Paul Cava
Sexual Nature #10
2003
Archival pigment print
7" x 17-1/2"
(17-3/4" x 28" framed)
2/10

Courtesy of JDC Fine Art.

About the work

Much of my art related to montage and collage is constructed through juxtaposition where I invite the viewer to consider images, relative and distant through association. This technique is not unlike the structure of a poetic literary metaphor where the reader makes a leap to connect the dots.

I hope my work presents opportunities to imagine, to dream and to make that leap towards an emotional and psychological connection between the art and the viewer.

Bio

Paul Cava was born in Brooklyn, NY in 1949. Beginning his career as an artist in the late 1960's Cava made his first explorations as a poet, multi-media artist, filmmaker, photographer and painter and finally settling in the last three decades on a hybrid form of expression that synthesized his previous efforts and anticipated the current digital use of photography by combining photographs, words, collage, drawing, painting, and printmaking into his own visual language, the core of which is a personal visual poetry.

As a fine artist Cava has exhibited paintings, drawings and photo-based works from 1976 to the present in galleries and museums in the United States and Europe, and his work has been collected by a broad range of private and public institutions, including The Museum of Fine Arts, Houston, The Philadelphia Museum of Art, The Princeton University Museum of Art, and The Bibliotheque Nationale, Paris. His work has been featured in many publications including Eyemazing Magazine and Das Magazin. Cava was a recipient of Pennsylvania Council on the Arts grants in 1981 and 1999. In fall 2005, the German publisher Edition Galerie Vevais released Children of Adam, a volume of Cava's photo-based art and Walt Whitman's poetry.

John E. Dowell
6 Million
2005
Archival ink jet print
34" x 28" (framed)
2/12

About the work
A photograph taken in Atlanta in 2005

Bio
John E. Dowell, Jr., a nationally recognized artist, captures the pulse of cities and agricultural landscapes of America in his large-scale photographs. Working primarily from sunset until dawn, he focuses on the surface of buildings, the reflections of their exteriors and, quietly, their interior spaces. Illuminating the unseen, he brings awareness to a single moment.

For the past several years, he has also built extended photographs of the modern agronomy. These crops provoke thoughts of cultural, political and economic concerns that are often overlooked. He strives to incite the viewer to re-examine their assumptions of place and time. Now imagine being inside a field of cotton, corn, or a banana plantation. Sense the evolution of history.

An artist and master-printer for more than four decades, Dowell's fine art prints, paintings and photographs have been featured in more than 50 one-person exhibitions, and represented in the permanent collections of 70 museum and public collections. Among them are the Museum of Modern Art and the Metropolitan Museum of Art in New York City, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Bibliothèque Nationale in Paris, France. Dowell's photographs are in the Houston Museum of Fine Arts and have been added to his work in the collections of the Fogg Museum of Harvard University, the Museum of the Rhode Island School of Design and the Lehigh University Museum.

John Dowell is a Philadelphia native and Professor Emeritus of Printmaking at the Tyler School of Art at Temple University.

Andrea Marquis
Amplifier
Stoneware and Glaze
2" x 15" circumference

About the work
Amplifier is designed to serve a reflective mandala-like sculpture. The circular pattern comes from repetitive layering of a drawing of fig tree leaves. It has been reworked many times and the former flora has begun to resemble fauna (sheep or goat) and has been designed to stimulate the projective quality of a Rorschach Test. There is an inherent duality in the fig and sheep references that play on ideas of good and evil.

Bio
Andrea Marquis lives and works in the Philadelphia Metro region of Pennsylvania. She has been an Artist in Residence at The Clay Studio in Philadelphia, at the Archie Bray Foundation in Montana and presently at the Fitler Club in Philadelphia as part of the Artist in Residence 2.0 cohort. She has studied at Syracuse University, The University of Massachusetts Dartmouth and earned an MFA in 2009 from The New York State College of Ceramics at Alfred University.

Rebecca Saylor Sack
quaking leaves and black eyes
2014
oil on panel
30" x 24" x 1.5"

About the Work
My paintings draw from the traditions of landscape and still life painting, speculative fiction and natural science. Material and color are invoked for their visceral ability to create sensations of seduction and repulsion. The works court the extremities of stability and riot, beauty and impending violence.

Bio
Rebecca Saylor Sack earned her MFA from Tyler School of Art at Temple University and her BFA from The Cooper Union.

She is a recipient of the Fleisher Wind Challenge, and the Jacob K. Javits Fellowship from the United States Department of Education. Her work has been exhibited in solo and group exhibitions nationwide, including Nicelle Beauchene Gallery (New York, NY); Westbeth Gallery (New York, NY); Seraphin Gallery (Philadelphia, PA); Fette's Gallery (Los Angeles, CA); and Silas Marder Gallery (Bridgehampton, NY); The Michener Art Museum (Doylestown, PA); West Chester University (West Chester, PA); Stockton University (Galloway, NJ); The University of Delaware (Newark, DE) and internationally at the National Art Museum of China, (Beijing, China); Galleria Glance (Torino, Italy); and Donn Roca Gallery (Odense, Denmark). Sack's work is in the collection of the National Art Museum of China, Alter Hall Collection, and Colorado Springs Fine Art Center, in addition to national and international private collections.

She is currently the program director of the Fine Arts Program and Painting emphasis coordinator at The University of the Arts.

Buyer assumes all S&H costs.

Ada Trillo
Joanna
Photograph
26" x 39-1/5", framed 35" x 48"
A.P of an edition of 3

About the Work
Trans_Borders

Between 2015 and 2020, chances of asylum for Latin American trans women seeking asylum in El Paso, TX increased by 60% when a New York judge heard their cases.

Joana like so many women in the LGBTQ+ community from Central America suffered from physical and verbal abuse and extortion in her country. The danger of falling victim to homophobic-related crimes is so extreme for trans women in countries like El Salvador that the life expectancy is 35 years.

"Yo pasé por dos cárteles por 9 meses porque me brinque la barda. Después como castigo me mandaron a la hielera por 13 días sin banarme comiendo solo galletas y jugo. Después de alli empiezo mi proceso de Asilo en los Estados Unidos."

"I went through two jails for nine months because I jumped the border wall. Then, as punishment, I was sent to the icebox for 13 days without being allowed to take a shower and eating only cookies and juice. Then my asylum process started in the United States."

Bio
Ada Trillo (she/they) Is first-generation Mexican-American artist based on the East Coast. Born and raised in the U.S./ Mexican border region of Juarez and El Paso, her work focuses on sex trafficking, climate and violence-related international migration, and long-standing barriers of race and class.

"I see myself as an artist...who captures the face of injustice with the hopes that history can stop repeating itself".

Trillo documents the migration of people through Central America and the US-Mexico border while traveling alongside her subjects through dangerous conditions. Trillo typically exhibits images in black and white, focusing on her protagonists and capturing "the spark, the feelings in their eyes." Her projects have been featured in international publications, including The Guardian, Vogue, Smithsonian Magazine, and Mother Jones. Trillo's work is in the permanent collections of the Library of Congress, the Philadelphia Museum of Art, and other institutional and private collections. Her awards include The Pew Center for Arts & Heritage Fellowship, The British Journal of Photography Female In Focus Best Series Award, and The Me & Eve Grant from the Center of Photographic Arts in Santa Fe (2020). Trillo's images have been exhibited in the U.S., Japan, Luxembourg, Italy, England, France, and Germany. She holds degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia.

Kiki Aranita
Grey Palaka Bun
2020
Mixed fiber crochet sculpture
16" x 13.25" x 3"

About the Work
With advanced degrees in Classical Literature and Comparative Literature and a previous career teaching Greek mythology and Ancient Greek language, Kiki can't help but see the world through the lenses of myth, often malleable at the hands of many ancient authors. As a classicist, her research focused on dismemberment in epic poetry and especially "sparagmos" - the act of being torn limb from limb - and the reception of classical epic in Renaissance Italian epic poetry. She frequently subjects her crocheted bunnies to similar epic fates.

Bio
Kiki Aranita is a fiber artist based in Philadelphia, Pennsylvania. She primarily works with scrap yarn, sourced from neighborhood buy-nothing groups, grandmothers gone to heaven and knitters who quit. She crochets freehand, treating yarn and string as sculptural components. Now a chef and restaurateur by trade, she also incorporates found kitchen objects into some of her works: foam used to pack olive oil bottles, containers from food, the occasional plate.

