Brian David Dennis: Studio Notes 9/5/19 2, 2019, Digital Collage (printed on Endura Metallic), 28.25" x 28.25" x 1.38"

About:

This series of digital collages were created in response to the fabrication of the installation of the same title. The installation questions the boundaries between permanent and temporary, object and experience. Is one more valuable than the other, more noble, more worthy of all that was invested in its creation?

The work also continues my exploration of obsession and repetition. Production is a test of endurance and an engaging challenge. But it is also more. The demands contain a self fulfilling purposefulness. Within the repetition is a solace akin to a meditation.

Bio:

Brian was born in 1959, raised in a home with movable walls designed by his father, an aspiring artist. The fluidity of the modular arrangement captured Brian's imagination. His mother, a kindergarten teacher, encouraged Brian's constant building.

As a student, Brian considered following his passion for stage design, but sought the more personal expression of fine arts. He studied at the Pennsylvania Academy and settled into mixed media. He later began to explore installation using the exhibition location as an essential part of the piece.

A life long resident of Pennsylvania, Brian has been in Philadelphia since 1984 with his life partner Keith Breitfeller. He began exhibiting with Vox Populi and remained an active member for 15 years. He has held solo exhibits at the Philadelphia Art Alliance, Sande Webster Gallery, Fleisher Challenge and recently in Krems, Austria. He has been granted an Independence Foundation Fellowship and other awards.

Laura Storck: Lace Silhouettes Lingerie, 2016, chromogenic print, 11" x 14" x 1"

About:

Street photography can be a powerful platform for reaching the public, and motivations of the photographers can be as varied as the subjects themselves. Some photographers wish to raise awareness of social and political issues; others simply see public spaces as a continuously unending treasury for humor, while others may appreciate the challenges and risks that are associated with capturing street vignettes. My personal motivations for capturing street images is to adapt unusual and fleeting moments into a visual form that may be seen as relatable with the potential to be elevated to fine art.

Bio:

Laura Storck is an award-winning fine art and event photographer who is devoted to documenting timely discoveries of spot news, street art, mannequins, or the simply bizarre. Laura completed her Certificate in Digital Photography from the University of the Arts in Spring 2016 during which she served as a photography apprentice for the City of Philadelphia Mural Arts Program and on the Board of Directors for Da Vinci Art Alliance. Currently, she is a member of the Communications committee at The Plastic Club, as well as The Halide Project steering committee for the upcoming Philadelphia 2020 Photo Festival. When she isn't photographing, Laura can be found spending her free time in art galleries, basement punk shows, the library, or walking the streets of Philadelphia.

Angela McQuillan: Internal Parts 4, 2017, oil and acrylic on canvas, 48" x 24" x 15"

About:

Despite the massive amounts of information readily available to us, humans are still surrounded by mystery. Our perception of the world is quite limited as there is much that remains undiscovered. I am drawn to the lure of the unknown, and the quest for more knowledge. I am interested in the processes that happen inside of a living entity that are invisible to the eye yet essential to life. Through my scientific background I have gained a deep appreciation for biological forms, anatomical subjects and bodily functions. I am fascinated by the way that nature evolves and adapts, and the way that humans can manipulate the outcome. I believe in the interconnectedness of all things, and that nothing ever occurs as an isolated event. I am interested in the ability of science to solve problems while ultimately creating new ones, and I think that art is important in this equation because it allows us to reflect on the power of our own knowledge and take a closer look at the implications of how it can alter our society and our environment. Science and art are both tools of exploration, allowing us to gain more insight into ourselves and the world around us. We will never see everything there is to see, but catching tiny glimpses here and there make the quest worthwhile.

Bio:

Angela McQuillan is a Philadelphia-based Artist and Curator working at the intersection of art and science. Angela holds degrees in both Biology and Painting, and has ten years of experience working as a scientist in various roles including academic research and pharmaceuticals. She is a former member of the Little Berlin curatorial/artist collective in Philadelphia, where she received a Knight Foundation grant in 2013 for the Little Berlin Fairgrounds Project. For two years, she directed this project to convert a vacant lot into a public art and garden space. To this date, Angela has curated over 40 art exhibitions relating to science and technology, including exhibitions by internationally recognized artists working with biological media. Angela currently works as both the Curator at the Esther Klein Gallery, and the Director of the University City Science Center's BioArt Residency which she founded in 2017. This residency program recently won the 2019 Art + Business Partnership Award by the Philadelphia Arts & Business Council. Angela is also a current member of the Grizzly Grizzly artist collective based in Philadelphia. Her work has been featured in prominent publications such as The New York Times, Forbes and SciArt in America

Michele C. Kishita: Under Grand Firmament, 2014, latex on birch panel, 46" x 40" x 2"

About:

My work is an investigation of the dialogue between the wooden surfaces on which I paint and the trees from which those panels were built. I address man's relationship with nature while also highlighting the impermanence and transience of all things. The straight lines and angles of industry attempt to control nature, transforming a tree's rounded mass into flat rectangular sheets; yet, the undulations of wood grain marking the tree's growth and annual water intake emerge despite its new boxy confines. The life of the tree is written indelibly on its interior and at the same time is a historical account of the landscape itself. In my paintings, I strive to conjure the landscape that no longer exists but is inherently contained in each panel while expressing the visual contrast and harmony where man-made structures and nature intersect.

Bio:

Michele Kishita is a Philadelphia-based artist who focuses on landscape as her primary subject. Kishita's paintings are strongly influenced by the graphic stylizations and compressed spaces of Japanese ukiyo-e prints. Her paintings are in a number of private/corporate collections, including Toyota, Capital One, and Kaiser Permanente, and her work is featured in Create Magazine, on the Poetry Foundation blog and Studio Break podcast, as well as in several literary journals. She has participated in artist residencies in New Mexico, Russia, and Iceland and exhibited at the Sharjah Art Museum in the United Arab Emirates and the Museum of Non-Conformist Art in St. Petersburg, Russia. Kishita received both her BFA and MFA in painting from the University of the Arts and is represented by Edgewater Gallery, James Oliver Gallery, The Drawing Room Gallery, and Carrie Coleman Fine Art.

Daniel "Danny" Simmons: This deep desire, 2019, print, 26" x 20"

Courtesy of Rush Arts Philadelphia

About:

Working artist, poet, gallerist.

Bio:

Daniel "Danny" Simmons, Jr. is an abstract-expressionist painter. Older brother of hip-hop impressario Russell Simmons and rapper Joseph Simmons ("Rev. Run" of Run DMC), he is the founder and Vice Chairman of the Rush Philanthropic Arts Foundation and Rush Arts Gallery. In addition, Simmons converted part of his loft in Brooklyn into the Corridor Gallery. Along with his brother Russell, Simmons established Def Poetry Jam, which has enjoyed long- running success on HBO. In 2004, Simmons published Three Days As The Crow Flies, a fictional account of the 1980's New York art scene. He has also written a book of artwork and poetry called I Dreamed My People Were Calling But I Couldn't Find My Way Home.

Simmons is the son of Daniel Simmons, Sr., a truant officer and black history professor who also wrote poetry, and Evelyn Simmons, a teacher who painted as a hobby. He earned a degree in social work from New York University and a master's in public finance from Long Island University. He began painting after he realized how much he hated his job with the Bureau of Child Support.

Simmons, an abstract-expressionist painter, has had his work shown nationally. Chase Manhattan Bank, the United Nations, and the Schomburg Center for Black Culture all show his work as part of their collections. He is also an avid collector of African art and comic books.

Mitch Gillette: Treat, ca. 2000, pencil on paper, 16.5" x 20" x 2"

About:

Study for a larger work

Bio:

I've shown work extensively in Philadelphia at various venues, including Studio Diaboliques, Nexus Foundation for Today's Art, The Snyderman Gallery, and the InLiquid Gallery. Besides painting, I have created sculpture, installation, and performance works, including live tableaux of my own paintings. I formed a collaborative group with a choreographer and a composer to produce a dance production based on my comic, Tales of the Buffoon, which premiered at The Painted Bride Art Center. We were then invited to collaborate on a short video version of the same piece for public television station WHYY as part of the Pew Charitable Trust funded Spotlight series. The video, in which the dancers performed inside my drawings using special green-screen effects, later aired nationally and went on, as part of the series, to win a local Emmy. The composer, choreographer, and I continued to work together to create stage works which were performed in Philadelphia and elsewhere, including DIA Art Foundation in New York City. For the past fifteen years I have been solely at work on a 300-page graphic novel, also entitled Tales of the Buffoon, which is very near completion. And I will soon be releasing a recording of original classical piano music performed by pianist Tom Lawton.

Diane Marimow: Philly Flux Bowl, 2018, stoneware and glazes, 6" x 18" x 21"

About:

Construction crews, cranes, scaffolding, towers, skyscrapers, tunnels, bridges, underground pits, and concrete wall dominate the cityscape.

In 2019, the environment of center city Philadelphia (where I live) is constantly changing. My ceramic sculpture celebrates the energy and the excitement generated by the machinery, the materials and the colors seen everyday as I walk through the city.
Although the ongoing construction often creates tension in the city neighborhoods, the ultimate goal of "recreating the city," hopefully will enhance many of our lives.

Bio:

Diane has been a ceramic artist for over 30 years. She is also an educator at the Philadelphia Museum of Art. Diane received a graduate degree form Tyler School of Art. She has exhibited her ceramic sculptures and wall pieces in Pensylvania, New Jersey , Florida and Arizona. In 2016 her sculpture was displayed at the International Terminal of the Philadelphia Airport.

Her sculptures reside in private collections throughout the U.S - including one totem that was purchased by the Berman Institute of Bioethics at Johns Hopkins University.

Annie Stone: Bella Vista II, 2017, hand-cut image collage, 14" x 14" x 1"

About:

I responded to a call for art titled "Bella Vista" which I felt challenged by because the parameters were very different than my usual subject matter, style and technique for creating collages up until that point. This is the second collage I created as a result of that call because I enjoyed the challenge of creating the first so much I automatically moved into making this second one and have created more collages in a similar style (more scenic)as a result.

Bio:

I collage because it is the artform that best expresses my awe of the world, people, places, things and nature. I assemble collages using various resources for images I meticulously hand cut in order to open new perspectives, appreciation for beauty, nature, the environment, life, humor and relationships. I choose my images inspired by a particular creature or creatures, images, patterns, color and texture.
My process is not necessarily an intellectual or entirely conscious one. I often choose images that I have a visceral reaction to and just know I want to work with them. I also like to experiment with different methods and techniques for gluing and assembling. I never know what the collage will look like in the end; I only know there is a sense of something that I begin to see and feel as it evolves into the final piece.

Orlando Saverino-Loeb: The Cheerleader, 2019, acrylic and gesso on canvas, 18" x 15" x 1"

Courtesy of James Oliver Gallery

About:

Could you live in a space devoid of life and intrigue? The interaction of the individual in, and with their environment is one of constant flux and change. It could be chaotic and pointed with directives given by others, where the individuals lose their souls like in a painting by Hieronymus Bosch. It could be explorative, tranquil and grand with intimate interactions like a work by Hubert Robert or Thomas Cole. Some of us see the world differently, strangely even, and find joy in the imagined quasi-plausibilities and may see things like Salvador Dali or Joan Miro. They may also find dynamic power in that strangeness that hinges on political messages like David Siqueros. All of these have a place and are true. Perception is something that is reality to most and, all of these lenses exist. I try to let a little of each shine through in my work through plausible, and fantastical landscapes and characters using symbols and visual metaphors to place relate-ability and the tools to create unique new ideas and insights into the eyes, hands, and minds of my viewers.

