerisbotanica designs and hand makes beautiful cast bronze vessels and botanicals for the luxury home dÃÆ'Ã'©cor accessories and gift market.

We use the lost wax process to create our work. This process, also known as investment casting, is an ancient and intricate method of sculptural and artistic metal casting. The technique involves creating a detailed wax model, which is then encased in a mold. The mold is heated to melt and remove the wax (lost wax), leaving a hollow space in the shape of the original form. Molten bronze is then poured into the hollow mold, filling the space left by the wax. Once the metal solidifies, the mold is broken, revealing the cast metal object. This process allows for exceptional detail and precision, making it an excellent method for producing intricate and finely crafted bronze botanicals and decorative vessels.

Artist Bio

Chris Collins, an accomplished sculptor, leads the creation of our work. He holds an MFA in sculpture, with a specialization in metal casting. He has over 20 years professional experience in all aspects of sculpture production, including holding leadership roles in major art foundries. He is also an educator, teaching this process at the university level, and in private workshops.

Jennifer Joseph, the lead designer, is an accomplished artist, with over 30 years' experience in various types of design, organization and creative entrepreneurship.

Life and creative partners since 2008, both Chris and Jennifer maintain artistic practices, and their work has been shown and collected nationally and internationally.

Donated By Woodmere Art Gallery

Aerisbotanica
Artichoke Pod
Cast bronze

Artist Statement

Aerisbotanica designs and hand makes beautiful cast bronze vessels and botanicals for the luxury home dÃÆ'Ã'©cor accessories and gift market.

We use the lost wax process to create our work. This process, also known as investment casting, is an ancient and intricate method of sculptural and artistic metal casting. The technique involves creating a detailed wax model, which is then encased in a mold. The mold is heated to melt and remove the wax (lost wax), leaving a hollow space in the shape of the original form. Molten bronze is then poured into the hollow mold, filling the space left by the wax. Once the metal solidifies, the mold is broken, revealing the cast metal object. This process allows for exceptional detail and precision, making it an excellent method for producing intricate and finely crafted bronze botanicals and decorative vessels.

Artist Bio

Chris Collins, an accomplished sculptor, leads the creation of our work. He holds an MFA in sculpture, with a specialization in metal casting. He has over 20 years professional experience in all aspects of sculpture production, including holding leadership roles in major art foundries. He is also an educator, teaching this process at the university level, and in private workshops.

Jennifer Joseph, the lead designer, is an accomplished artist, with over 30 years' experience in various types of design, organization and creative entrepreneurship.

Life and creative partners since 2008, both Chris and Jennifer maintain artistic practices, and their work has been shown and collected nationally and internationally.

Donated By Woodmere Art Gallery

Aerisbotanica
Poppy Pod
Cast bronze

*ONE Cast Bronze Poppy Pod

Artist Statement

Aerisbotanica designs and hand makes beautiful cast bronze vessels and botanicals for the luxury home dÃÆ'Ã'©cor accessories and gift market.

We use the lost wax process to create our work. This process, also known as investment casting, is an ancient and intricate method of sculptural and artistic metal casting. The technique involves creating a detailed wax model, which is then encased in a mold. The mold is heated to melt and remove the wax (lost wax), leaving a hollow space in the shape of the original form. Molten bronze is then poured into the hollow mold, filling the space left by the wax. Once the metal solidifies, the mold is broken, revealing the cast metal object. This process allows for exceptional detail and precision, making it an excellent method for producing intricate and finely crafted bronze botanicals and decorative vessels.

Artist Bio

Chris Collins, an accomplished sculptor, leads the creation of our work. He holds an MFA in sculpture, with a specialization in metal casting. He has over 20 years professional experience in all aspects of sculpture production, including holding leadership roles in major art foundries. He is also an educator, teaching this process at the university level, and in private workshops.

Jennifer Joseph, the lead designer, is an accomplished artist, with over 30 years' experience in various types of design, organization and creative entrepreneurship.