Melanie Serkes
Tapestry
2021
coated steel
66" x 31" x 1"

About the Work
Tapestry is a balance of the feminine and the masculine. The material is offset by a feeling of intricacy, like that of lace. The vibrant color exudes a playfulness, lightening this heavy material. For this sculpture, Serkes cut the forms from steel pipes and individually welded each circle to create this elaborate composition. While it is currently displayed hanging on a wall indoors, Tapestry can also be mounted to a custom-fabricated frame to enhance an outdoor space. Tapestry is the first in a series by Melanie Serkes exploring these concepts.

Susan Abrams
Lush
Silver print photograph on paper handmade by the artist
15" x 19"; (framed 21.5" x 25.5")

About the Work
I am a photographer and papermaker. I have been immersed in the complexities of handmade paper for many years, exploring the unique structural and textural qualities of the material. This piece is an example of my work photographic work, printing directly onto my handmade paper using an applied silver emulsion. Although this image is part of a small edition every step in the process yields opportunities for variations resulting in a unique print that embodies my artistic intention as well as the unexpected.

Both my mixed media and photographic my work focus on natural patterns and textures. I am looking for an essence not easily defined. "Pretty" is not it, although the work is often elegant. I am interested in the natural cycles that are part of life, capturing the universal forces of generation, growth and decay.

Bio
Susan Abrams is a photographer and papermaker and has exhibited in many venues participating in group exhibitions and mounting diverse solo shows. A few of the institutions where her work has been seen include the Philadelphia Museum of Art, the Philadelphia Print Center, the Lancaster Museum of Art, the Humanities Gallery at LIU, Brooklyn, NY and at the Irish Museum of Modern Art. She was awarded first place in the 2003 Photo Review International Competition, First Prize for Photography in Art of the State (PA) and has received numerous other awards. Her article, "Hand Papermaking for Photography" appeared in the December/January 2004 issue of Camera Arts Magazine. Abrams' work is included the collections of The Philadelphia Museum of Art, The Free Library of Philadelphia, the Irish Museum of Modern Art, McGraw Hill, and Merck & Company as well as other private and corporate collections in the United States and England.

Jaime Alvarez
Gabled Shadow
2021/2022
Archival inkjet print
17.5" x 12.5" x 2"
(framed)

Abbey Muza
Falling, Obscured
2021
Silk, dye, cotton
13.75" x 18"

About the Work
This group of weavings encompass ideas of light, image, and environment. I took the photo this piece is based on at a very good lesbian bar in Cuzco when I was in my early twenties. The resulting work is warp-printed and hand-woven and based on a velvet weave structure. I intentionally distorted the original photographs in a CMYK screen print/warp-printing process and wove them into this textile image. I was thinking about this piece and the others in the series as film frames, like an image stand-in for narrative or larger experience.

Bio
Abbey Muza uses weaving as a methodology for image-making centered in queer identity, haptics, and sensuality. Muza received their MFA as a University Fellow at the Tyler School of Art and Architecture, and their BFA from the School of the Art Institute of Chicago. They have shown their work throughout the United States and internationally, at spaces including Tiger Strikes Asteroid Philadelphia, Threewalls, and LVL3. Their residencies include ACRE (Artist's Cooperative Residency and Exchange), and Alternative Worksite (supported by the Robert Overby Foundation), and Artist-In-Residence Sefrou (Morocco). They are currently a fellow at Ox-Bow School of Art and a 2022 Fulbright France-Harriet Hale Wooley Awardee.

Darla Jackson
This will hurt me more than it hurts you...
2021
Flocked Polyurethane Resin
4" x 6" x 3-1/2"
Pink Flocked Edition

Courtesy of Arch Enemy Arts, Paradigm Gallery

About the Work
A four bird "knuckle duster" is where Snow White meets GhostFace Killah in my head. Cute but intimidating at the same time, it's meant to offer ideas of protection and self defense that are so often needed yet usually suspiciously absent in portrayals of women in popular culture (I'm looking at you Disney movies!). The title, "This will hurt me more than it hurts you", is a reference to the fact that women are often criticized for standing up for themselves.

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

Her work has been shown in numerous exhibitions locally, including galleries and museums such as the Philadelphia Art Alliance, Seraphin Gallery, Pennsylvania Academy of the Fine Arts, the Woodmere Art Museum, and a Wind Challenge exhibition at the Fleisher Art Memorial, and across the country at galleries such as Thinkspace Gallery in Culver City, California, the Delaware Center for Contemporary Arts in Wilmington, and Parlor Gallery in Asbury Park, New Jersey. She has shown internationally in Belgium and Germany and has lectured about her work at venues including The Barnes Foundation.

Jackson currently teaches Figure Modeling at the Pennsylvania Academy of the Fine Arts

Buyer assumes all S&H costs.

Kevin Broad
Expanse
2015
Oil pigment wax on paper
22" x 30", (framed 32" x 40")

About the Work
Study of nature has brought an inherent organic quality to my work. My aesthetic focuses on capturing sensations of light and color along with the emotions these can inspire. My style gains strength from my exploration and direct handling of various mediums - paint that I have an intimacy with because I make it myself. Painting is this process of discovery without fear or repression with the potential of bringing forth new forms of expression.

Bio
Kevin's work expresses a passion for his surroundings and a powerful need to create. He lives in Philadelphia with his husband Gus and two cats, Princess and Margaret.

Donna Backues
Mountain Spirit
2016
Acrylic, ink, graphite on board
24" x 24" x 0.5"

About the Work
This piece is part of a large body of work called, "Imagined Landscapes" which reference aerial landscapes, volcanoes, craters, bodies of water and land-based forms inspired by places I have lived, visited or viewed from the window of an airplane. Some of my works are imaginary islands like inner landscapes of memory seen from above and others are emotional responses to specific events or historical paintings. They are all created with landscapes in mind.

Bio
Donna Backues has a BA in Studio Art and Graphic Design from Southern Illinois University, an MFA from The Pennsylvania Academy of the Fine Arts and an MA in Urban Studies & Community Arts, from Eastern University.

After working for several years as a graphic designer, Donna moved to Indonesia. For 18 years she integrated her visual art skills with grassroots development in West Java. Later when she returned the US, she taught at the Village of Arts and Humanities, Mural Arts Philadelphia and Fleisher Art Memorial. Donna has been awarded numerous artist residencies including the Philadelphia Art Museum's Delphi Art Futures and Art Partners program, Spiral Q and Rutgers Camden Center for the Arts. In 2013 Donna won first prize in the American Batik Design Competition, in 2014 she was awarded the Art & Change Grant by the Leeway foundation and in 2017, the NewCourtland Fellowship.

Along with her community/social work with immigrants and refugees in South Philadelphia, Donna continues to work as a studio artist, teaching artist & community artist. Four of her paintings are in the Philadelphia Convention Center's permanent collection. Her public murals can be seen in Philadelphia, Camden New Jersey and in Leeds, England. Her paintings have been collected and exhibited internationally in Europe, Southeast Asia, Australia and New Zealand.

Gregory Brellochs
Lichen XXVII
2020
Graphite on paper mounted on panel
15" x 15"

About the Work
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.

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, the 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 has held numerous solo exhibitions and has been featured in a number of prestigious juried and curated group exhibitions both regionally and nationally. His work is included in the contemporary drawings collection of the Viewing Program through The Drawing Center in New York City. 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.

Kathleen Spicer
Round Midnight
Laser cut rusted wood over oil on plexiglas
24" x 24"

About the Work
This piece combines earthy rust tones with sharply contrasting blues that look "lit" from behind. It was inspired music, in this case Thelonious Monk, and my intention was to create a rhythmic, living piece that is uplifting and mysterious.

Bio
I attended Philadelphia College of Art, (now the University of the Arts), and received my BFA from Parsons School of Design in New York. After more than 30 years living in New York, I returned to the Philadelphia area and continue to actively create artwork. I have been fortunate to receive several art awards and 8 public art commissions, one of which was just completed fro New Market West, in Philadelphia. I am in collections nationally and internationally, and am a member of ARTsisters, Artists Equity and MCGOPA and INLIQUID.

I have been showing professionally in galleries, museums and collections since 1982.

John Schlesinger + Taji Ra'oof
Collaboration #1
2022
Beeswax, honeycomb, neon, demo rebar, laboratory clamps

(look up above the Ulysses Bookstore)

Bio
John Schlesinger presents site-responsive installations rooted in the ceiling and walls of the space. Made from twisted salvaged demolition rebar, Schlesinger constructs strangely bent neon which mimics and riffs on the rebar. Recycled laboratory clamps hold the fragile neon close to the steel. Cast bronze sculptures and resin-soaked photographs mounted to shattered glass complete the mix.