Bio:

Orlando Saverino-Loeb is a Philadelphia born artist who works primarily in paint. His work is a constantly evolving process of
exploration that spawned from the desire to find a visual primary source. His process is dependent on the speed and freedom involved in making the pieces. The colors and sense of light that he uses in the paintings are highly influenced by his extended stays throughout Italy. Using acrylic paint, an airbrush, and other mixed media he slowly builds out an environment that is bursting with textures and varied techniques to be explored for hours on end. He has shown his work multiple times at the Infusion lounge in Philadelphia, along with select appearances with the Philadelphia Art Collective, the Stella Elkins Tyler Gallery, Vintage Wine Bar, the Inliquid Gallery, Fleisher Art Memorial and the Davinci Art Alliance. He is a resident artist at Hot-Bed Gallery in Philadelphia, and has representation through James Oliver Gallery. He has also done murals around Temple University's Campus and was a part of the 2018 BecomeBecome residency in Sardinia, Italy during which he presented in their first symposium talk at the Stazione Dell'Arte - Museo d'arte contemporanea in Ulassai. He is currently the Technical Director at HOTBED.

Christina Massey: Monoprint Collage Study in Red, 2017, linocut, collagraph, silkscreen, 21" x 17" x 1.5"

About:

Made during the SIP Fellowship at the EFA Robert Blackburn Printmaking Workshop in NYC. Works are a combination of collagraph, linocut and silkscreen prints. Each print is original, hand cut and collaged together using chine-collé techniques.

Plates were created as drawings of the artist's wall sculptures and translated into various forms of types of printmaking plates. The term "Carbonation" in their title hints at this origin as the sculptures are largely made from repurposed craft beer cans. It also refers to the carbonization of the environment.

"Collection" refers to the work as a series, but also their fabric inspirations. Each is titled after a season of the year that the fashion industry often uses to describe their collections and encourage consumerism.

The work has an abstracted botanical, almost vintage fabric appearance and this is a commentary on the way we think and describe seasons with Climate Change. Where we associate certain colors with temperatures and seasons that are now not what they used to be.

Bio:

Christina Massey's work has exhibited extensively in over a dozen solo exhibitions including such locations as the Blackbird Gallery in NYC, Dacia Gallery in NYC, Noyes Art Museum in Atlantic City, Rush Arts Galleries in NYC and Brown University in Providence, RI. She has won multiple awards for her work including most recently an FST StudioProject Fund Grant, Brooklyn Arts Fund Grant, SIP Fellowship at the EFA Robert Blackburn Printmaking Workshop, Puffin Foundation Grant and Mayer Foundation Grant. Massey's work has been featured in such publications as Hyperallergic, Art Spiel and Art Fuse and is in the collections of the Janent Turner Museum, Art Bank Collection in DC, and multiple private collections. She currently lives and works in Brooklyn, NY.

Pia De Girolamo: True North, 2015, acrylic, 31.75" x 41.75" x 2.25"

About:

In this painting, abstracted forms and a cool palette echo the vast landscape of the far north with its forested mountain chains and glacial lakes.

Bio:

Pia De Girolamo is an accomplished painter living and working in the Greater Philadelphia area whose recent exhibitions featured large-scale paintings based on abstracted mountain landscapes, as well as a series evoking the urban landscapes of Rome and Italy. She has had thirteen solo exhibitions, most recently at the Museo Mastroianni, within the Musei di San Salvatore in Lauro in Rome and the Cerulean Arts Gallery in Philadelphia. She has also shown extensively in group exhibitions regionally. De Girolamo has a BA in Art History from Barnard College, Columbia University and an MD degree from the University of Rochester. She lectures on the relationship between art and medicine as well as the connections between art, nature, and health. Her awarded work has been acquired for collections by the Museo Mastroianni, Rome, PNC Bank, Pittsburgh, and Thomas Jefferson University, Philadelphia, PA and has been highlighted in Hollywood feature films.

Stephen Millner: Stone Ground, mixed media, assemblage, 14" x 11" x 3"

About:

Millner's mixed media and assemblage works are stories in the making. He uses a wide variety of recycled materials that work together to create a story tableau. They may include map fragments, envelopes, stamps (postal or otherwise); postcards, scraps of handwritten letters, tags and lists; product labels, advertising, original and found photographs; official documents and forms; signs, stickers, wrapping paper, bags, receipts, and other found objects or material. The works are then finished with acrylic paint, aquarelle, or wax. Appearing simple at first, the art merits further inspection. The pieces draw one into the complexity of the whole and tensions between, the individual elements.

Bio:

Stephen Millner graduated from Yale University with a Fine Arts Degree. He began his art endeavors as a photographer, printmaker, and metal sculptor. His works have been shown in galleries throughout the Mid Atlantic region. Millner was the first President of the Artists of Yardley, serving for five years. has also designed display art for the James A. Michener Art Museum and the Trocadero Theatre in Philadelphia. Along with his wife, Marie Kane, Millner received the Bucks County Muse Award in 2017 for contributions to the Bucks County literary community.

Patricia Moss-Vreeland: All the Remembering, 2017, archival pigment print, 29" x 20" x 1.5"

About:

I like capturing the feeling of something, not just the way it appears, as our emotions and experiences provide the shape and dimension to how we perceive and remember. Through a system of storage and retrieval, like the making of memory itself, land and water contain memories, a larger composite of time and place. I wanted to evoke movement for the passage of time and for the fleeting aspect to remembering, along with areas that give shape to imagining.

Bio:

Patricia Moss-Vreeland is an artist, author, poet, TEDx speaker, and thought-leader on the relationship between art, memory, learning, and creativity. Her work spans four decades and has been exhibited both nationally and internationally. Informed by research in neuroscience, working with neuropsychologists, she integrates this knowledge about the functioning of the human brain and the construction of memory into her works, which was hailed in 1999 by the Baltimore Sun "an invitation to think differently about memory and the creative process". She works in a range of media, paintings, drawings, prints, mixed media collages, videos, and artist books, incorporating her poetry at times to suggest the ways that language and memory are intertwined.

Moss-Vreeland's works have been exhibited nationally at the Brooklyn Museum of Art, the Philadelphia Museum of Art, and the Institute of Contemporary Art. She is in many permanent collections, including the Philadelphia Museum of Art, the Art Institute of Chicago and The Norton Museum. Moss-Vreeland won a national competition to design the Memorial Room for the Holocaust Museum Houston, earning four awards, including the American Institute of Architects Honor award in Design.

Recently Moss-Vreeland's work was included in The New York Hall of Science, Science Inspires Art: The Brain, 2015. Recent solo exhibitions include; A Parallel Universe, Trinity College, Hartford, CT, 2016, Revelations and Transformation, Layers of Memory, Penn Memory Center, Philadelphia, PA, 2017, In Search of Meaning: Memory Becomes Us, Esther Klein Gallery, University City Science Center, Philadelphia, PA, 2019.

Eric T. Kunsman: Solitude, 2012, archival pigment print - Lucia print on edition etching rag, 30" x 30" x 1"

Courtesy of HOTE Gallery

About:

In 2003, shortly after moving back to the Philadelphia area, I brought a group of my photography students from Mercer County Community College to the Eastern State Penitentiary on a field trip. It was a great photographic site. The reports I had heard about the architecture of the facility were definitely true, and the light and feeling of abandonment really gave off a sense that the Penitentiary might still be inhabited by ghosts or spirits. But there are a lot of abandoned spaces like that, so my first trip to the site would probably have been my last if I didn't return to Philadelphia on a completely different class trip a few weeks later - this time, as a student.

On that trip, one of my University of Arts professors, Heidi Kyle, introduced us to the American Philosophical Society's conservation lab. Almost as soon as we entered the conservation lab, I noticed three books titled 'Eastern State Warden's Logbook.' I opened it idly?and then spent the entire visit pouring over its pages.

The Warden's entries brought the Penitentiary to life for me. Through his words, the space now felt inhabited and connected to deep emotions - infused with new meaning. Though his writing is detached, the warden clearly got to know the prisoners far more personally than you would expect. The logs include details about prisoners' families, whether they could read or write, whether they felt guilty about their crimes, whether they were penitent. While my photographs from the earlier visit captured a lot of the physical presence and feeling of the Penitentiary, it was the writings that started to, literally, flesh out the functional and human effects of this altruistic, but ultimately disastrous, Quaker experiment with reforming criminals. On that day, the genesis for this show clicked.

I started returning to the Penitentiary. During each trip it was at least a half hour before I could start photographing. I found myself instantly reflecting on some of the Warden's words, wandering through the space, and rediscovering things through his eyes and his reflections.

Bio:

Eric T. Kunsman (b. 1975) was born and raised in Bethlehem, Pennsylvania. While in high school, he was heavily influenced by the death of the steel industry and its place in American history. The exposure to the work of Walker Evans during this time hooked Eric onto photography. Eric had the privilege to study under Lou Draper, who became Eric's most formative mentor. He credits Lou with influencing his approach as an educator, photographer, and contributing human being.

Eric holds his MFA in Book Arts/Printmaking from The University of the Arts in Philadelphia and holds an MS in Electronic Publishing/Graphic Arts Media, BS in Biomedical Photography, BFA in Fine Art photography all from the Rochester Institute of Technology in Rochester, New York.

Stephen D'Onofrio: Still Life, 2017, acrylic on canvas, 36" x 36"

Courtesy of Galleri Urbane

About:

My work explores the relationship between physical spaces and the objects we fill them with. Often focusing on typical domestic decor and household ornaments, the work makes these inherently empty objects into simplified symbols and patterns that can then be rearranged and compressed to carry a formal sensibility. Currently, my work has concerned the idea of the painting as ornament, with stock subjects of landscape, still life, and portraiture becoming knickknacks. I distill, consolidate, and appropriate the overwhelming amount of generic design aesthetic in the commercial decor market when working. Rather than fight the inherent kitschiness of this visual language, I embrace the imagery so the work can, in turn, become a critique of the subject it is representing.

Bio:

Stephen D'Onofrio is a contemporary visual artist focused in painting. His work is characterized by an interest in the home decor market, the mass commodification of art, and the generic visual language that accompanies commercial design. He received his MFA from The School of The Art Institute of Chicago in 2016 and his work has been placed in numerous private nationwide and public collections such as Estee Lauder and Fidelity to name a few. D'Onofrio has lived and worked in Philadelphia since being awarded an artist residency in the city at Jasper Studios in 2017

Jessica Jane Julius: Droplet, 2019, blown glass, crystals, glass bead, and gold leaf paint, 20" x 11" x 11"

About:

Droplet is part of a series of work that is a mediation on the function of seduction and curiosity alternating between a scientific and artistic nature.

