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.

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.

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.

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.

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.

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.

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.

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

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

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.