Independent of the usual neutral gallery lighting the installation illuminates itself both from the back and the front...eerily reminiscent of a deep-water fish living in darkness below the sunlight.

Stuart Lehrman
On Paper #46
2019
Chalk, oil, wax pastel, lacquer, acrylic & oil enamel paint, on archival paper
30'' x 24''

Charles Emlem
Planetary Incursion
2019
Welded steel and painted wood
30" x 13" x 13''

About the Work
The universe is a vast array of infinite variation. While much of that variation already exists, most of it does not nor ever will exist. Or rather, most of it exists only as having the potential to exist. As humans, we have the unique ability to knowingly create things that were not here before and in doing so are privy to the notion that there is an immense reservoir of things that have not yet nor ever will be seen.

Bio
Charles Emlen was born and raised in Paoli, Pennsylvania. He received his BFA in sculpture from Pennsylvania State University in 1981, and his MFA in sculpture from Arizona State University in 1984. After leaving ASU he worked for several years as a sculptor's assistant with Arizona artist Michael Anderson. In 1987 he returned to Pennsylvania where he built a sculpture studio and for the next twelve years worked on sculpture commissions and custom metal work. During this time he also worked as an electrician and CNC programmer. In 1999 Emlen took a position at a local avionics company and spent the next 18 years as a software engineer, designing and programing aircraft flight display graphics. In 2017 he retired from the avionics industry and has since been devoting most of his time to sculpture, machine art, and site specific installation.

Su Knoll Horty
Color Pops 3
2015
Oil on canvas
12'' x 12''

About the Work
The sensation of color, the lushness of oil paints, the thrill of creating, and the surprise of abstraction are what drive me to paint--Add drama to the canvas, and I'm hooked! At the inception of my paintings, I select colors inspired by nature, random places, or other artists' paintings, whatever catches my eye, stirs my curiosity, or challenges me. I explore fluidity, in all its measures: organic form, undulating movement, saturated 'liquid' color, and stylized gestural marks. It's through this fluidity that I find color to be most expressive. Color relationships are very important to me, as are tonal variations. I place color next to color, with the goal of finding just the right combination so that each will make the other shine, or as in this series, "Pop!"

My hope is that my paintings' lushness, power and mood-altering color will affect the viewer on a visceral, not practical level. I want to excite the viewers' imagination so that they pay attention to, remember, and ultimately discover something new through color!

This series is called Color Pops.

Bio
In 2012, Su completed the CE Core Curriculum Program at the Pennsylvania Academy of Fine Arts (PAFA). Su continues to study with Abstract teachers, Kassem Amoudi at Pafa, and Peter Bonner at The Art Students League of New York. Su has been been published in The Woven Tale Press literary and visual arts magazine as well as interviewed on ArtWatch radio. She recently received an Honorable Mention in the Visionary Art Collective online exhibition, Finding Sanctuary, 2021, a 3rd Place award in The ArtList September Artist of the Month contest, 2019. She also received an Award of Merit from Manhattan Arts International in the online exhibition of The Healing Power of Art, 2019. Su is a member of the Philadelphia Sketch Club and received two Honorable Mention awards for her entries in the Absolutely Abstract shows, in 2012 and 2013, as well as being a juror in the 2015 Absolutely Abstract show. Su exhibits regularly and has exhibited in numerous solo and group shows, including The Biggs Museum of American Art, the Hamptons Virtual Art Show with Bluestone Fine Art Gallery, SOMA NewArt Gallery in Cape May, New Jersey, Hardcastle Gallery in Centreville, Delaware and The Delaware Contemporary. Her work is held in the Camden County Art Bank in New Jersey and in numerous private collections in the United States and Mexico.

Eric Kunsman
585.427.9848 - Stoney's Plaza, 2852 West Henrietta Road, Henrietta, NY 14623
2018
Archival pigment print
24'' x 24''
(unframed)
3/15

About the Work
Change in technology has accelerated rapidly in recent years, and in many areas it has outpaced the ability of policy makers to make those advances equally available to socially and economically vulnerable citizens. There also appear to be unconscious biases that come into play, judgements that are formed about people who aren't able to access contemporary technologies in their daily lives, and who continue to depend on technologies and systems that just a decade or so ago were accepted as "normal." Those unacknowledged biases, those judgements that are made without basis in fact, can unfortunately lead to ignorant assumptions that incorrectly mislabel a neighborhood or community; or may even lead to dangerous situations when employed by policy makers.

Through Felicific Calculus I hope to challenge negative perceptions of these social markers that lead people to conflate poverty with crime. I hope the juxtaposition of the images and the mapping overlays may engage viewers in examining their own gut perceptions of social markers, like payphones and payphone use, and to explore the gaps between their prejudgements and the reality of how those phones actually serve individuals who may be less privileged. Though they are relics to most of us, payphones remain important for residents trapped in lower economic circumstances.

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.

Eric is an educator at the Rochester Institute of Technology for the Visual Communications Studies Department at the National Technical Institute for the Deaf and the School of Photographic Arts & Sciences.

Eric was named one of 10 B&W photographers to watch of 2018 by BW Gallerist, B&W Best Photographers of the Year 2019 by Dodho Magazine, and won the Association of Photography (UK) Gold Award for Open Series in 2019, Finalist, Top 200 for Critical Mass in 2019, 2020, & 2021, Top 15 Photographers for the Rust Belt Biennial. His project Felicific Calculus was also awarded a Warhol Foundations Grant through CEPA Gallery in Buffalo, NY.

Eric has held 39 solo exhibitions and counting. At this point, his work has been exhibited in over 250 galleries and museums and featured in Bloomberg Business Week, Dodho Magazine, Dek Unu, All About Photo, and LensWork.

He has been featured with online articles by Humble Arts Foundation, Analog Forever Magazine, Catalyst: Interview, One Twelve Publishing, to name a few. He is currently represented by HOTE Gallery in Los Angeles, CA, and Malamegi in San Daniele del Friuli (Udine), Italy.

G Farrel Kellum
A Street's Poet's Scream
2020
Acrylic on canvas with rope
33'' x 21''

About the Work
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 Glenn sees things.

Glenn was born in Philadelphia, PA in 1947 and was the youngest of eleven brothers and sisters. After serving in the military for 2 years, he attended the Philadelphia College of Art (PCA), which is now The University of the Arts, and graduated with a BFA in Illustration in 1977. Glenn had his first exhibition at the University of Pennsylvania upon graduating from the university. He has been represented by the Sandy Webster Gallery and Art Jazz Gallery. Glen has also been part of several prominent group exhibitions including those at the Delaware Contemporary and the Woodmere Museum. In 2018 his work was showcased in an exhibition curated by Design Philadelphia in the Bok building. He currently has an artist studio in the Bok Building in South Philadelphia where he works.

John Carlano
Magnolia warbler
2014
Photography
15" x 12"
(framed)

About the Work
Excerpt from the series Fallout Considerations 2014.

Recollections of fears of annihilation in the early 1960's as child

Bio
John Carlano is a working photographer in Philadelphia since 1978. He taught photography at what is presently The University of the Arts from 1980-2018. John works both commercially and has maintained a fine art studio practice as well through out those years, having exhibited nationally and internationally.

Buyer assumes all S&H costs.

Timothy Gierschick II
Untitled
2015
Latex and enamel on panel
18" x 14"

About the Work
Watch the horizon closely. Nothing may be as it seems.

Bio
Timothy Gierschick II (b. 1976, Reading, PA) is an artist living and working in Philadelphia, PA. His paintings and works on paper have been exhibited and collected both nationally and internationally, including by Duane Morris LLP offices worldwide, and Capital One Bank NA. Timothy earned his Bachelor of Arts, concentrating in Printmaking, from Messiah College in 2000. He is also employed by the Barnes Foundation as a preparator.

Buyer assumes all S&H costs.

Ira Upin
Orange and Green
1997
Oil on panel
13" x 13" x 1-13/16"

Courtesy of Corridor Contemporary, Philadelphia/Tel Aviv

About the Work
This painting is one of many over the years that I have done with 100% of the surface area made up of figures. They deal with the tactile sense of close physical contact as well as my reaction to the human condition of population growth and in particular to the density of urban living in which I have lived most of my life.

Bio
Born in Chicago, IL USA in 1948, went to college in Illinois and Maryland and settled in Philadelphia, PA in 1973 and stayed. For 35 years I'd go back and forth between working at construction and working in my studio. At age 57 I decided to spend the rest of my time in the studio.

Buyer assumes all S&H costs.