Bio:

Jessica Jane Julius is an artist, educator, collaborator and performer who creates glass installations, objects and imagery that examine how fear is infiltrating the ways in which we navigate the world and presents a look at the anxieties and complexities of our current "culture of fear."

Julius is currently an Assistant Professor and Program Head of glass at Tyler School of Art and Architecture. She is the co-founder of the artists' collective and performance group, The Burnt Asphalt Family, who produces collaborative, participatory and edible works. Together they have performed at prestigious venues including the Corning Museum of Glass, the Chrysler Museum and Urban Glass. Her mixed media works have been exhibited nationally at venues including the Philadelphia Museum of Art, The Museum of American Glass, New Jersey and MarketView Arts, Pennsylvania. She has been awarded a York Cultural Alliance grant and residencies at The Creative Glass Center of America in Millville, New Jersey and The Museum of Glass in Tacoma, Washington. Currently, Julius serves as the Vice President of the International Glass Arts Society.

Roger Wing: Cherry Twist, 2018, cherry on black walnut base, 27" x 12" x 12"

About:

Cherry Twist is the result of direct carving, without models or drawings. The figure emerged through a collaboration of the artist, the shape of the wood, and its natural patterns of growth and decay, giving new life to this old tree.

Bio:

Direct carving in wood has been Wing's primary function for over 30 years. He has been featured in film and television and travelled extensively around the world for ice, snow, and sand projects. Wing's large scale tree carvings can be seen in Old City and throughout the Philadelphia suburbs. Recently he relocated his studio to 40th and Westminster in West Philly.

Wendy Raskas Greenberg: Escape Control, 2018, mixed media collage and found objects on wood panel, 10" x 10" x 2"

About:

The focus of my work as a mixed-media collage artist is to intermingle the old with the new. Vintage red-handled kitchen tools, maps, magazines and photos, along with rusty hinges and oxidized copper pipes, are just some of the materials that instantly catch my eye. They have been weathered by human hands, the earth's atmosphere, and time. They have a story to tell. My goal is to tell their story by creating and discovering different processes within which to incorporate these objects and images of older, more worn items with newer ones into my collage work. Now used in a whole different context, they can take on a new life and a restored beauty.

Linda Dubin Garfield: Mountain View 2, 2018, mixed media, 20" x 20"

Bio:
Linda Dubin Garfield, an award-winning printmaker and mixed media artist, creates visual memoirs exploring the mystery of memory and the magic of place, using hand-pulled printmaking techniques, photography, collage and digital imaging. Her abstract and dynamic works use multiple layers of ink that waver between background and foreground creating a fusion of surface design and abstract expressionism She also creates installations that include public participatory art, especially when she is exploring themes relating to women in today's culture. In 2005 she founded ARTsisters, a group of professional artists who empower each other and their community through art. In 2007 she started smART business consulting, helping emerging artists reach their goals and their audience, providing consulting and coaching on the business side of art through individual, small groups, and workshop experiences as well as providing opportunities to exhibit work. Today she serves on several non-profit boards, and appreciates her good fortune to be able to make art every chance she gets.

Michael DeLuca: Big Puffy, 2019, pastel on paper, 17" x 17"

About:

I'm interested in visual oppositions, particularly the tangible versus the intangible, the two-dimensional versus the three-dimensional, and the graphic versus the atmospheric. I've been working from flat silhouettes that I cut out and mount on highly reflective paper. I place these shapes in a context out of time and illuminate them with a single top light. I then create drawings from them, where the process can last several days pushing and pulling endless amounts of subtle information.

I gravitate towards shapes with specific gestures within them. I think of them as being flat, but malleable; static, but expressive. I'm not interested in the grand or flashy gestures, just a simple nudge or bend is enough. Ultimately, I see these awkward but earnest shapes taking on figurative characteristics that playfully comment on the human condition.

Bio:

Michael was born in Philadelphia, PA, and currently lives and works in Paoli, PA. He earned his MFA in Painting from Indiana University in Bloomington, IN, and his BFA in Painting from Arcadia University in Glenside, PA. For a brief period of time, he also studied Painting and Drawing at the Glasgow School of Art in Glasgow, Scotland. Since graduating from Indiana in 2002, Michael has been teaching all levels of Drawing as an Assistant Professor in the Department of Visual & Performing Arts at Arcadia University. Michael's work has appeared in numerous gallery and university exhibitions across the United States, including "Drawing Resurfaced II" at Purdue University Galleries, "The Great Lakes Drawing Biennial" at Eastern Michigan University School of Art & Design, and "Drawn 4th and 5th Annual International Exhibition of Contemporary Drawing" at Manifest Gallery. He was the recipient of CFEVA's (Center for Emerging Visual Artists, Philadelphia, PA) Emerging Artist Fellowship, and has appeared multiple times in the publication New American Paintings.
Michael understands drawing as a medium unto itself. Working exclusively with pastel on paper, he uses 2-dimensional graphic shapes as subject matter to explore ideas of gesture, motion, and cause & effect. His shapes are flat, but malleable; minimal, but full. Sometimes they're observed, and sometimes they're invented. Either way, it's their ability to expand, stretch, slouch, or bend that interests Michael the most.

Yelizaveta Masalimova: Woven Top, 2019, glazed English porcelain, 16" x 14" x 8"

Courtesy of Orchard Art Collective Gallery

About:

I am interested in the notion that what is deemed valuable requires a measure of labor and pain to achieve its worth. Throughout my work I explore how something considered beautiful can quietly tolerate an underlying violence or turmoil. Pain, suffering, and exploitation seem intrinsically tied with valuable objects. Is pain or sacrifice necessary for the attainment of beauty? My artwork is a visual investigation into this question. My sculptures explore this human condition by juxtaposing realistic and surrealistic elements within the human figure. These distortions aim to promote a dialogue about the body symbolically and physically.

Clay is ideal for my practice and allows me to make complex changes and experiment with repetitive forms created through molds. This type of transformation through labor is integral to my work's conceptual and formal qualities. I feel it is important to exemplify both the physical and intellectual labor that goes into creating art. I celebrate the craft and labor that goes into an artwork as part of the sacrifice that gives it value.

Bio:

Yelizaveta Masalimova was born in 1986 and immigrated to Connecticut from Kiev, Ukraine with her family in 1991. For her bachelor studies, she attended Lyme Academy College of Fine Art in Old Lyme, Connecticut, where she earned a BFA in Sculpture, and was the sole recipient of the Adams Academic Four-Year Grant. Yelizaveta received her M.F.A. from the University of Connecticut in May 2012, where she received a Full Tuition Waiver Grant, a Graduate Teaching Assistantship, and a Graduate Research Travel Grant. From 2014-2015, Yelizaveta studied sculpture and ceramics as a Post Graduate Resident Artist at The Pennsylvania State University.

Yelizaveta's work has been exhibited throughout the US, most notably at the William Benton Museum of Art (CT), the Delaware Contemporary Art Museum, and SoHo20 Chelsea Gallery, NY. She had her first international Solo Exhibition at Schiller International University in Madrid, Spain. She has competed in the National Sculpture Society Figure and Portrait Modelling Competitions in 2013, 2015, and 2016. Yelizaveta currently teaches ceramics at Temple University's Tyler School of Art & Architecture in Philadelphia. She currently resides in Philadelphia, PA.

Diane Richards: Double Vision, 2019, silk, dye and cedar, 66" x 50" x 8"

About:

I am intensely attuned to the patterns in nature. In the land, I see form and energy. In my work, I try to capture these patterns, which I see as profoundly moving. I have developed a way of working that speaks to these patterns and the process is unique since the elements of nature, are creating the work.

I am a land artist. The process is site-specific: silk is laid onto the land while powder dye is introduced to create a monoprint from the land. With time and a bit of patience, I watch and wait for the right moment to blow the powder dye onto the wet silk. The results combine nature's elements: sun, water, wind, and earth. Nature has created the design, and I am taking the imprint. Once the print is made, the silk is displayed to move freely, so that the viewer can feel the energy of the work. For a moment, I wish to harness that energy- and then share it. This work is created with the same gentleness of spirit and kindness that nature gives to all of us when we slow down, sense, listen and watch.

There is a sense of tranquility and impermanence as one interacts with the work. The shapes and materials used are minimal-They create both a balanced complexity and a calming effect.

Bio:

Diane Richards (b. 1971) lives in Pottstown, PA. She is a land artist whose work brings a sense of tranquility and impermanence to our ever-changing world. Her work has a curious and pleasing balance. The process of the painted silk and sculptural elements provides equal strength and fragility, which creates a tension. This tension melds into a flowing symbiosis that creates a pattern that seems woven directly into the landscape. The ensuing result of merging subject and materials in this way is pure harmony.

Daniel Oliva: Bernhard Goetz and C.P., 2009, 2011, oil on canvas, 12" x 16" x 0.5"

About:

I explore the dynamics of power, class, and social identity through a psychological lens. Social characters interact in a field of culture, vying for status and prestige within intersecting groups. I am interested in how we identify with characters, particularly the fifteen-minute celebrities that are so prevalent in contemporary America. I choose figures whose stories exemplify my interest in identity and friction between groups, and after extensive preliminary research I will often paint them in a purposefully simple way. The portraits of subway shooter Bernie Goetz and boxer Mike Tyson holding animals suggest multiple readings: are these paintings tender, sadistic, humorous? Their tight cropping creates an intimacy of scale that overwrites our assumptions about who or what constitutes their identity, and places us nearly in their point of view. We are in a psychic space both outside and inside them. The inclusion of animals is accurate to the subject's personal story or, in works with only animals, often a way for me to extend of my study of social dynamics through animal imagery.

Bio:

I am a Philadelphia-based artist who holds an MFA from the University of Pennsylvania School of Design, Philadelphia and a BFA from the Maryland Institute College of Art, Baltimore. I am a member of the NAPOLEON collective. I have exhibited at The Galleries at Moore, Goggleworks Art Center, Pentimenti Gallery, NAPOLEON, Marginal Utility, and Bridgette Mayer Gallery. Exhibitions that I have co-curated include Immigration Now at Penn State Abington and Exquisite Form: A Fiber Invitational, at Allens Lane Art Center in Philadelphia. I am an adjunct Professor at Penn State University, Abington and Drexel University, Philadelphia, and was an undergraduate instructor at the University of Pennsylvania School of Design.

Joslyn Moore: AM I A PIECE OF SHIT?, 2019, digital illustration, 8" x 12", 2/20

About:

This work examines an introspective moment wherein a man looks at his own reflection and begins to question his role in society.

Bio:

Joslyn Moore is an artist from Philadelphia working in primarily digital illustration and photo manipulation. She often features otherworldly images characterizing nature and femininity, challenging viewers to see beyond traditional representation of these themes.

Jocelyn Gabrynowicz Hill: Kesington Tracks, 2017, assemblage, 36" x 12" x 1"

About:

The drama of Kensington. Set against the backdrop of the railroad. The railroad that informs and shapes the landscape.

Bio:

Jocelyn lives and works in Philadelphia.