Life and creative partners since 2008, both Chris and Jennifer maintain artistic practices, and their work has been shown and collected nationally and internationally.

Donated by Woodmere Art Gallery

Nate Willever
Square Box, 2024
Stoneware, white slip, clear hlaxe reduction fired cone 8

Artist Bio

Nathan Willever was raised in Portsmouth, New Hampshire. He holds a Bachelor of Fine Arts in Ceramics from Maine College of Art.

His functional pottery made from local materials have been featured in numerous national exhibitions and publications such as Ceramics Monthly, Pottery Making Illustrated and Clay Times. In 2019 he was selected to be a Ceramics Monthly Emerging Artist.

His work has been shown nationally at galleries including Schaller Gallery, The Clay Studio, Akar Design, Jane Hartsook Gallery and The Ohio Craft Museum. He has taught workshops at institutions such as Ox-Bow School of Art, Touchstone Center for Craft, Truro Center for the Arts at Castle Hill and Haystack Mountain School of Crafts.

In 2018 he was selected by Haystack to be a guest artist at The Shigaraki Ceramic Culture Park in Shigaraki, Japan.
He was awarded The 2018 Sybille Zeldin Fellowship at The Clay Studio in Philadelphia Pennsylvania. In 2019 he was a Windgate Scholar at the Archie Bray Foundation for the Ceramic Arts.

Donated By The Artist

Warren Muller
On Fire
Found objects light sculpture

Donated By The Artist

Warren Muller
Wash, Rinse, Repeat
Found objects light sculpture

Donated By The Artist

Paz Sandoval
Blanco Orb vessel on pedestal, 2024
Foraged local wood charred and turned; spalted hackberry and black walnut
9.25" x 5.25" x 5.25"
Spalted hackberry/ 39.94646Ã'Ã'°N, 75.203334Ã'Ã'° W. Black oak/ 39.94850Ã'Ã'°N, 75.20465Ã'Ã'° W

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Paz Sandoval
Blanco y Negro nesting vessels, 2023
Common hackberry wood turned green and charred
8.5" x 18" x 18"

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Paz Sandoval
Blanco y Negro Vessel, 2024
American sycamore turned green and charred
39.95184Ã'° N, 75.20819Ã'°W

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Paz Sandoval
Seed pods, 2021
American sycamore turned green, hand carved and charred
4.5" x 22" x 6.5"
39.94850Ã'°N 75.21007Ã'°W
39.94685Ã'° N, 75.21007Ã'° W

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Paz Sandoval
TRES, 2024
GROUP of 3 vases
#1 Foraged local sycamore turned green and charred
6" x 3.5" x 3.5"
39.95148Ã'°N, 75. 21557Ã'°W
#2 Hickory with oxide pigment
#3 Hickory charred and hand carved
40.01360Ã'° N, 75.25680Ã'°W

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Paz Sandoval
Two vessels/Siluetas #6 and #7, 2023
American sycamore turned green and charred
39.95184Ã'° N, 75.20819Ã'°W

Artist Statement

A tree will tell you a story about life, growth and death

Essential to the air we breath, magnificent, strong, patient, and almost invisible to us, trees are silent witnesses to our life's events.
To turn a tree on a lathe is to reveal a story about growth, reproduction and death. I forage local trees after they have been taken down by arborists and storms. Each piece has the recorded coordinates of that tree's geographical location.
In 2019 driven by a strong desire to create from the materials that surround me, I embarked on a journey to explore the natural ecosystem of my city. I collected fallen logs and branches while I taught myself carving and wood turning. My work is exclusively made from species that are native to Philadelphia's rich and diverse urban canopy predominantly found in parks, cemeteries, vacant lots, and tree-lined streets.

To be adorned is to tell a story about one's identity

Jewelry is theatrical in nature and gives the individual the power to construct an idealized version of the self.
To be adorned is simultaneously a personal and public act of creating and expressing one's identity.
When we embellish our bodies, we are making a deliberate choice about how we present and perceive ourselves, and what we want to communicate to the world.