Tiantian Li
Love me more #28
2017
Giclee print on museum paper
20" x 16"

Courtesy of Jedidiah Gallery

About the Work
I have been working on Love Me More this series for 8 years, I choose the very delicate lingerie combines with historic miniatures from the loyal family, especially Henry VIII, the king who had killed lots of his wives. Firda Kahlo, she is known for painting about her experience of chronic pain. The garment, which functions as a type of delicate armorer and comfort against the skin, gives the wearer a sense of security and self-love. Through my paintings of intimate clothes, I encourage women to take a positive perspective on their bodies and female representation while giving themselves the attention, humor and respect they deserve.

Bio
Tiantian Li is a painter working in New York and Philadelphia. She graduated from Chinese top art school--Central Academy of Fine Art with a master degree in 2016. Also she finished her second MFA program at Pennsylvania Academy of Fine Arts in 2018. Since then she has exhibited in Asia, United States and Europe, she has lots of cooperation with Asian, German and American galleries. Her work has been shown in many major art museums in China, such as National Art Museum of China, CAFA Art Museum, GAFA Art Museum, Shanghai Oil Painting Sculpture Institute and Song Zhuang Museum. She also has many shows in United States recently, like at PAFA museum, Inliquid Art + Design, FMC, Da Vinci Art Alliance, Mainline Unitarian Church Fireside Gallery, Jedidiah Gallery and Rowan University Art Gallery. Meanwhile, Li took part in a lot of art fairs. Such as Los Angeles Art Fair, Beijing Art Fair and Hong Kong Affordable Art Fair.

In 2018, Li was invited by Roman University Art Gallery in the three female artists show. In 2019, she was invited by A+ Space to participate in the International Young Art Fair in Suzhou, in the same year, she was invited to participate in a five international artists show at Shanghai Global Harbor.

In 2021, Li accepted the invitation of Philadelphia International Airport, and present the large scale mural project at Terminal E.

In her watercolors she explores ideation of female intimacy and emotions expressed through portraits of her lingerie superposition with portraits of historical characters from the Renaissance period, which represents a time of enlightenment and romantic expression. She is encouraging women to take a positive perspective on their bodies and female representation while giving themselves the attention, humor, and respect they deserve.

Jacqueline Yvonne
I Can Fix Anything
2021
found wood, beads, string, nails, epoxy
4.5" x 14" x 3.5"

About the Work
This piece was part of a series of works created during the pandemic shut downs. During my nature walks, I would collect driftwood from local Philadelphia area rivers that, to me, resembled the human body either in shape or gesture. Once in the studio, I combined the wood in this series with my own disassembled jewelry, garments, and domestic fabrics into assemblages that represent subconscious memories, moods, and parts of my identity.

Bio
Jacqueline Yvonne Tull grew up in Greenbelt, Maryland, and attended Maryland Institute College of Art Bachelor of Fine Arts program in Baltimore. She later completed her degree at the Pennsylvania College of Art and Design in Lancaster, Pennsylvania, where she had the opportunity to spend summers studying plein air painting and drawing at the Mount Gretna School of Art in Mount Gretna, Pennsylvania, and the Rome Art Program in Rome, Italy. She completed her Master of Fine Art at the University of Delaware, where she specialized in sculpture and material culture studies. She has taught sculpture and other fine art courses as an instructor at multiple universities in the Philadelphia region, and is currently the Makerspace Manager at Swarthmore College. Jacqueline is currently practicing art in her home-studio in Philadelphia, is a member of Automat Collective, and has exhibited works in the Philadelphia region, New York, and Berlin, Germany.

E. Sherman Hayman
WHEEL, DEAL, STEAL, THEN SPIN - As The World Turns
2011
Sgraffito and mixed media on wood panel
13-1/2" x 17-1/4"
(framed)

About the Work
WHEEL, DEAL, STEAL, THEN SPIN is a series of small narrative Sgraffito and mixed media pieces with a specific political bent.
Employing a combination of painting, drawing, and collaged elements - images from old engravings and early 20th c. photographs - each of the 10 wooden panels satirizes rant-worthy political maneuvers. AS THE WORLD TURNS focuses on the Democratic process, Congress, and politics - all from an historical perspective.

Bio

Born in Newport News, Virginia, and studied literature at Hollins College (now Hollins University) in Roanoke, VA., and later moved to Philadelphia to attend the Pennsylvania Academy of Fine Arts.

Major exhibitions over the past years include those at Cerulean Arts (Philadelphia), Goggleworks (Reading, PA), Lake Eustis Museum of Art (Florida), Rosenfeld Gallery (Philadelphia), James Oliver Gallery (Philadelphia), and Arlington Arts Center (Virginia). Selected group and juried shows include the National Liberty Museum ("Deconstructing Bowie", "Philly's Freedom")(Philadelphia), Art in City Hall (Philadelphia), and The Philadelphia Foundation (with the Philadelphia Art Alliance).

My studio practice for the past 20 years has focused mainly on social issues (gun violence, politics, death customs), but has always embraced text as image.

Michele C. Kishita
Water Hyacinth at Sunset
2021
latex on birch panel
20" x 20"

About the Work
My current work investigates the dialogue between the wooden surfaces on which I paint and the trees from which those panels were built. I highlight the interconnectedness of humans and nature, while addressing life's impermanence and transience. The wood grain's undulations, which mark the tree's growth and annual water intake, record a tree's experiences and are 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 human-made structures and nature intersect.

Bio
Michele C. Kishita is a Philadelphia-based artist who uses landscape as her primary subject. Her paintings are strongly influenced by the graphic stylizations and compressed spaces of Japanese ukiyo-e prints. Kishita's 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 the Studio Break and Thyme in the Studio podcasts, 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 Troxel Art Projects, Carrie Coleman Fine Art, James Oliver Gallery, and is affiliated with Crossing Art, Cufflink Art, and Susanna Gold.

Tremain Smith
Healing
2022
Gum/oil emulsion & charcoal on paper
22" x 30"

About the Work
My desire is to use my skills as an artist to facilitate healing, both personal and collective. My artistic concern centers on making compelling works of art that create access to spirit. The work is an expression of what is within and is about the mysteries I find when I let what is inside come out. 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 the 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. I often use a grid, either as a starting point or superimposed over organic chaos, as a structure from which I move and return.

I explore, discover, and heal through the language of painting and writing. I have made public my practice of responding to my paintings with writing, and include the accompanying poems with the paintings. My creative process combines both languages. The writing spontaneously explores what is mined in the painting.

I make art with pure engagement with the physical materials in a movement toward personal freedom, as a way of healing, a form of divination, and an aesthetic path reflecting spiritual realities. The technique I use in my paintings is composed of layers of oil glazes, collage, and transparent beeswax on panel. Works on paper are made with either oil and beeswax or a hand-ground recipe of gum arabic and oil emulsion.

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 has been reviewed extensively including coverage by the Philadelphia Inquirer, the Chicago Tribune and the LA Weekly. Her work is included in Encaustic Art in the Twenty-First Century by Anne Lee & E. Ashley Rooney, published by Schiffer Publishing, The Art of Encaustic Painting Contemporary Expression in the Ancient Medium of Pigmented Wax published by Watson-Guptill, and in the art journal New American Paintings. She studied at the Pennsylvania Academy of Fine Arts, Tyler School of Art, Carnegie-Mellon University and the University of Pennsylvania. She received a Teaching Artist Certificate from the University of the Arts.

Alongside her studio practice, Tremain teaches, lectures, and leads workshops. She was a panelist at the Eighth International Encaustic Conference presenting on "The Roots of Contemporary Encaustic". The technique she uses is composed of layers of oil glazes, collaged elements, and transparent beeswax. Her works on paper are made with a hand-ground recipe of gum arabic and oil emulsion.

Tremain's concerns center on art and healing. She responds to her paintings with writing, following a creative process that combines painting and poetry. Smith explores, discovers, and heals through both languages.

Wendee Yudis
#objectifyme #idareyou
2022
Photo-silkscreen and Acrylic on Wood panels
36" x 24"

About the Work
My art turns the definition of femininity on its head.

It examines and questions women's roles in the world as dictated by social constructs: the ones imposed upon us - obedient child, wife, and daughter - and the ones we step into voluntarily - boss, lover, and vixen.

I use humor to explore the depths of these ideas. Womanhood cannot and should not be confined to one definition. Why do we have to be vixens or victims? Can we be both? My work explores the paradox of the powerful vs. the powerless in a manner that is both playful and sexual. The women in my work become icons who reoccur in different contexts and combinations. In this way my work is layered with meaning. I look at the words we use to define masculinity and femininity and play with typography and context. For example, why is a bossy man synonymous with executive leadership while a bossy woman is a bitch? My bold and graphic treatment of words amplifies my ideas and by questioning the many facets of women, I embrace the freedom and power within every woman.