Charlie Cunningham: Coronation of Emil Antonowsky, 2016, polymer clay, acrylic, and enamel on panel, 12" x 10" x 3"

Courtesy of Orchard Art Collective

About:

My work invokes contradictions within subjects both dubiously humorous and revolting. These objects attempt to catalyze the viewer's awareness of humor's underappreciated power, a power contingent on repulsion. Humor's duality of menace and enlightenment is my fascination. I feel humor's multifaceted capacity is often overlooked. This dualism embodies the irony of our own mortal futility. Given our inevitable perishing humor seems itself a cruel joke, or possibly a fundamental necessity for carrying on. We constantly battle forces beset on our destruction, to revert us back to the collective primordial ooze from which we sprang. All are victims of cruel circularity from birth to death. My art portrays this defining human condition with a comedic and grotesque flair. Utilizing campy motifs and visceral materials it searches for humorous optimism in mortality and satirizes the perverse nature of our destruction, both at the hands of time and each other. I see my work as an exploration of our duplicitous existence, ever in awe of the unanswerable irony we find ourselves born into.

"The Coronation of Emil Antonowsky" is an homage of the death of the fictional character in 1987 film Robocop. Emil is a criminal henchman who is dowsed in industrial waste and run over by his cohorts. This scene in the movie has always intrigued me because of it duplicitous nature. I always found my self gleefully cheering on the carnage even though its obvious horror. This sculpture celebrates this cult phenomenon.

Bio:

Charlie Cunningham is an artist originally from Connecticut who currently works in Philadelphia. Charlie received his BFA in painting from Lyme and Academy College of Fine Art and went on to attend The Pennsylvania State University for an MFA in Sculpture. Charlie exhibits his work throughout the country and has been featured at the Governor's Island Art Fair in NYC, Burlington City Arts, and The Delaware Contemporary Art Museum. He is also the recipient of several awards and honors including a Teton Artlab Residency, Governors Island Residency, Rasquache Artist Residency, and the Penn State University Creative Achievement Award. He currently teaches at Tyler School of Art and Saint Joseph's University. He is also the co-founder of the Orchard Art Collective in Frankford, Philadelphia.

Anna Boothe: Chalice, 2019, lead crystal, 15.5" x 3" x 3"

About:

"Chalice" is from a series of small sculptures that are inspired by the talisman-like objects that people collect. I'm interested in iconic forms that are culture specific and also those that transcend societal borders.

Bio:

With degrees in sculpture from Rhode Island Scool of Design and glass from Tyler School of Art, Boothe has worked with glass since 1980. Her work is included in the permanent collections of the Corning Museum of Glass, Racine Art Museum (WI) and Tacoma Museum of Art and has been shown internationally at numerous galleries and at museums in Taiwan, Kentucky, Massachusetts, Montana, New Jersey, New Mexico, Wisconsin, and Wyoming,

Recently, Boothe has exhibited in Albuquerque, Chicago, Nashville, New York City, Princeton, Stamford, Toledo, Washington DC and Vicenza (Italy) as well as in Philadelphia at the PHL Airport, Art Alliance, City Hall, InLiquid and Wayne Art Center, with future exhibits scheduled at the Racine Art and Fuller Craft Museums (MA).

When exhibiting for the first time in each the Smithsonian, Philadelphia Museum of Art and American Craft Council's Baltimore craft shows, she received "Best of" awards.

Boothe taught at Tyler for 16 years, helped develop Salem Community College's (NJ) glass art program and has lectured at many schools and universities, some that include the Studio of the Corning Museum of Glass, Urban Glass, Pilchuck Glass School, Illinois State, RISD, Rochester Institute of Technology, University of WI, Virginia Commonwealth University and venues in Belgium, Israel, Japan, Switzerland and Turkey.

Boothe served as President of the Glass Art Society and is a former Director of Glass at Philadelphia's National Liberty Museum.

Deborah Caiola: The Artist, 2019, mixed media painting, 24" x 18"

Bio:

Deborah Caiola is a working artist and teacher living in Philadelphia PA. She has shown in Philadelphia and New York City, and her work is collected worldwide. A teacher at both the college and high school levels, Deborah is currently the chair of the Visual Arts Department at the Friends Select School in center city Philadelphia. She holds a BA in cultural anthropology from Saint Mary's College, Notre Dame Indiana and a certificate in painting from The Pennsylvania Academy of the Fine Arts.

Look for her exhibition, Muses, Guardians, and Saints, in the Inliquid Gallery in the Crane Arts Building in March 2020.

David Graham: Marilyn Monroe, Palisades Park, NJ, 1991, chromogenic color print, 31" x 30" x 1"

About:

I photograph the American cultural landscape as well as Americans themselves. This print is from "The Land of the Free".

Bio:

Work is held in the permanent collections of the Museum of Modern Art, Philadelphia Museum of Art, San Francisco Museum of Modern Art, Art Institute of Chicago, Princeton University of Art, Houston Museum of Fine Art, International Center of Photography, NYC. Eight monographs including "American Beauty" and "The Land of the Free", Aperture, "Only in America", Knopf. Professor at the University of the Arts.

David is represented by Laurence Miller Gallery, NY, NY; Etherton Gallery, Tucson, AZ; and PDNB Gallery, Dallas, TX.

Gregory Brellochs: Coreum I, 2018, graphite on paper, 18" x 18" x 1.5"

About:

I find that the immediate and direct process of drawing serves as a means by which I can meditate on the fundamental nature of things. I see image-making as a way of creating not just a physical relationship to concepts, but a sensual and emotional one as well. I want my work to be felt, not just experienced. I want the concepts that I am exploring to resonate with the viewer on a basic visceral level. Like Niels Bohr's self titled model once served to make the concept of an atom's structure visually and conceptually accessible, so too am I interested in employing my art and the process of drawing as a way of visualizing and graphically realizing concepts which speak to a layer of reality beyond the senses, bringing such concepts back into a world of physical relationships that we can more readily relate to and grasp.

Bio:

Gregory Brellochs is a Philadelphia based artist, Professor, and the Visual and Performing Arts, Chair at Camden County College in Blackwood, New Jersey. Brellochs' work has been recognized through awards such as the 2018 Meyer's Family Award for Contemporary Arts, Center for Emerging Visual Artists CDP Fellowship, The Wind Challenge Exhibition Series at the Fleisher Art Memorial, and the William D. Davis Award for Drawing at the Art of the State Exhibition in Harrisburg, PA. Brellochs earned his B.F.A. from the Massachusetts College of Art in Boston, and an M.F.A. from the Pennsylvania Academy of the Fine Arts in Philadelphia.

John Howell White: Shower, 2009, watercolor, 17" x 13" x 0.75"

About:

Paintings inhabit the world in ways, through time, reference, and ambience, that are distinct from the workings of film and photography. Even realistic paintings hover about unattached to their referents. Paintings then, like ghosts, confront viewers through their impact and haunt them through excluded information, they conjure an absence, which ferments attachments and invites future visitations.

Bio:

John Howell White has been a practicing artist for over 40 years. His work, in oil, acrylics, egg tempera, and watercolor, has generated paintings that grapple with the interplay of cognition, sensation, and affect. He has recently shown at: The Works Gallery (2019), NYC; Archer Law Gallery 35 (2019), Philadelphia, PA; Provincetown Art Association and Museum (2018), Provincetown, MA; In-Liquid (2017), Philadelphia, PA; Jefferson Hospital (2017), Philadelphia, PA; , The Cotuit Center for the Arts (2016), Cotuit, MA; and Maryland Hall (2014), Annapolis, MD. His studio is currently based in Philadelphia.

Lauren Lyons: Matt, 1997, photography/archival pigment print, 33.5" x 45" x 2"

About:

This vintage photograph of Philadelphia singer/songwriter, Matt Sevier, was the first portrait I'd ever taken. If you'd like to know more about the photo shoot, please visit my website and read the blog post titled, "Missed Opportunity."

Bio:

Philadelphia based photographer, Lauren Lyons, has been honing her craft since 1997. Originally, a photographer in the music business, Lyons blends her photography skills with her love of music. Her client list has included Interscope Records, HBO, PETA, Philadelphia Magazine, and Philadelphia Style Magazine. Most recently, Lyons has launched a new blog which is planned to be heavily rock and roll inspired. She resides in Philadelphia and spends her summer months in Quogue, New York with her tennis pro/musician husband.

Barbara Straussberg: Dots/Orange Burst, 2011, mixed media acrylic on paper, 32" x 31" x 1"

About:

As an artist, my materials and how I use them, are the essence of my art. I am always looking for new ways to apply the paint. Painting and drawing work in unison to form a complete and truthful painting. The act of painting is a personal journey to find out how I can more fully express my response to my surroundings. Subconsciously, I draw from nature and the world around me to record in a personal language what I see and feel through paint. Color is my primary form of expression, but I also rely on line, form, surface texture, pattern and collage.

Bio:

Barbara Straussberg is an abstract painter and paper artist. She has exhibited her work nationally and internationally in galleries and museums including the Delaware Art Museum, Woodmere Art Museum, the Lawrence Gallery at Rosemont College, and Thos. Moser Cabinetmakers. Her acrylic paintings and works on paper are included in many private, corporate and museum collections such as the Biggs Museum of American Art, Fox Rothschild, and Brandywine Realty Company. She received her Bachelor of Arts degree at the University of Pennsylvania with a Distinction in Art History, and graduated from the Pennsylvania Academy of the Fine Arts with a concentration in painting and printmaking. Her studio is located in the Norristown Arts Building, a vibrant collective of artists' studios and galleries.

Stephen Haigh: invite, 2016, mixed media on denim, 24" x 48" x 2"

About:

The city environment around us is alive and each piece of it has its own unique story to share, if we look, if we listen. My current painting work explores the seemingly chaotic nature of these occurrences, while trying to contain, mask and organize its energy. I seek a balance of organic gesture, contrasted against what has been designed. Like the city around me, my pieces move in similar stride, collecting, sharing, and reveling layers of stories while somehow finding a comfort in the uncertainty of where and how it ends.

Bio:

A Philadelphia born artist, whose paintings pull influence from the textures, personalities, designs and stories gathered by urban design and weathered walls from the surrounding city landscape. Stephen has long been attracted to the rusted, decayed and worn surfaces that wear the marks of life. The stories they collect and the personalities they share are authentic. The walls, he believes are the diaries of the city.
As a kid growing up in Philadelphia in the 1980's and through the 1990's, drawing and airbrushing were of primary interests. Stephen was also drawn to the expressive mark making and energy of graffiti and the murals that colored city surfaces in those years. A commercial art major, at a city vocational and technical high school brought the practice of poster design, sign lettering and advertisement layout to his artistic interests.
While studying design in his early years at college, Stephen explored different ways of using script and text in his work, while maintaining an interest in traditional mediums of collage and assemblage. Stephen started exploring these mediums more and started painting as a departure from the intensive computer work that comes with studying graphic arts. The collage, assemblage and paintings weren't as rigid, as the hours spent designing at the computer. An idea to combine the formal and geometric aspects with the raw emotion and energy in painting and graffiti started to take shape. Layering with discarded items, advertisements papers and paint transparencies, brought an elated feeling that better expressed his interest as well as the desire for the intimate and visceral aspects that came with the development of each piece.
Concepts dealing with time, decay, construction, change, and reflection, as well as the commentaries about them followed in the work. An obvious attention was closely given to the "living" environment and the design of such as the inspiration in his work. Stephen now lives in Bala Cynwyd with his wife, son, dog and cat. He works as a cement mason while painting and illustrating out of his studio in the Fairmount section of Philadelphia.