Artist Bio

Influenced by the punk counterculture movement of my youth I started making jewelry as a way of expressing my individualism and nonconformity. I make things in the tradition of the decorative arts and often borrow techniques from what is historically referred to as "women"s craft". My recent work in wood is an attempt to connect with the natural world of my urban surroundings.

In the late '80s I moved from Spain to the States to study at Tyler School of Art.

I am a full-time artist living and working in Philadelphia.

Donated By The Artist

Michael Biello
Blue Budha (electric)
Clay, wood, paint, gold wax

Artist Bio

Michael Biello is a ceramic sculptor who draws inspiration from his Italian-American roots and his passion for theatre.
Biello is one of the artisan/makers who helped create the revivals of Old City Philadelphia in the 1970's and Noho New York in the 1990's.
Biello's work has been exhibited internationally and is in numerous private collections including many in the entertainment industry.

Donated By The Artist

Michael Biello
Electric Bunny
Clay, wood

Artist Bio

Michael Biello is a ceramic sculptor who draws inspiration from his Italian-American roots and his passion for theatre.
Biello is one of the artisan/makers who helped create the revivals of Old City Philadelphia in the 1970's and Noho New York in the 1990's.
Biello's work has been exhibited internationally and is in numerous private collections including many in the entertainment industry.

Donated By The Artist

CP Lighting
ExtraLimb Walking Stick
Brushed aluminum finish with leather wrapped handles
39" x 5.5"

Artist Statement

Rustic modern designer Christopher Poehlmann introduces his new handcrafted ExtraLimb Walking Stick, a cane for all who appreciate good (and bespoke) design. Finally: a mobility aid that is as much an art and fashion statement as it is functional. The ExtraLimb walking sticks playfully remove any stigma attached to the idea of a cane and importantly expand the maker's renown in rustic modern design.

Designed with an ergonomic grip and a lightweight aluminum body referencing a wooden branch, the ExtraLimb Walking Stick extends designer Poehlmann's tongue in cheek play on traditional carved wood, which has gained internationally renown as his Rustic Modern newGROWTH series of light fixtures for his brand CP Lighting. Unlike the bespoke branches of chandeliers, Poehlmann's walking stick for the physically impaired brings the branch back to the ground.

The ExtraLimb Walking Stick grew out of his wife's need for stability and support after she progressed from knee scooter to crutches during recovery from an accident that smashed her heel and L1 vertebrae. Unwilling to settle for a Plain Jane cane from the pharmacy or a suitable stick found in the woods, she implored her industrial designer husband to help her take the next steps, to craft something super cool. The seeds for a cane, once marinating in Poehlmann's sketchbook for a number of years, rapidly grew into the ExtraLimb Walking Stick.

Poehlmann says: "When thinking about canes and walking sticks what comes to mind? Often it's stigma based words like cripple or disabled or old, rarely do you hear cool or beautiful or even interesting. The ExtraLimb walking sticks aim to remove that stigma through good ergonomic design and a bit of humor. The ExtraLimb should be seen as a design statement, a cool accessory, a bit of functional art to help you get through your day with character and style. Sure, you may need it for some extra balance but don't let that stop you from enhancing your mobility. ExtraLimb gives a nod to wooden walking sticks with a very contemporary take on that tradition."

Artist Bio

Christopher Poehlmann has been a full time artist/designer/maker since 1989 focused on the decorative arts and functional objects including tables, chairs, clocks, lamps, and now walking sticks.

Donated By The Artist

CP Lighting
ExtraLimb Walking Stick
Brushed aluminum finish with leather wrapped handles
34" x 5"

Artist Statement

Rustic modern designer Christopher Poehlmann introduces his new handcrafted ExtraLimb Walking Stick, a cane for all who appreciate good (and bespoke) design. Finally: a mobility aid that is as much an art and fashion statement as it is functional. The ExtraLimb walking sticks playfully remove any stigma attached to the idea of a cane and importantly expand the maker's renown in rustic modern design.