My primary medium is a combination of photo-silkscreen and painting. Silkscreen allows me to juxtapose and overlap a variety of images to create nuance and explore new definitions of old ideas. I use the actual silkscreen as if it's a paintbrush so each piece is an original. The beauty of the silkscreen process is that it allows me to experiment with translucency, opacity, layering and pattern to explore relationships seen and unseen.

Bio
Wendee Yudis is a Serigraph Mixed Media Artist whose paintings and prints have been exhibited in solo and group shows in galleries in NYC, Chicago, and Philadelphia since the mid-1990's. Solo exhibitions include Ceres Gallery in NYC, Black Moth Gallery in Phila, and Gallery 1633 in Chicago. A selection of group exhibitions include The Albright/Knox Museum in NY, Manhattan Graphics Center in NYC, Philadelphia Art Alliance in PA, James Oliver Gallery in Phila, PA, University of Pennsylvania: Penn Medicine in PA, CFEVA in PA, InLiquid in PA, DaVinci Art Alliance in PA, and The Trenton Museum in NJ. Select work was in a national juried competition in the Pheonix Gallery in NYC by Thelma Golden, then curator of The Whitney Museum of American Art.

Wendee Yudis received an MFA in Printmaking and Painting from Pratt Institute and BFA in Printmaking and Photography from The School of the Art Institute of Chicago. She also studied archaeology at The Hebrew University of Jerusalem and photography at Richmond College in London.

In addition to being a visual artist, Wendee works as a Graphic Designer and Art Director. Since the mid 1990's she has worked in agencies and non-profits in NYC and Philadelphia.

Lauren Rinaldi
Relentless Pursuit
2021
Oil on panel
24" x 16 3/4"

Courtesy of Paradigm Gallery + Studio

About the Work
Lauren Rinaldi makes work that lives in the space where objectification, female power, and empowerment intersect and blur. She uses oil paintings, mixed media drawings and sketches as her vehicles to explore ideas about intimacy, gaze, body-image, sexuality and self-identity. She looks to the women in her life for inspiration and works to weave their experiences with her own, creating a shared narrative that celebrates women while acknowledging obstacles they often face.

Bio
Lauren Rinaldi (b. 1983, Brooklyn, NY) is an American artist living and working in Philadelphia, Pennsylvania. She studied painting and drawing at Tyler School of Art, where she earned her BFA in 2006. Since then, her solo shows have included Representative (2020); Still Standing (2018); Hunger of the Cheeky Sisters (2015); At Arm's Length (2014); and An Accidental Masterpiece (2011), all at Paradigm Gallery + Studio in Philadelphia and she has exhibited her work extensively in group shows throughout the United States. In 2012, Rinaldi completed The City of Philadelphia's Mural Arts Program's Training Program and has since worked on a number of public and private murals in the city. In addition to her active studio practice, Lauren is a mother, and is involved in local political organizing and volunteering.

Buyer assumes all S&H costs.

Erica Ehrenbard
Untitled Blue Squares
2014
Pen, paper, brass, walnut
10.5" x 6.5" x 0.5"

About the Work
Digesting the experience of being alive is my ever-present artistic motivation. I impart instinct and psychological states into physical form, paying close attention to my own body as I work. By aligning with my media I internalize its characteristics, which I amplify to create objects that feel 'one' with their source. Yet, the trace of my making inevitably leaves an imprint of my humanity, and thus an inherent connection to those who experience the work.

Bio
Erica Ehrenbard is a sculptor based in Philadelphia, where she has revitalized an early-20th-century carriage house. Out of her studio, Ehrenbard runs a custom metalworking company, Carriage Creative Co., that pairs her artistic sensibility with professional design and fabrication capacities. Ehrenbard additionally works as a Researcher for KieranTimberlake, where she engages architects in articulating design questions, builds architectural prototypes, and leads fabrication projects. Erica was born in New York City and raised in New Jersey, earning her BFA from Rhode Island School of Design. She has been awarded residencies with Vermont Studio Center and Chashama. Erica's work has been acquired by private collectors.

Zachary Steinheiser
Idle
2022
Steel, wood
14" x 7" x 3"

About the Work
Structures fascinate me, natural and human made alike. Urban architecture is of particular interest. Buildings and infrastructure are taken for granted, but their forms and compositions have a deep history. Raw materials are collected, refined and installed for purposes of habitation and industry. After completion, buildings experience a cycle of life, death and re-birth as the fortunes of cities wax and wane. In my sculpture, I work from the premise that a structure acquires a kind of inanimate soul as it is built, experienced and abandoned. The materials I use to accomplish this are primarily steel, wood, and concrete as they are familiar to a post-industrial urban landscape. In contrast to these heavy, structural materials, I include an element or idea that doesn't quite fit. This is usually something vibrant in color or unrecognizable in form and serves to create a scene imbued with an unknown and undiscoverable history. The intersection between what is structural, familiar, understandable and that which is strange and unknown is where I intend my work to inhabit.

Bio
Zachary Steinheiser is a sculptor & blacksmith from Philadelphia, Pennsylvania. He earned a BFA at Rhode Island School of Design in 2012. Zachary has worked professionally in monument conservation for the City of New York. He then further developed his metal working practice at Holzman Iron Studio where he served as a fabricator and assistant blacksmith. In 2019, Zachary founded Carriage Creative Company, a design & fabrication studio in the Callowhill neighborhood of Philadelphia.

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Brian C. Moss
DayBreak (Santa Monica, June 1, 2020)
2020
Archival pigment print
11" x 14"
1 of 3

About the Work
As an artist, Moss uses various media including collage, computers, drawings, installation, language, photography and sculpture. His projects ask viewers to question the ways that perception and visual media structure and interrelate all facets of physical and emotional experience. Moss' varied and wide-ranging practice includes documentary photography, multi-media installations, public art and collaborative community-based art projects.

This particular photograph was shot in Santa Monica on the morning after peaceful protests around the murder of George Floyd devolved into looting and chaos.

Bio
Brian C. Moss is an artist, photographer and teacher. Born and raised in Philadelphia he attended Tyler School of Art and earned a BFA (painting, photography and art criticism) in 1984. In 1992, he moved to Los Angeles to attend graduate school at the California Institute of the Arts where he received his MFA in photography. He has taught in universities throughout the Los Angeles region since 1997, as well as Parsons / New School in New York. His work has been widely exhibited across the United States and he has received funding from the National Endowment for the Arts, Rockefeller Foundation, Durfee Foundation, Los Angeles Department of Cultural Affairs, Phoenix Office of Arts and Culture, Santa Monica Cultural Affairs Division, Los Angeles Center for Photographic Studies, Olson Color Expansions, Kodak and Astra-Zeneca.

Richard King
Mixed Use
2022
Acrylic and oil pigment on wood panel
16" x 12"
(framed)

About the Work
My art practice has grown out of a need to manage bouts of insomnia over many years, drawing to distract myself from the realities of sleeplessness. I am fascinated by curious geometries and shapes from the world I see around me, from objects, to architecture to letter form. I work to conflate their formal, spatial and figural qualities, tapping into the perceptions and memories of the viewer, creating something that is foreign, yet familiar.

Working with tools from my architectural training, I develop drawings in graphite, ink and paint as well as in digital form. Pieces are drawn in layers, subtracting and adding lines to clarify interesting qualities that begin to emerge, often reworking them over long periods of time. I see this work as adding to the collection of shapes/spaces that we unconsciously absorb, as we make sense of our every day world.

Bio
Based in Philadelphia, Richard works as an artist, architect and educator. His art practice is focused on abstract drawing, painting and sculpture, exploring shape, geometry and light. Educated as an architect, he holds a Bachelor of Architecture from Temple University and a Master of Architecture from University of Pennsylvania. Richard is an Adjunct Assistant Professor at Drexel University's Westphal College of Media Arts & Design.

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Tommy Mavra
Catfish
2018
Acrylic on MDF panel
35" x 24"

About the Work
This piece is part of a larger series of paintings exploring life around a river. The series is contextualized by a short story about a child struggling with the death of their parents.

My work examines the paradoxical relationship mankind has with the natural world; it's beauty and repulsiveness. Through painting, drawing, and sculpture I focus on narratives of daily life - our everyday interactions with animals, the food we eat and the things we buy - to reassess situations overlooked due to their banality. I dramatize these ordinary moments to encourage an investigation of our expectations and assumptions.