Diane Pieri: Sunday in Varanasi, 2015, painting, 23" x 33" x 2"

Courtesy of Cerulean Arts

About:

I consider myself a Symbolic Abstractionist, incorporating meaningful symbols into fields of abstraction. For over 25 years, I have been deeply immersed in the almost unearthly beauty of Indian miniatures. I was solely inspired through books until I was awarded a 2012 Independence Foundation Grant to travel to Northern India, the wellspring of my desire to create beauty in the everyday world.
My paintings are translations of and reactions to gorgeous marble inlays, breathtaking landmarks, delightful Indian folk images and intensely colorful experiences from this pivotal trip. Being in India took me way beyond printed images. Intimacies of India, Phases of the Sun, Still Life Gardens and Intimate Whispers weave meaning, symbol, color and purposeful design into my need to offer beauty in the everyday.

Bio:

Diane Pieri is a Visual Artist who received a BFA from Temple University's Tyler School of Art in 1969. She has had 31 solo exhibitions and been included in 210 national and international group exhibitions since 1969. She has been the recipient of two Pollock-Krasner Grants (1999/1992), two Independence Foundation Fellowships in the Arts (2001/2011), a Pennsylvania Council on the Arts Grant (1992). She was included in the 2005 Philadelphia Invitational Portfolio, Philagrafika. She has been a fellow at Yaddo (1991) and The MacDowell Colony (1990). In 1990 Pieri was also an Artist-in-Residence at Mark diSuvero's Socrates Sculpture Park where she created a 15 ft. sculpture made of rusted and gold leafed can lids. In 2006 Pieri's public art project, Manayunk Stoops: Heart and Home, a series of 9 seating elements fabricated in Italian tesserae, was installed along the Manayunk towpath through the Association for Public Art's New Land Marks Program. Since 2001 Pieri has completed 12 murals working with Philadelphia's Mural Arts Program. Since 2008 she has completed 7 murals in an elementary school in College Station, Texas. In 2005 Pieri founded the Cooke Museum of Art, modeled after the Philadelphia Museum of Art, at the Jay Cooke Elementary School in North Philadelphia.
Pieri has been a Teaching Artist at the Philadelphia Museum of Art for 21 years. She also taught for 4 years for The Barnes Foundation.

Keryn Huang: Ovis Aries, The Source, 2006, archival digital C-print, 20" x 24" x 2"

About:

I shoot with infrared film because it allows me to capture a scene in a particular way - infrared is sensitive to the invisible light spectrum and its recorded effect can bring forth a quality to the air that is seemingly diffused or atmospheric. I seek find and transmit the essence of a landscape in my studies, along with the balances and geometries within nature. This shot was taken on the Normandy coast of France; many sheep surrounded yet only one remained at "The Source" - water.

Bio:

Keryn Huang was born in Colorado. She has been exhibiting for over 10 years beginning in Italy where she lived prior to moving to New York and where she currently lives. She has exhibited in Europe, Mexico, New York and Miami. Her landscape and still life photographs focus on the natural world. Vast landscape is the inspiration for much of her work which is rooted in the rich and very terrain of the western United States. She favors natural light to evoke nature's power, the effect of atmospheric changes on light.

Tremain Smith: We Are Here, 2019, oil, wax & graphite on paper, 30" x 22"

About:

My artistic concerns center on portraying physical and spiritual beauty through the elements of painting. The lines, shapes and colors are mappings of the unseen as I visually explore internal landscapes.

"If you live by inspiration then you do what comes to you." This quote from artist Agnes Martin has led me my entire career. I let the process take over, guiding and absorbing me. I take risks by expressing emotion and freedom in mark-making while simultaneously finding wisdom in structure and restraint. Both convey my concern for exploration, discovery, and healing through the language of painting.

I have recently made public my practice of responding to my paintings with writing, thus my creative process now combines both languages. The writing spontaneously explores what is mined in the painting.

We Are Here

We communicate in this place
this space
No words
just presence
silent
intense
hidden
We are here
all swirls around us
through us
in us
The never ending play of space
Full + thick
strange + confusing
it doesn't matter
We are here

that's what matters

Bio:

Tremain Smith has four works in the permanent collection of the Metropolitan Museum of Art in New York. Her work is in corporate and private collections across the country. She has had dozens of solo exhibitions in New York, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, Maine, Delaware, Florida and Hawaii. Group exhibitions include SOFA Chicago, Art Miami, the Painted Bride, the Philadelphia Art Alliance, and the USArtists American Fine Art Show.

Henry Bermudez: Nocturne, 2019, acrylic paint, paper, 12.5" x 27" x 5"

About:

I am an American contemporary artist born in Venezuela in 1951. Emerged from the Caribbean tropics, my artistic life has been an unexpected hybrid of ideas informed by an acute sensitivity to the past, stenciled as part of a personal inventory onto different foreign places that throughout my life have become my home and my artistic working territory.
My paintings are steeped in mythical dream imagery within an otherworldliness of carefully constructed creature and plant forms. Further defined by my identity as a Latino, my visual itinerary combines symbols and myth from ancient pre-Hispanic cultures charged with powerful influences from Judeo-Christian and Afro-Caribbean religions, and further melds these with the iconography of western contemporary art. This blend of cultural diversities is my autobiographical vision that further defines itself through immersion into societies other that the one I was born into. It is my hope that my art can transcend timelines and national boundaries as I join magical dimensions of symbols with supposed western rationality.

Bio:

Henry Bermudez's interest in the visual representations of cultures and mythologies have appeared in his work in varying forms during his career. A journey of geographical, artistic and human observation has taken him from educational experiences in small isolated communities in the Caribbean up to representing Venezuela in the Venice Biennial. His artistic work transcends timeline and national boundaries.

In the Venezuelan coastal Afro-Caribbean community of Borbures, religious and social syncretism provided a unique vision of the African Diaspora in the Americas with its symbolism and iconography. These were his first impacts in the process of breaking from the formalities of mainstream styles learned in school. With these early experiences came the desire for new forms of expression.

Mr. Bermudez attended the National Schools of Art in Venezuela and was awarded a scholarship to the National School of Art "La Esmeralda" in Mexico City. He also studied at New York City's Art Student's League, as well as in Rome. He was selected to be the Venezuelan representative for the 1986 Venice Biennale. His work has been included in many exhibition catalogs such as the X International Print and Drawing Exhibition of China as well as in books on the subject of Venezuelan art.

Lyn Godley: Looca, 2019, LED's, crystals, dichoric film, mylar, 7" x 6.5" x 1.75"

About:

Animated light box on rocking base.

Bio:

Lyn Godley began her career working with light in Fine Arts. Since then her work has crossed the borders of interiors, product, furniture, lighting, and jewelry. Her designs, done both individually and as partner of the design team of Godley-Schwan (1984-1998), have been exhibited internationally. Her work is in numerous museum and private collections. In 1998, after the closing of Godley-Schwan, Godley returned to Fine Art with a focus on merging light and art.

"Color, color, color, pattern, and shape" These terms were once used to describe the design work of Godley-Schwan. Those descriptions could also accurately be applied to the independent work of Godley, who for the last two decades has devoted her efforts to an investigation of light as an artistic medium.

Lyn Godley's work is not about a particular style, but rather about an approach driven by an exploration of the qualities that emerge as light is reflected and diffused, as light interacts with materials, and as viewers experience a dialogue with these affects.
This process is grounded in Godley's love of making, which is driven by the tactile quality enjoyed through her manipulation of materials. Although technology plays an important role in Godley's work, she continues to combine that with traditional artistic medium; watercolor, pastel, charcoal, etc. Her sensibilities result in delicate adjustment of medium and materials in response to light as it travels through or is reflected off of their surfaces. This work is made through the animation of LEDs, not computer rendering. This grounding in material studies, extended into electronics and circuitry, is further enriched through her research into the psychological and physiological effects that imagery, light and color have on the viewers.

Lyn Godley: Wondera, 2019, LED's, crystals, dichoric film, mylar, 7" x 6.5" x 1.75"

About:

Animated light box on rocking base.

Bio:

Lyn Godley began her career working with light in Fine Arts. Since then her work has crossed the borders of interiors, product, furniture, lighting, and jewelry. Her designs, done both individually and as partner of the design team of Godley-Schwan (1984-1998), have been exhibited internationally. Her work is in numerous museum and private collections. In 1998, after the closing of Godley-Schwan, Godley returned to Fine Art with a focus on merging light and art.

"Color, color, color, pattern, and shape" These terms were once used to describe the design work of Godley-Schwan. Those descriptions could also accurately be applied to the independent work of Godley, who for the last two decades has devoted her efforts to an investigation of light as an artistic medium.

Lyn Godley's work is not about a particular style, but rather about an approach driven by an exploration of the qualities that emerge as light is reflected and diffused, as light interacts with materials, and as viewers experience a dialogue with these affects.
This process is grounded in Godley's love of making, which is driven by the tactile quality enjoyed through her manipulation of materials. Although technology plays an important role in Godley's work, she continues to combine that with traditional artistic medium; watercolor, pastel, charcoal, etc. Her sensibilities result in delicate adjustment of medium and materials in response to light as it travels through or is reflected off of their surfaces. This work is made through the animation of LEDs, not computer rendering. This grounding in material studies, extended into electronics and circuitry, is further enriched through her research into the psychological and physiological effects that imagery, light and color have on the viewers.

Alexandria Nazar: Almost Matching, 2019, oil on canvas, 17" x 16"

About:

My work deals with meditations on the space between gestures. How can painting capture an imprint of something that happened without notice? These actions are linked to both the mundane and the urgent, both making a meal you've made a hundred times before and a physical violation. Using the nebulous space of memory and repetitive motion I reverse the role of the object and use it as a proxy to implicate the body. I aim to understand ideas of agency and infliction through these intentionally complicated relationships. Through an examination of the personal and the corporeal I can explore simultaneous ways of understanding.

Bio:

Alexandria Nazar is an artist based in Philadelphia, PA. She is a MFA candidate in the Painting department at the Tyler School of Art and Architecture and has shown her work at Information Space in Philadelphia, PA, the Dorchester Art Project in Boston, MA, the Kathryn Schultz Gallery in Cambridge, MA, Gallery 263 in Somerville, MA and Onkel Olga's Atelier Odense, Denmark. She has also attended artists residencies at MASS MoCA, the Chautauqua School of Art and Gæsteatelier Hollufgård.