Designed with an ergonomic grip and a lightweight aluminum body referencing a wooden branch, the ExtraLimb Walking Stick extends designer Poehlmann's tongue in cheek play on traditional carved wood, which has gained internationally renown as his Rustic Modern newGROWTH series of light fixtures for his brand CP Lighting. Unlike the bespoke branches of chandeliers, Poehlmann's walking stick for the physically impaired brings the branch back to the ground.

The ExtraLimb Walking Stick grew out of his wife's need for stability and support after she progressed from knee scooter to crutches during recovery from an accident that smashed her heel and L1 vertebrae. Unwilling to settle for a Plain Jane cane from the pharmacy or a suitable stick found in the woods, she implored her industrial designer husband to help her take the next steps, to craft something super cool. The seeds for a cane, once marinating in Poehlmann's sketchbook for a number of years, rapidly grew into the ExtraLimb Walking Stick.

Poehlmann says: "When thinking about canes and walking sticks what comes to mind? Often it's stigma based words like cripple or disabled or old, rarely do you hear cool or beautiful or even interesting. The ExtraLimb walking sticks aim to remove that stigma through good ergonomic design and a bit of humor. The ExtraLimb should be seen as a design statement, a cool accessory, a bit of functional art to help you get through your day with character and style. Sure, you may need it for some extra balance but don't let that stop you from enhancing your mobility. ExtraLimb gives a nod to wooden walking sticks with a very contemporary take on that tradition."

Artist Bio

Christopher Poehlmann has been a full time artist/designer/maker since 1989 focused on the decorative arts and functional objects including tables, chairs, clocks, lamps, and now walking sticks.

Donated By The Artist

CP Lighting
ExtraLimb Walking Stick
Brushed aluminum finish with leather wrapped handles
33" x 5"

Artist Statement

Rustic modern designer Christopher Poehlmann introduces his new handcrafted ExtraLimb Walking Stick, a cane for all who appreciate good (and bespoke) design. Finally: a mobility aid that is as much an art and fashion statement as it is functional. The ExtraLimb walking sticks playfully remove any stigma attached to the idea of a cane and importantly expand the maker's renown in rustic modern design.

Designed with an ergonomic grip and a lightweight aluminum body referencing a wooden branch, the ExtraLimb Walking Stick extends designer Poehlmann's tongue in cheek play on traditional carved wood, which has gained internationally renown as his Rustic Modern newGROWTH series of light fixtures for his brand CP Lighting. Unlike the bespoke branches of chandeliers, Poehlmann's walking stick for the physically impaired brings the branch back to the ground.

The ExtraLimb Walking Stick grew out of his wife's need for stability and support after she progressed from knee scooter to crutches during recovery from an accident that smashed her heel and L1 vertebrae. Unwilling to settle for a Plain Jane cane from the pharmacy or a suitable stick found in the woods, she implored her industrial designer husband to help her take the next steps, to craft something super cool. The seeds for a cane, once marinating in Poehlmann's sketchbook for a number of years, rapidly grew into the ExtraLimb Walking Stick.

Poehlmann says: "When thinking about canes and walking sticks what comes to mind? Often it's stigma based words like cripple or disabled or old, rarely do you hear cool or beautiful or even interesting. The ExtraLimb walking sticks aim to remove that stigma through good ergonomic design and a bit of humor. The ExtraLimb should be seen as a design statement, a cool accessory, a bit of functional art to help you get through your day with character and style. Sure, you may need it for some extra balance but don't let that stop you from enhancing your mobility. ExtraLimb gives a nod to wooden walking sticks with a very contemporary take on that tradition."

Artist Bio

Christopher Poehlmann has been a full time artist/designer/maker since 1989 focused on the decorative arts and functional objects including tables, chairs, clocks, lamps, and now walking sticks.

Donated By The Artist