Bio
Tommy Mavra explores narratives relating to our relationship with the natural world through painting, drawing and sculpture. The work spans from solo series in drawing and sculpture to collaborative interdisciplinary projects in experimental film and sound design. Mavra is a first generation American and the first generation to grow up not depending on farming and fishing. The contrast of being taught to have a reverence for nature while living in urban and suburban environments is most likely where his interest in understanding our role in the world as it relates to life began. Each work questions agreed upon notions of morality and explores the magic and the mischief of life.

Linnie Greenberg
I Got Da Blues
2021
Mixed media
33" x 43"

About the Work
Though it's blue, viewers tell me it makes them happy.

Bio
I'm a self-taught makers of things because it's brings me and perhaps viewers a bit of joy.

Kurt Herrmann
Simba
Acrylic on canvas over birch plywood
48" x 48"

About the Work
I want the Color Bombs to be beacons of positivity that can radiate across the room or whisper quietly beside you. I love the freedom and openness of color. These works don't bring any baggage or hidden agenda. They present a platform for each viewer to experience on their own. They are directly linked to my love of jazz and the trajectory of the soloing improviser. I want the Color Bombs to have form - to be earthbound, but to also venture out to where things are felt and not necessarily seen. To be ecstatic and full of verve and edge - like a saxophone exploding out of nowhere, or the sublime wail of a guitar rattling the windows. But these works also search for silence and quiet, and all the notes not played. They are like songs composed of shape and line that bask in the presence of absolute color representing nothing but themselves.

Bio
Kurt Herrmann (b. 1972, Lock Haven, USA) is a painter from the mountains of Pennsylvania who does both figurative and abstract work, but above all he is a colorist at heart. Two of his recent shows were featured in Time Out Chicago and the Philadelphia Inquirer, and upcoming shows in 2020 will be in Sydney (Anala Art), and Canberra (Aarwun Gallery), Australia; Auckland (12 Gallery), New Zealand; and Philadelphia (James Oliver Gallery), Charlotte (Sozo Gallery), and New Orleans (Octavia Gallery). Although his exhibition schedule is increasingly international, Herrmann's rural Pennsylvania roots continue to influence his work. "I'm very aware of the fact that even if a painting was initially inspired by something exotic, or an extremely personal event on the other side of the planet, all my work is filtered through my studio in the hills of Appalachia," he explains. "The colors, silence, space, seasons, landscape, even the rednecks impact everything I make. It's inescapable."

Mikel Elam
We have always been here
2020
Mixed medium of acrylic, ink, resin, paper on wood panel
18" x 14"

About the Work
My ongoing exploration of human equality is a life long narrative within my work . This work explores the imagined story of shady promises told on a warm day in Cameroon.

Bio
I am a practicing artist who has been fortunate to show both nationally and sometimes internationally. In the last few years I have been in a great deal of exhibition with favorable outcome . My work has also been used in publications films and music culture.I was a 2021 Cohort Fellow through The Mural Arts . I am an Artist in Residence at The Fitler Club . I have an upcoming solo exhibition at Cerulean Gallery . I am also represented by Black Bird Gallery in Detroit

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Kimberly Neff
All the Best to You
2022
Acrylic and mixed media on canvas
24" x 36"

About the Work
My work is an exploration of things unseen. I like to use bright, bold, playful and feminine colors and textures to evoke emotion and ask the audience questions. Art can be healing for most people, and I ask audiences to go within to see, think and feel, and process pain, trauma, or unanswered questions in their lives. In the recesses of the mind, one can access new places. I believe creativity is a portal to the divine and that every being on earth can be creative in their own way.

I work in acrylic, mixed media and collage and have been creative for my entire life. My vision is that viewers of my work will feel something new, perhaps recall a new childhood memory, enter a new place of understanding their world in their mind and spirit. Art helps give meaning to which there are no words - I hope this work moves someone to experience something authentic and meaningful that they have been looking for.

My background professionally is in marketing and advertising although I've been called to the visual arts consistently as both a viewer and as creator. I have a Master's in Science degree from Drexel University in the management of arts and cultural organizations.

Bio
Kimberly Neff is a Philadelphia-based abstract and mixed media artist. A life-long creative, Kimberly uses acrylic, spray paint, oil pastel, and mixed-media collage to tell stories that explore joy, spirituality and connection.

Using bright, playful and feminine colors, Kimberly's work is provocative, urban and ethereal, inspiring and asking questions about the things we know that are unseen.

Chantal Westby
Dreamland, Avatar
2010
Acrylic, mixed media
48" x 36"

About the Work
For years I have dedicated my art to awaken, evoke, stimulate, surprise and sometimes educate, trying to find new ways to share my call to action They evoke nature, the beauty and the energy of the universe.

Being able to speak the truth is going to be his essential. An alignment with the universe is born when you are fully aware of your thoughts, words, and, finally, your deeds. Painting has evolved into for me a form of world-unification that helps me better understand both the world and myself. A tableau is a kind of magical mirror in which eternal truths may appear; the less the artist imprints his or her personality on the mirror, the more the cosmos will reveal itself.

Bio
Chantal Westby is a French-American visual artist, born in northern France. She lets her artwork and life influence and harmonize with each other, finding inspiration through observation, ideation, and extensive questioning. Westby uses her art as a language in itself, communicating and expressing the richness she finds in life and the world around her, as well as using her art as a tool to raise awareness on important issues, like global warming.

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Marguerita Hagan
Rongorongo
2017
pit-fired ceramic
7.25" x 12" x 10.75"

About the Work

Rongorongo is Rapanui (Easter Island) meaning: Incised for Chanting Out

The ancient Easter Island glyphs carved on tablets share a mystical language. With only about a dozen incised wood planks known today, Rongorongo is one of a few independent languages in human history and is yet to be deciphered.

The unique system of characters are incised in shallow horizontal channels. The text is read from the bottom row, left to right. Each line is reversed so one must turn the tablet 180º to chant to the next line. Although the literal translation is unknown, the spirited nature of the "chants" infuse the sculptures. Inheriting the ancestral Rongorongo mobility, the sculptures invert freely into various poses as they step from 2 to 3 dimension.

The mysterious carved organic tablets liken time capsules capturing a once diverse and abundant exchange between man and nature on this remote Pacific Island. The thriving Rapanui culture and its lush landscape fell to deforestation and devastation leaving a profound message and crucial restoration at work today.

The pit-fired ceramic sculpture are unpredictably and uniquely painted 100% by the fumes and flame of their primitive outdoor firing.

Bio

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

Throughout her career, Hagan brings to light the beauty and engineering of our planet's diverse ecosystems and our powerful role as stewards. Her intricate ceramic shines light on the wonder and respect for the fragile, diverse life with which our lives are intrinsically linked.

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

Eva Shelley
Floral with wood
2022
Lampworked glass
12" x 12" x 10"

About the Work
A lot of my work is floral design, but based upon my imagination mostly. I was told a long time ago that we make things we have seen before, sometimes not even realizing it until after a piece is made. So most of my work is in reference to something I've seen or experienced in my past.

Bio
Once you find something that truly moves you, it can enhance your personal life, encourage you to grow, and leave you wanting more. That's what glass does for me. It's my first love. It's given me life and joy. And I know that comes through in my work.

My name is Eva Shelley and I've been working with glass since 2000. I started by taking private lessons at the Crefeld School, a private high school in Philadelphia. I then took individual glass classes at Salem Community College in New Jersey. From there, I attended Temple University's Tyler School of Art, majoring in glass, and graduating in 2005 with a bachelor of fine arts (BFA). My focus at Tyler was furnace work, and also learned both hot and cold casting, as well as fused and slumped glass.

Since graduating, I have been a freelance glass artist, creating glass art and glass jewelry. I've worked on a variety of different projects including pieces of jewelry for loved ones, glass sculptures for events, and company gifts for employees.

Linda Fernandez
Ritmo
2022
Acrylic paint on polytab installed onto plywood
24" x 24"

About the Work
My identity is shaped by a connection to multiple cultures which gives me a unique perspective and ability to relate to people from all different cultural backgrounds. I'm inspired by how culture and history shape our identity; what it means to be part of a multicultural diaspora living in the U.S. and how this affects our daily lives. Some of my recent work is inspired by tiles of Spain and Morocco, which became popular throughout Latin America and the Caribbean through colonization of these lands. In response to this colonial influence, I use symbols of Latinidad to remix the status quo and proclaim identity. The tile paintings bear symbols representing natural elements such as sun, water and earth. I draw a lot of inspiration from nature, I love color and some of the most amazing color combinations and contrasts can be found in plants and flowers. In other tile paintings I use elements of culture such as percussion instruments to symbolize music and the connections within Latinx culture to the African diaspora.