Lauren Mabry: Composition of Enclosed Cylinders 20.01, 2020, red earthenware, slips, glaze, 15" x 21" x 5.5"

Courtesy of Pentimenti Gallery

Bio:

Originally from Madison, Wisconsin, Lauren Mabry lives and works in Philadelphia, Pennsylvania. Her ceramic work is internationally known for its bold, expressive glazes. In 2015, she was chosen as a Pew Fellow in the Visual Arts, a national-level award, in recognition of artistic achievement and excellence. In recent years, she has been included in exhibitions in museums and established galleries in including Daum Museum of Contemporary Art (Sedalia, MO), Fuller Craft Museum (Brockton, MA), Nelson Atkins Museum of Art (Kansas City), Pentimenti Gallery (Philadelphia), Ferrin Contemporary (North Adams, MA), and Mindy Solomon Gallery (Miami). Further, she has completed residencies at Jingdezhen International Studio in China and Gaya Ceramic Art Center in Bali, among others

Charles Browning: New Frontier, 2017, oil on canvas, 30" x 26" x 1.5"

Courtesy of Schroeder Romero

About:

I paint in oils, playing with art-historical styles. In my paintings there is an interplay of Art and History, humor and brutality, sincerity and irony, narrative and allegory. My work aims to puncture the propaganda of American frontier mythology and comment on race, gender and power in American history.

Bio:

Charles Browning received his BFA from The California College of the Arts and his MFA from New York University. He is represented by Schroeder Romero gallery, NYC. His work has been included in shows and art fairs nationally. He is Visiting Assistant Professor of Painting at the University of the Arts in Philadelphia.

Andrew Cameron Zahn: X'Cambo: Micaela, 2017, digital media: archival ink on heavyweight paper, 16" x 20" x 2"

Courtesy of CRUXspace

About:

This piece was created a part of a large scale, site specific video installation:
August 19th, 7-9 pm at CRANE ARTS, Gray Area Gallery,
1400 N American St, Philadelphia, PA 19122

-X'Cambó is a multi-channel interactive video installation and print series dealing with the interaction of humans and nature over time.

-After being asked by Mina Zarfsaz (a curator, artist, and professor at Temple University) to be in my first solo exhibition - This new work, X'Cambó is a large scale, site-specific video installation being show at The Crane Arts building on Saturday, August 19th, 7-9pm. The opening reception event page is here.

How The Project Came About:

-For the past year I have been collecting and documenting video, stills, and audio from remote areas in Mexico, Canada, and the USA.

-After two other successful Kickstarter projects: The Darkening of Spaces and Hack Philly, I have decided its time to make a new body of work - X'Cambó is a culmination of this work - I will be showing both this video installation and also a series of prints.

-The funds raised from this project will go towards the large expense of building an installation of this scale and complexity.

Bio:

Andrew Cameron Zahn is a digital designer, artist, and curator based in Philadelphia. Working at the intersection of New Media art and design, his projects include working with Penn Medicine, The Philadelphia Inquirer, The American Cancer Society, Swoon Studio, Jefferson University, The Energy Coop, The University of the Arts, Organizing Corps 2020, Skai Blue Media, Villanova University, and U.S. Women In Nuclear, among others.

Founding Cloud Shop Studios in 2014 with work including web design and development projects. Recent fine art projects include a solo exhibition X'Cambo, at Gray Area Gallery. Curatorial work includes his founding of CRUXspace, Philadelphia's only New Media art gallery.

Zahn was educated in New York at the Pratt Institute. He earned his B.F.A. in Multimedia and holds an M.F.A. in studio art sculpture from the University of the Arts.

Janusz Kawa: Time & Light, 1995, photography, 20" x 24" x 2"

About:

This photograph was taken in Mexico, Chiapas

Bio:

Janusz Kawa was born in Warsaw, Poland. Studied photography and film at The Art Institute of Chicago in USA. Afterwards he moved to Paris, France where his photographs began appearing in major world publications such as French Vogue, Cosmopolitan, Australian Vogue American GQ, New York Times Magazine and Interview.

Since then he has moved throughout the world as professional photographer capturing the essence of people through portraits from world-renowned artists such as Morgan Freedman, Luciano Pavarotti, Ann Sophie Mutter, Louise Bourgeois, Daniel Day Lewis among others. During that

time his personal work included projects from India to Morocco and Mexico. The thread running through much of his personal work shows the nomadic spirit of people similar to his own way of life.

He also teaches photography at The School of Visual Arts (SVA) and International Center of Photography (ICP) in New York

He has shown his work internationally in Mexico City, Paris and New York City where he is currently based.

Daniel Shepelavy: ONLY PAPER IS ARCHIVAL, 2015, photography, 16" x 24"

About:

ONLY PAPER IS ARCHIVAL is among an ongoing series of impromptu vignettes of mannequins entitled "Jane of the Waking Universe".

Bio:

Artwise, I work in gouache, watercolor, & graphite - along with collage & photography. It's all usually some cocktail of realism, abstraction, glamour & technology - spiked with pulp, eros & melodrama.

Daniel Shepelavy: TELLING LIES KEEPS MY TEETH WHITE, 2015, photography, 16" x 24"

About:

TELLING LIES KEEPS MY TEETH WHITE is among an ongoing series of impromptu vignettes of mannequins entitled "Jane of the Waking Universe".

Bio:

Artwise, I work in gouache, watercolor, & graphite - along with collage & photography. It's all usually some cocktail of realism, abstraction, glamour & technology - spiked with pulp, eros & melodrama.

Richard Ryan: Tectonic Series: Spruce Inch, 2006, archival pigment print mounted on Dibond, 30" x 30"

Lindsay Sparagana: Las Salineras de Maras, Peru, 2019, inkjet print, 18" x 24"

About:

This photograph is a double exposure made in camera of salt mines in Maras, Peru, that pre-date the Incans.

Bio:

Lindsay Sparagana (born 1983, Reading, PA; lives in Philadelphia) earned a BFA from the University of the Arts (UArts), Philadelphia and an M.Ed from Tyler School of Art and Architecture, Temple University, Philadelphia. Sparagana has worked collaboratively with many diverse communities, in Philadelphia and as far away as Costa Rica, Mexico, Nicaragua and Peru, to facilitate art making. Her work has been exhibited nationally and internationally. Sparagana is The Print Center's Artists-in-Schools Program Coordinator. She is also a Master Lecturer in the Photography Department at UArts and an adjunct faculty member in Community Arts Practices at Tyler School of Art and Architecture, Temple University.

Ara Zeibarian: Love & Peace (or else), 2019, pastels, glue, 2 canvases, 11" x 11" x 2"

About:

In this body of work the artist explores his relation to northern European art and ties it in to his American life and Armenian heritage to bring it closer to him and his interests. Love and Peace (or else) is a U2 song that he sees as relating to the middle east and all the nonsense of life there today. Hoping to draw European solidarity to the region the artist made the work on two canvases with it being top heavy ( hence Northern Europe) also representing the mind over the body.

Bio:

Ara Zeibarian was at Tyler school of art when Neo-Expressionism was all the rage, his work matured in 1997 after witnessing the Mondrian retrospective at the MoMA in 1995. He lives and works in Upper Darby and is looking for gallery representation.

Marianne Lovink: Pattern Play, 2019, wood, pigment, 5" x 7.5" x 1.25"

About:

With this newest series of work I have been exploring the relationship between sculptural form and its embellishment. This is not unusual for me, but in the past I have resisted the urge to fully explore this interest. I have always been fascinated with the visual language of mark-making throughout millennia - and its complexity, variety, and pervasiveness across all cultures.

This timeless preoccupation with the endless expressive possibilities of repetitive motifs - and the subsequent effect of positive and negative space has had a growing influence on my work. I am particularly interested in how a specific motif can conform but also resist the underlying sculptural form, creating a visual tension that enlivens the eye.

Bio:

Marianne Lovink is a Philadelphia-based sculptor, born in North Carolina and raised in Canada. She has an extensive exhibition history in both public and commercial galleries and has participated in Art Fairs in Canada, the United States and Europe. A recipient of numerous arts council grants, she has recently completed several large-scale site-specific Public Art projects in both Philadelphia and Toronto. Her works can be found in both public and private art collections. She is a past member of the Royal British Society of Sculptors, a current member of Philadelphia Sculptors, and is represented by Olga Korper Gallery in Toronto, ON and Jennifer Kostuik Gallery in Vancouver, BC.

Pamela Tudor: Green and Rust (Hard Rain's Gonna Fall 1), 2016, digitally pigmented print, 17" x 21" x 2"

About:

This piece is the first in a series called "Hard Rain's Gonna Fall". I paint oversized, close-up raindrops, from icy ones to colorful/blue green ones to hard-edged ones.

My connection to the earth and how we are destroying our planet and harming people, places and species preoccupies me. I have been painting this concern for a while - in a series I call Mother Earth, so ravaged now by rising global temperatures and sea levels, melting ice, and torrential rainfalls. The beauty and desecration of our one-and-only, amazing, sacred home are my themes.

We still have much to cherish in our world, and much beauty. I hope to express that in my work, using color, expressive form, subtle imagery and deep feeling. It is my way of communicating, in the language of art, that we must pay attention, band together and say "yes" to being true stewards of our mother planet, our Earth.

Bio:

Pamela Tudor is a painter and creator of three-dimensional shadow boxes. She works in acrylics and mixed media. Her expressive paintings focus on concerns about climate change and our beautiful planet. After receiving an M.A. in Applied Psychology from New York University, she attended art school for four years- the Art Students League of NY and the New York Studio School. Pamela has shown at the Pennsylvania Academy of Fine Arts, the Fairmount Waterworks, the Marriott at the Philadelphia Navy Yard, the Noyes Museum in Oceanville, NJ, the El Paso Museum of Art, and the Emerging Collector Gallery in NYC. Her work is in private collections in NY, NJ, Philadelphia, Miami and Los Angeles.

Summer Yates: Mirror Mobiles, 2019, found mirror (sanded), mirror mastic, steel fishing wire, 12" x 12"

About:

My work is about my experience as a woman…. the intimacy of light and emanating color within, and my eagerness to expose it. I crave versatility in objects and I'm attracted to materials that are strong yet flexible like myself. How far can I push until it unravels, what's the breaking point? A physical approach to creating feeds my rhythmic appetite and results in the appearance of a visual dance, a romp between myself and my work. My muse, often inaccesible, inspires my use of colors, objects or symbols that warrant caution while also inviting you in. I allow a sense of interpretative mobility in my work, a door left ajar.... just enough visual information to recognize an image or a mood and experience it in your own memory. In a dream-like fashion, not only do seemingly incompatible parts fit together, but their potency relies on their close proximity to one another. Every work tells a story, but doesn't resonate as just one thing. Both familiar and enigmatic, each time you look, you see something new.

Bio:

Summer expresses her personal history visually through a prolific body of work that includes painting, sculpture, and installation. She spent her childhood drawing all over her bedroom walls, getting lost in nature, and passionately studying and performing classical ballet. Her love for "the stage" later influenced her decision to work as scenic/mural painter professionally while continuing her own artwork in the studio. Summer received her BFA while on scholarship at Moore College of Art and Design in Philadelphia. In 2005, she also received a scholarship from The Pennsylvania Academy of The Fine Arts to pursue her MFA. During this time she began her ongoing "mirror mobile" project which recalls her experiences of repetitive "perfecting" of her body in front of a mirror as a dancer. Summers paintings and installations have been exhibited at prominent institutions in the Philadelphia area including, The Independence Seaport Museum, Rowan University, and The Kimmel Center for The Performing Arts. In 2015 she was invited to exhibit her work in the UK as the only American artist to be part of a curated exhibition, "A Moving Identity" in response to the ongoing refugee crisis. Currently, Summer works as a full time artist and lives in Bucks County with her husband, who is a pianist, and her children Viola and Indigo. She is deeply influenced by the nature and music that surround her. Summers most recent work reflects her journey as a mother, and her inquiry into female identity.