Bio
Linda Fernandez is a multicultural artist, educator and advocate for the arts in public spaces. She is a founding member of Amber Art and Design, an artist collective based in Philadelphia that creates public art through engagement with community members. Linda's artistic practice is rooted in collaboration. Her work involves coordinating the creative exchange of messages, artwork and personal artifacts between people across physical, social and cultural divides. As a result, interactions through exchange create solidarity, unity and a sense of belonging which are important human needs. These collaborative works bring a diversity of voices, ideas and dreams to the table. Linda has earned a Bachelor's degree in Art Education from Tyler School of Art, a certificate in Contemporary Art from Metafora Escola de Arte Contemporaneo in Barcelona, Spain, and a Master's in Public Administration from Austin W. Marxe School of Public and International Affairs. She is an alumni of National Urban Fellows and the Caribbean Cultural Center African Diaspora Institute's Intercultural Advocacy Fellowship.

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Christina P. Day
Rotary Lattice
2014
Found rotary telephone, house paint, extracted wallpaper, polyurethane
4.5" x 17" x 8"

Susan W Lowry
Plant Life: Progeny
2019
Graphite, collage media on paper.
25" x 19"
Framed

About the Work
I developed a small series of collages that utilize botanical references to work as a metaphor for evolution, memory, inherited connections, including gradual and abrupt transitions in materials and identity. "Progeny" is the product of appropriation of sorts, recycling an earlier drawing of mine as the foundation for more recent investigations. I wanted to embrace the state of becoming that drew me back to the original work.

Bio
I'm an artist living and working in the Philadelphia area. My investigations have always taken me to mixed media in both painting and drawing. I'm drawn to the non-linear narrative, to the use of varied media in pursuing the idea of abrupt change, and altered perspectives.

Jacqueline Unanue
Meditations XVI
2020
Acrylic on canvas
18" x 18"

About the Work
My series titled Meditations was created during the COVID-19 quarantine. This body of work was intended to interpret that moment of the whole of humanity: the isolation, the loneliness, and at the same time, the connections that unite us as humans, all giving us hope. During the process and through daily meditation, an internal calmness has allowed me to focus on my creative process. It has also allowed me to revisit my roots and accept inspiration from Mother Earth's palette. While painting, I listen to The Buddha's Tears, Armenian music performed with its ancient traditional instrument, the duduk. It imparts a powerful connection and with it, the sounds of a collective lament inherent of the current situation.

Bio
Jacqueline Unanue is a Chilean-American artist living and working in art in Philadelphia since 2000.

She studied graphic design at the Universidad de Chile, Valparaíso, and received formal training in drawing, painting, art history at Fines Art School of Vina del Mar, Chile. While a student, she became interested in the rock art found in Chile, meeting renowned archaeologist, Hans Niemeyer, who soon became her mentor. Unanue traveled extensively through Chile's Atacama Desert doing on-site rock art research in the solitary valleys, mountains and cliff areas where original ancient rock paintings and carvings exist. In Spain, she studied the pre-historic paintings of the Altamira caves in the Basque Country, the home of her paternal ancestors.
In 1989, Unanue received the Critic's Award in Visual Arts from the Valparaíso Art Critics Association in Chile. She was awarded grants sponsored by the Directorate of Cultural Affairs of the Ministry of Foreign Affairs of Chile (DIRAC) for her solo exhibits at Guayasamín Foundation in Ecuador (1997), and at the Inter-American Development Bank in Washington DC (2000). In 2015, she received the Latin American Women in Art and Cultural Tribute recognition in New York. Recently in 2022, she was selected by The Woodmere Annual 80Th Juried Exhibition in Philadelphia.

Since 1983, Jacqueline Unanue's work has been numerously shown in both solo and group exhibitions around the world, specifically Chile, Spain, Finland, Ecuador, Argentina, and the United States in Washington D.C., Philadelphia, Chicago, and New York.

Her work resides in many private and public collections in the Americas and Europe. Among them: University of Pennsylvania, Philadelphia PA; The PNC Bank Tower Collection, Pittsburgh PA; Gabriela Mistral Campus, Queens, NY; Gabriela Mistral Foundation, New York NY; Diners Club Collection, Quito, Ecuador; and Corporación Cultural, Vina del Mar, Chile.
She lives in Philadelphia with her husband, Ricardo Guajardo who is a designer and artist as well. Currently she is represented by Muse Gallery Philadelphia.

Matt Higgins
Burning Sun, Plastic Shoreline
2022
Acrylic and flashe paint on canvas with attached plastic
48" x 56"

About the Work
This painting was constructed using a number of attached surfaces including canvas, muslin and plastic debris. Attaching strips of canvas allows me to recycle used material into new work along with other materials on the studio floor that would otherwise be thrown away. Creating surfaces out of used material and integrating these into various landscapes has been the focus of the work for some time now. In this painting, the bold orange sun burns bright over a beach with rough, energetic waters filled with bits of plastic and debris. I am interested in creating a landscape that is both beautiful and somewhat ruined at the same time. It is at the intersection of these two ideas that I find inspiration for my work, the sublime yet broken landscape.

Buyer assumes all S&H costs.

Charles Emlem
Square Wave
2020
Wood, aluminum, LED lights, electronics
45" x 45" x 13''

About the Work
The universe is a vast array of infinite variation. While much of that variation already exists, most of it does not nor ever will exist. Or rather, most of it exists only as having the potential to exist. As humans, we have the unique ability to knowingly create things that were not here before and in doing so are privy to the notion that there is an immense reservoir of things that have not yet nor ever will be seen.

Bio
Charles Emlen was born and raised in Paoli, Pennsylvania. He received his BFA in sculpture from Pennsylvania State University in 1981, and his MFA in sculpture from Arizona State University in 1984. After leaving ASU he worked for several years as a sculptor's assistant with Arizona artist Michael Anderson. In 1987 he returned to Pennsylvania where he built a sculpture studio and for the next twelve years worked on sculpture commissions and custom metal work. During this time he also worked as an electrician and CNC programmer. In 1999 Emlen took a position at a local avionics company and spent the next 18 years as a software engineer, designing and programing aircraft flight display graphics. In 2017 he retired from the avionics industry and has since been devoting most of his time to sculpture, machine art, and site specific installation.

Linda Dubin Garfield
Expansive Journey 2
Mixed media
27" x 23"

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.

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Caitlin McCormack
Banneret To Commemorate Forest Fucking
2020
Crocheted cotton string, glue, velvet
28" x 21" x 2.5"

Bio

Caitlin McCormack (b. 1988) is a Philadelphia-based fiber artist whose crocheted works acknowledge a familial, trans-generational tradition of craft and externalize experiences with self harm, body dysmorphia, and assault, resulting in an intimate archive of emotive vessels. Exploring themes such as gender and sexuality, the pros and cons of isolation, and Anthropocene hamartia through an uncanny lens, these works contemplate societal reluctance to view gendered craft as art and regard crochet as a behavioral response to apocalyptic conditions. Evoking folklore, medieval botanical imagery, institutional osteological displays, science fiction and cinematic body horror, each object is an artifact of a memory, tethered to a surface and made viewable from a distance.

McCormack has contributed works to solo and group exhibitions at The Mütter Museum (PA), Museum Rijswijk (NL), The Mesa Contemporary Art Museum (AZ), The Taubman Museum of Art (VA), Hashimoto Contemporary (NYC and CA), The Fort Wayne Museum of Art (IN), Feinkünst Krüger (Hamburg), Vanilla Gallery (Tokyo), Rhodes Contemporary (London), Field Projects (NYC), Paradigm Gallery + Studio (PA) and most recently at SPRING/BREAK Art Show in NYC. In addition to holding teaching positions in Philadelphia at The Pennsylvania Academy of the Fine Arts and Hussian College of Art and Design, McCormack has completed artist residencies at ChaNorth (NY), The Peter Bullough Foundation (VA), and The Wassaic Project (NY). McCormack was the recipient of a Joseph Robert Foundation grant in 2021.

Daria Panichas
From Protection Comes Renewal
2020
Archival Ink on Hahnemühle Photo Rag paper, mounted on 4-ply archival board
37.25" x 25.25"
(framed)

About the Work
This was taken during the pandemic quarantine in 2020. Seeking a safe escape from indoor confinement, I spent days walking through the woods of the Wissahickon Valley in Philadelphia, where this plant, an invasive species called the Devil's Walking Stick, grows in abundance. I was struck by the combination of hellaciously sharp thorns, weeping sap and tender new growth. During that long spring and summer in which we all tried to protect ourselves, I often thought of how this plant ferociously protects itself so that it can survive, grow and thrive..