Steven Baris: Nested Form #8, 2011, acrylic on plexiglass, 13" x 13" x 1"

Courtesy of Pentimenti Gallery

About:

I am drawn to spaces that are engineered to be placeless-from interiors to landscapes-spaces that are highly disorienting and are precisely designed to be passed through as quickly and efficiently as possible. Think airports, expressways, and lobbies. Lately I've been frequenting similar kinds of spaces, no less enigmatic and no less banal: those sprawling tracts dotted about the edges of cities and suburbs, characterized by the clotted networks of expressways and county roads and, most importantly to me, those massive, horizontal structures variously called distribution centers or logistics centers.

Bio:

Steven Baris received his MFA from Tyler School of Art in Philadelphia, PA. He studied at the Evergreen State College in Olympia, WA and at Instituto Allende, San Miguel de Allende in Mexico. Baris has exhibited widely in the US and internationally, in museums and institutions. He is represented by Pentimenti Gallery in Philadelphia.

Sandra Benhaim: Frozen Cascade, 2017, oil, pigment stick and oil pastel on wood, 30" x 34"

Bio:

Sandra Benhaim is a Philadelphia based painter, working in oil, mixed media, and collages. After working representationally for many years, "little pieces of landscapes" began to mix in her artwork with pure abstractions of color and texture. Lately, she has created mainly abstract images, expressing in unabashed and exuberant color her passion for nature. Sandra, born and raised in Philadelphia, attended Tyler School of Art (of Temple University) on a full-paid four year scholarship, earning a Masters as well as a B.F.A. from Tyler. She additionally studied at the Pennsylvania Academy of the Fine Arts and the Fleisher Art Memorial. During the 20 years following her Tyler education, Sandra was an art specialist teacher in Philadelphia's public schools and other places. During that time and through the present, she has explored her creative side and applied her passion for art by participating in dozens of local and national juried exhibitions.

Her artwork has been exhibited locally in the Philadelphia area, and nationally from as far as Washington State to New York to Florida. Sandra's expressive and colorful paintings are in private collections and in public collections, such as the PNC Headquarters Tower in Pittsburgh, PA; Mondrian Investments (Philadelphia office); Bryn Mawr Dermatology offices in Villanova, PA; Corporate Offices in Conshohocken, PA. She is a member of Cerulean Gallery's Cerulean Arts Collective in Philadelphia, PA.

Emily Brett Lukens: Untitled Drawing, 2002, acrylic, collage, rubbing, encaustic, 18" x 17" x 1"

About:

My work is about texture. I use resources from nature to create rubbings on thin papers. I use these images to collage and paint mixed media works that represent close-up and far away views of the earth. In my work, time is an element, and I am interested in reconfiguring the ancient, bringing it into a contemporary context. The non-representational images are made by combining oil paint stick, acrylic, graphite and sand. I generally produce 4 to 8 images related to one subject. When exhibited the assemblages reinforce a common theme.

Bio:

Emily Brett Lukens is a painter and printmaker living in Philadelphia, Pennsylvania. In her prints and mixed media works on paper she uses short staccato marks to create tension and texture, evoking the surfaces and organic forms found in nature.
She often adopts the mark making of nature, marks such as tree rings that may appear random and are not always symmetrical, and takes them a step further, manipulating the medium to create her own images. Other works reference patterns or surfaces in the environment.
After graduating with a MFA from the U of PA, Brett Lukens taught Printmaking at the Pennsylvania of the Fine Arts, U of PA graduate school of Fine Arts, and Moore College of Art and Design. At Bucks County Community College she taught Painting, Drawing, Color Theory and Design. Currently, she is teaching drawing and painting at the Samuel S. Fleisher Art Memorial.
Her work is in the collection of the Philadelphia Art Museum, The Kellogg Center, Michigan State University, West Chester State College, corporate and private collections. She has been exhibiting her work since the 1980's.

Gilvan Nunes: Remember, 2010, 1 of 2 serigraphy prints on Arborio paper, 19" x 27" x 1"

Bio:

Gilvan Nunes is a Brazilian artist, currently living and working in the Philadelphia area.

Gilvan Nunes: Everyday, 2010, 2 of 2 serigraphy prints on Arborio paper, 19" x 27" x 1"

Bio:

Gilvan Nunes is a Brazilian artist, currently living and working in the Philadelphia area.

Brent Crothers: Two Into One, 2009, wood, 18" x 10" x 10"

About:

Don't we all want to express something about this world we find ourselves living in? I'm not a writer, so what I do to voice my concerns, my dreams, and my questions is to wrestle, rip, stack, bend, wrap, tie, bind, burn, hang, pile, cut, chisel, nail, solder, weave, bolt, drill, beat, and grind materials in such ways to create sculptural forms that have their own stories to tell. These pieces are part of a searching dialogue between me and the world. At the root of this work is a respect for nature and all the materials that surround us. More and more I'm incorporating unappreciated and discarded materials, transforming them into small communities to create forms and giving the materials new life.

In my art I've come to believe that there can be no separation between humanitarian, social, political, and environmental issues. We need creative thinking in every aspect of our lives today more than ever.

Bio:

Sculptor Brent Crothers has been working professionally for over 30 years from Stoney Forest in Harford County, Maryland where he built his own home and studio. He earned his MFA and BFA from the Maryland Institute College of Art in Baltimore.

Brent Crothers' sculpture is featured in many permanent collections including: The Corcoran Museum of Art, The Hechinger Collection, Anthropologie, Urban Outfitters and The Delaware Art Museum. He was selected as a semi-finalist for The Sondheim Prize in 2010 and 2012. Crothers has also received six Maryland State Arts Council Individual Artist Awards, most recently in 2017. He was awarded a Baker Artist Award b-grant in 2012 and the Mary Sawyer Baker Prize in 2014. In 2016, Crothers received a Franz and Virginia Bader grant to help finish a piece he has been working on for several years.

The National Liberty Museum is dedicated to preserving America's heritage of freedom by encouraging people to find their own place in the story of liberty.

The National Liberty Museum has donated Three Cups of Tea, a wall-hung sculpture by Sayaka Suzuki. The sculpture, made in 2010, is made of cast glass, green tea, fabric, threaded wire, colored pencil & acrylic paint on wood. Its dimensions are 6" x 18.5" x 7". Add this piece

Candy Coated: Ladies Nothing, 2018, wood panel with vinyl stickers, mylar, sumi ink, paper, 15" x 12" x 1"

Bio:

Candy Coated, nee Candy Depew, is a multi-media and multi-dimensional Sculptor/Master Printer based in Northern California, a devout promoter of decorative culture, its continued daily practice, and truly believes in the healing power of creative endeavors especially art. Known for her vibrant and colorful work respeldit of symbolic forms found in art/life/history/nature that Candy has fancifully abstracted, decorated, repeated in dizzying number/pattern/color combinations then merged into her vibrant collage-like sculptural museum installations and community based public art works.

Candy was based in Philadelphia, PA for more than a decade making art, teaching screen printing around the city and in her educational initiative "the CandyCoated Studio School of Decorative Art" (which has transformed into the School of Healing Art and Ancient Wisdom) while taking part in national and international artist residencies in sculpture, installation, and ceramics. She has lectured on and shown her sculptural ceramic work, silk-screen prints, and room installations at universities and galleries in the US and internationally. Born in Cleveland, Ohio, Candy earned her BFA from Kent State University, with major studies in ceramics, jewelry and metals, drawing, French Literature, and Cultural Anthropology. After studying at Newcomb School of Art at Tulane University, New Orleans, she completed her MFA at Tyler School of Art at Temple University, Philadelphia, in 1997. In 2002, she continued furthering her interests with The London Consortium at the Tate Modern, London, focusing on the concept of "candycoating."

Candy Coated: Hiding Crystals, 2019, vinyl, glass, paper, in aluminum frame, 16" x 20" x 1"

Bio:

Candy Coated, nee Candy Depew, is a multi-media and multi-dimensional Sculptor/Master Printer based in Northern California, a devout promoter of decorative culture, its continued daily practice, and truly believes in the healing power of creative endeavors especially art. Known for her vibrant and colorful work respeldit of symbolic forms found in art/life/history/nature that Candy has fancifully abstracted, decorated, repeated in dizzying number/pattern/color combinations then merged into her vibrant collage-like sculptural museum installations and community based public art works.

Candy was based in Philadelphia, PA for more than a decade making art, teaching screen printing around the city and in her educational initiative "the CandyCoated Studio School of Decorative Art" (which has transformed into the School of Healing Art and Ancient Wisdom) while taking part in national and international artist residencies in sculpture, installation, and ceramics. She has lectured on and shown her sculptural ceramic work, silk-screen prints, and room installations at universities and galleries in the US and internationally. Born in Cleveland, Ohio, Candy earned her BFA from Kent State University, with major studies in ceramics, jewelry and metals, drawing, French Literature, and Cultural Anthropology. After studying at Newcomb School of Art at Tulane University, New Orleans, she completed her MFA at Tyler School of Art at Temple University, Philadelphia, in 1997. In 2002, she continued furthering her interests with The London Consortium at the Tate Modern, London, focusing on the concept of "candycoating."

Lynn Dunham: Untitled Brig 1, 2017, latex on canvas with oil stick, 8" x 10"

Lynn Dunham: Untitled Brig 2, 2017, latex on canvas with oil stick, 8" x 10"

Tyler Kline: Hearts of Glass, 2020, Sumi ink, colored pencil, gouache on board, 9.5" x 11.5" x 2"

About:

My work is concentrated on carving out forms that to define the Chthulucene, this new epoch we have entered, post-Anthropocene, tentacular, multi-optic, and multi-specied.

Bio:

Tyler Kline is an interdisciplinary artist working in Philadelphia

Paula Mandel: Awakening, 2010, giclee, 20.5" x 16.5" x 1"

About:

The human experience is explored using non-human references.

Bio:

Paula Mandel, a native of Philadelphia, received degrees in Fine Arts and Psychology from Temple University. She worked in oils/mixed media for 30 years, creating psychological portraits. For more than a decade she has studied all methods of manipulating glass with internationally reknowned artists and has morphed into a glass/mixed media sculptor.

Mandel's interactive sculptures based on toys are included in volume 1 of Best in America: Glass Artists and Artisans. Along with multiple solo exhibitions, she has been invited to exhibit her work in numerous museum and gallery exhibitions including the "Best of Philadelphia Glass Artists" exhibition at the National Liberty Museum, Snyderman/Works Gallery, "Women in Glass" at the Wayne Art Center, Rosemont College, Drexel University and Philadelphia's City Hall. Mandel, along with fellow artist Joan Myerson Shrager, has curated multiple exhibits in the area. In addition, the two artists co-founded and co-direct the nationally award-winning Philadelphia After-School: The Stained Glass Project: Windows That Open Doors, now in its 15th year.

Paul Romano: Careless Whisper, 2016, oil and paper on wood, artist-made frame, 24" x 24" x 2"

About:

My work is representational, created in a wide variety of media; painting, drawing, sculpture, photography and video. It is a result of personal experience, art history, music, myth and narrative, filtered through allegory, archetype and symbolism. While choosing realistic form, I am not as interested in reality as I am in the ideas of imagination; evocation over accuracy. The audience is left with abstract narratives that ask more questions than give answers. Despite jumping mediums through bodies of work, my methodologies and sensibilities are consistent. Subject matter and formal concerns are strongly linked throughout my oeuvre, giving it a distinct voice.

Bio:

Paul Romano is a fine artist and designer living and working in Philadelphia. Romano studied at the University of the Arts and Pennsylvania Academy of the Fine Arts. His work became known
to a wider audience when he began working in the music industry, where he was able to combine brand design and fine art. He has designed artwork for over 300 albums and has received two Grammy nominations.

Romano's work is part of private collections around the world and has been shown extensively in galleries across the US, including Last Rites Gallery in New York, NY, Arch Enemy Arts and Paradigm Gallery, both in Philadelphia, PA, Thinkspace Gallery in Culver City, CA, and The Grammy Museum in Los Angeles, CA. His work has been featured in the New York Times, Juxtapoz, and Decibel Magazine. Romano has also lectured at venues including the Pennsylvania Academy of Fine Arts, University of the Arts, and Brick and Mortar Gallery.

G Farrel Kellum: Sephon Poem, 2019, mixed media on rope,

About:

This series of work by G. Kellum challenges the rear view perspective of artistic expression and dives into the world of urban aesthetics, as we know it. It also explores the possibilities present in spiritual and psychological practices. Look then, look again. As we move toward the future the images grow more familiar with each truth they unveil. This then becomes a series that grows with time.

What first appears as a contemporary signpost for modern urban life is actually an archeological dig into our perceptions about these polychromatic structures that are presented by Glen's work. Do we see the African designs interwoven into the fabric of this series? Therein lies the complexity of this work. Those who have experienced this journey into cultural perception will recognize these references while others will experience something more visual. These concepts are applied through the use of bold colors and marks in these three-dimensional and two-dimensional forms. His use of mixed media and materials plays into more ideas of passage and a broken heritage in the work.

Bio:

Glenn was drawn to architecture and illustration for its discipline and structure. Eventually, Glenn was confronted with the fact that architecture was 10 percent drawing and 80 percent mathematics. Abandoning architecture, illustration became Glenn's focal point, giving him a clear perspective on the direction he wanted to steer his art practice. Very early on, Glenn discovered the importance of black and white visual elements as a personal guide when approaching polychromic structure. During this period, he became more liberated when he encountered the works of Sam Gilliam and Isamu Noguchi. These and other like-minded artist have influenced his work but the biggest influence came from his experience with Buddhism and Taoism. These have had a profound effect on the way

Lee Lippman: Armageddon, 2008, oil encaustic on canvas, 35" x 23"

Bio:

Lee Lippman has lived and worked in Philadelphia most of his life, except for twelve years in Mexico with his artist wife, Arlene Love. In his youth, he studied in Mexico with the famous muralists, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. He also experimented with new media at the Instituto Polytecnico Nacional. Lippman worked on a mural crew with Siqueiros before returning to school at the Philadelphia College of Art (now the University of the Arts), where he was awarded the senior prize for painting. His work is in collections in various places in the United States, including (among others), The Phillip Morris collection, many Pennsylvania universities and colleges, the Hollis and Generalis collections in Philadelphia, the Nelson collection in Denver, and collections in Mexico. For many years he worked as an art director and graphic designer and began painting full-time in 1975 to today. Lippman also plays the clarinet and tenor saxophone and continues to perform with small bands in Philadelphia.

Lee Lippman: Schuylkill Fog, 2002, oil and encaustic on canvas, 30" x 24"

Bio:

Lee Lippman has lived and worked in Philadelphia most of his life, except for twelve years in Mexico with his artist wife, Arlene Love. In his youth, he studied in Mexico with the famous muralists, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. He also experimented with new media at the Instituto Polytecnico Nacional. Lippman worked on a mural crew with Siqueiros before returning to school at the Philadelphia College of Art (now the University of the Arts), where he was awarded the senior prize for painting. His work is in collections in various places in the United States, including (among others), The Phillip Morris collection, many Pennsylvania universities and colleges, the Hollis and Generalis collections in Philadelphia, the Nelson collection in Denver, and collections in Mexico. For many years he worked as an art director and graphic designer and began painting full-time in 1975 to today. Lippman also plays the clarinet and tenor saxophone and continues to perform with small bands in Philadelphia.

Howard Silberthau: Copy of Sarah's Quilt, 2019, oil, 42" x 42" x 1"

Courtesy of Seraphin Gallery

About:

This painting from a new series continues to utilize the grid but also reintroduces color (in a muted form) and a more noticeable brushstroke.

Bio:

Received an undergraduate degree from Vassar College and a law degree from New York University School of Law.
Continued to study at New York Art Student's League and the School of the Museum of Fine Arts, Boston. Practiced corporate law in New York City and Boston before turning to painting full time.
Participated in several solo shows and numerous group shows.

Lee Lippman: Untitled #9, 2014, encaustic and oil and crayon on 300 lb paper, 30" x 20"

Bio:

Lee Lippman has lived and worked in Philadelphia most of his life, except for twelve years in Mexico with his artist wife, Arlene Love. In his youth, he studied in Mexico with the famous muralists, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. He also experimented with new media at the Instituto Polytecnico Nacional. Lippman worked on a mural crew with Siqueiros before returning to school at the Philadelphia College of Art (now the University of the Arts), where he was awarded the senior prize for painting. His work is in collections in various places in the United States, including (among others), The Phillip Morris collection, many Pennsylvania universities and colleges, the Hollis and Generalis collections in Philadelphia, the Nelson collection in Denver, and collections in Mexico. For many years he worked as an art director and graphic designer and began painting full-time in 1975 to today. Lippman also plays the clarinet and tenor saxophone and continues to perform with small bands in Philadelphia.

Favi Dubo: Summer, Equinox, 2019, oil on heavy corrugated cardboard

About:

Bio:

Harry Anderson: Cam, 2012, found objects, hand blown glass, 20" x 4" x 4"

Bio:

Harry Anderson's work has always involved the recycling and reuse of objects. They were used first in site specific installations then in the mid eighties the pieces became unified objects in the form of a lamp or light sculpture. Harry is a full time artist whose past teaching credits include Moore College of Art, Philadelphia, PA, North Country Studio Conference, Bennington, VT, Pilchuck, Stanwood, WA and Haystack, Deer Isle, ME. Anderson received his BFA from the University of Illinois and MFA from the Pennsylvania State University. He has received grants from the National Endowment of the Arts and the Pennsylvania Council of the Arts among others. His light sculptures, installations, artist books, prints and photographs have been widely seen in both solo and group exhibitions. They are included in numerous private and public collections.

Lee Lippman: Untitled #4, 2014, drawing, encaustic, oil, and crayon on 300 lb paper, 30" x 20"

Bio:

Lee Lippman has lived and worked in Philadelphia most of his life, except for twelve years in Mexico with his artist wife, Arlene Love. In his youth, he studied in Mexico with the famous muralists, Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. He also experimented with new media at the Instituto Polytecnico Nacional. Lippman worked on a mural crew with Siqueiros before returning to school at the Philadelphia College of Art (now the University of the Arts), where he was awarded the senior prize for painting. His work is in collections in various places in the United States, including (among others), The Phillip Morris collection, many Pennsylvania universities and colleges, the Hollis and Generalis collections in Philadelphia, the Nelson collection in Denver, and collections in Mexico. For many years he worked as an art director and graphic designer and began painting full-time in 1975 to today. Lippman also plays the clarinet and tenor saxophone and continues to perform with small bands in Philadelphia.

TJ Walsh: The summer of my wasted youth, 2015, crayons and paint pens, acrylic, 14" x 11"

About:

TJ Walsh explores the inner realm of the subconscious through abstract paintings. As he states, "This work focuses on the hidden conversations that course through the undercurrent of our minds, unconsciously giving form to who we are as human beings. I work fast letting my emotion and intuition drive the painting. It is through this process that I hope beauty reveals itself.

Bio:

TJ Walsh, BFA, MA, LPC is a psychotherapist and painter with a private practice and studio in Philadelphia. Prior to receiving his M.A. in Clinical Counseling Psychology from Eastern University in Saint Davids, PA, TJ received his BFA from the University of the Arts in Philadelphia.

TJ's work as a painter has garnered acclaim at home in the Philadelphia region as well as across the country and overseas.

Daniel A. Heyman: Untitled, 2009, relief etching on paper, 30" x 20"

Bio:

An artist who works mostly as a painter and printmaker, Daniel Heyman was honored with a 2010 Guggenheim Fellowship in fine arts and a 2009 Pew Fellowship in the Arts.

Ian White Williams: Sophomore Effort, 2014, oil on linen, 16" x 13"

Tremain Smith: Levitation, 2012, watercolor on paper, 12" x 6"

Bio:

Tremain Smith has four works in the permanent collection of the Metropolitan Museum of Art in New York. Her work is in corporate and private collections across the country. She has had dozens of solo exhibitions in New York, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, Maine, Delaware, Florida and Hawaii. Group exhibitions include SOFA Chicago, Art Miami, the Painted Bride, the Philadelphia Art Alliance, and the USArtists American Fine Art Show.

Tremain Smith: Line Color Study, 2011, watercolor on paper, 14.5" x 11"

Bio:

Tremain Smith has four works in the permanent collection of the Metropolitan Museum of Art in New York. Her work is in corporate and private collections across the country. She has had dozens of solo exhibitions in New York, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, Maine, Delaware, Florida and Hawaii. Group exhibitions include SOFA Chicago, Art Miami, the Painted Bride, the Philadelphia Art Alliance, and the USArtists American Fine Art Show.

Eva E Glassworks: Floral Bouquet, 2019, lamp-worked brosilicate glass, 6" x 6" x 6"

Lacy Barry: Little Wing Series 1, Teal & Pink, Plate #4, 2013, giclee printed digital graphics and handmade paper wings, 37" x 47" x 5"

Bio:

Lacy Barry is Lacy Barry's real name, given to her western sign painter father & mother who raised her in the pioneer woods of the Canadian Rocky Mountains. The mountains and their surroundings were a fascination of natural myriad materials and colour scales, often found in Nordic Lights & traditional tribal headdresses. From a young age Lacy worked for the family business apprenticing her father creating large colourful, hand-painted signs for advertising & film. Since, her interest has extended into prop building & set fabrication which often crosses over with sign-painting and signature paper & graphic artwork under 'The Little Wing; Explosion Kaleidoscope Series'. Throughout her travels Lacy has set up studios in London, Los Angeles, Montreal, New York & now Berlin and her work has been gained acclaim in Merecedes-Benz Magazine, The Art of Cardboard book by Lori Zimmer, Artpower Books Hong Kong, New York Times and various others she is thankful to have been apart of.