Bio
Daria Panichas makes art because it's a joy, and likes to explore beauty, transformation, stillness and possibility. Through unconventional light, lines and contour, her monochromatic photographs distill natural objects, landscapes and streetscapes into ambiguous forms; freed from the familiar, they morph into new worlds that invite the viewer to explore and wonder, just as she did.

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Caroline Lathan Stiefel
Mill
2019-2022
Fabric, wire, thread
19" x 31"

Courtesy of Sandler Hudson Gallery (Atlanta), Galleri Urbane (Dallas)

About the Work
Here is a statement about my recent show "Pieces", which was at Sandler Hudson Gallery in Atlanta in 2021. The piece I am donating, "Mill", relates to these works.

Pieces
The technique of piecing is an inherent part of my work: creating textile structures covered with sewn assemblages of fabric, plastic, wire and found objects. More broadly, piecing, to me, is a conceptually and culturally-rich methodology. I began this body of work thinking about flags, emblems, and banners and how flags claim and proclaim space, nature, country, and identity, but also communicate distress, emergencies, or secrets. For twenty years, I have worked with lightweight textile materials and commonplace objects to create large-scale sculptural installations that play with weight and mass, creating pattern, color and light. I have been inspired by the movement (breakdown and regrowth) of biological and architectural systems. Recently, I began making wall pieces and suspended works which incorporate unusual variations of traditional textile and craft techniques like weaving, wire wrapping, and quilting. Working with surfaces-cutting, pinning and stitching, is a slow, labor-intensive process, like a kind of surgery, but one that is idiosyncratic. Many of the materials I use to create these works come from my daily life: plastic juice and milk bottles, glass science lab containers, family clothing and bedding, and private property signs and refuse found on walks in my Pennsylvania borough neighborhood.

Bio
Caroline Lathan-Stiefel has exhibited her work in numerous galleries and museums, including The Museum of Contemporary Art Jacksonville in Florida, The John Michael Kohler Arts Center in Wisconsin, Suyama Space in Seattle, The Delaware Contemporary in Wilmington, Sandler Hudson Gallery in Atlanta, Galerie Articule in Montreal, The Philadelphia Art Alliance and Tigers Strikes Asteroid in Philadelphia, Gallerie Urbane in Dallas, Diana Lowenstein Fine Arts in Miami and the West Collection in Oaks, PA. She has installed large- scale permanent works at the Liberty Property Trust building in Malvern, PA, the Saint Kate Arts Hotel in Milwaukee and Temple University in Philadelphia. In addition, Lathan-Stiefel is a 2015 Pew Fellow in the Arts and the recipient of an Independence Foundation Grant (2009), a Pollock-Krasner Foundation Grant (2008), a Creative Capital Foundation Grant in Visual Arts (2005), and a New Jersey State Council on the Arts Grant in Sculpture (2003). Lathan-Stiefel was born in Atlanta, GA and received her BA in Visual Arts from Brown University in Providence, RI and her MFA from the Maine College of Art in Portland, ME.

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John Howell White
Pulse
2018
Oil on board
36" x 36"

About the Work
Paintings hover about, unattached to their referents. They differ, in time, reference, and ambience, from film and photography. They welcome their viewers through their visual impact and, like ghosts, haunt them through their visual omissions. They conjure an absence, which ferments attachments and invites future visitations.

Bio
John Howell White is Emeritus Professor of Art Education, Department of Art Education, Kutztown University. He earned his M.F.A. from Pratt Institute and his Ph.D. from The Pennsylvania State University. He is the author of Experience Painting, a Davis textbook for secondary art students. White was named the Higher Education Art Educator of the Year nationally (2012) and statewide, Pennsylvania (2009). He has conducted research and published extensively about the history and philosophy of art education. He has served as Director of the Higher Education Division of the National Art Education Association and Chair of the National Art Education Association's Research Commission, the Department of Art Education, Kutztown University, and the Council for Policy Studies in Art Education.

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Lyn Godley
Conflict Zones #2
2022
Watercolor on paper
9" x 12", framed 12.25" x 16.25"

About the Work
Watercolor sketch for larger projection mapping project. Reactions to a world at war.

Leah R Macdonald
Lily Crying
2022
Toned silver monoprint

19" x 15"

About the Work
This is a one of a kind toned silver print made in the darkroom from a 4 x 5 view camera negative- the print had wet glass on the surface of the photographic paper while it was exposed - then I toned it. This piece is a part of my Lost Light Luv Legacy project started to archive my silver monoprints in October 2021-2022

Bio
Leah Macdonald makes her portraits into artifacts, one-of-a-kind conceptions that suggest the imperfection and multiplicity of memory. The heart of her mixed media work, a poignant sense of revisitation and return. Her passion is sharing her art and creativity with others through teaching workshops, art exhibitions and her prolific internet portfolios. Her new technique "photogestic" is the fruition of all her years of experimenting with altered surface analog photography and mixing media. It combines her three skills in art: photography, collage and encaustic painting. When transforming photographs from slivers of reality to complete fantasy, she expresses the tales of womanhood. She uses collage to place her figures in new and surreal environments. Her intuition with encaustics allows beeswax to embellish and veil her models. She carefully draws on the wax to decorate and control the visibility of the subject. Layering these mediums by manipulating surface texture and color grants her the ability to express her imagination and bring her art vision to life.

She was born in Philadelphia, she attended college in San Francisco and then went on to receive her MFA in Photography from the California College of Art. She enjoyed a long and varied career path within the arts:commercial photography, professional analog printer and college professor. She was the Education Curriculum Director at the Manayunk-Roxborough Art Center. In 2007 she was asked to do a live encaustic painting demonstration on the Martha Stewart show. Other highlights include a solo retrospective of encaustic nudes at Wexler gallery in 2010. In 2016 she was the scenic director of In My Body Musical. In 2017 she was selected as the recipient of the NewCourtland Fellowship by The Center for Emerging Visual Artists.In 2018 she was an artist in residence at the Encaustic Castle. She recently launched a new website; Lost Light Luv, it features her legacy analog photography. Her encaustic photography art is represented by Inliquid Arts, Saatchi Art, GalerieBMG, Venvi Gallery and Cerulean Art Gallery in Philadelphia. She has also self published numerous handmade artist books.

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Deborah Curtiss
Praha VII, Belvedere Pavilion
1995
Graphite and acrylic on pieced raw linen canvas
40" x 16" x 48" x 23"

About the Work
PRAHA VII, Belvedere Pavilion, is one of a series from a visit to Prague in 1993. It was inspired by the concept of Secret Fire, an alchemical concept by which early scientists attempted to create gold from baser elements. Since gold is an element, the alchemists were unsuccessful, but their efforts are credited with giving birth to modern chemistry and the scientific method, achievements commemorated in Prague's historically preserved Alchemy Lane. In an alchemic spirit, I gave the city colorful skies and used graphite on unprimed linen canvas to capture the prevailing colors of Prague's exquisite architecture. The trapezial shape and pieced canvas reflect the fragmentation of knowledge and contemporary life.

Alloyius Mcilwaine
Winterfell
2012
Spray paint, acrylic
36" x 24"

Bio
This self-taught American artist was born in Philadelphia, Pennsylvania, and has been passionate about the arts since his childhood. Thus, Alloyius McIlwaine has been painting and drawing on a daily basis since he was three years old, following his own desires and working without any preconceived ideas. As he puts it so well, "the idea of appealing to an emotional response, through the use of colour, shapes, textures and composition, has always fascinated [him]".

As a child, he quickly developed a taste for these elements through working with comic strips, devoting himself diligently and faithfully to reproducing the drawings down to the very last detail. A few years later, fuelled by his own personal discoveries, the young artist set out to experiment with different media and styles in order to finally develop his own pictorial writing.
His artistic language lies between figuration and abstraction, incorporating elements from both urban and pop art and it is resolutely free and contemporary. Whether he is working on canvas or on walls, Alloyius spontaneously and naturally takes pleasure in coating surfaces with large coloured planes to give rise to pictorial, and extremely dynamic, creations. He is also a muralist and has painted frescoes across the globe - from Canada to France, Costa Rica to Morocco - and has also covered a large number of public and private facades all around his native country with his unique signature. This artist is as enthusiastic as he is passionate, and likes to disseminate his works in order to cover cities with bright and joyful splashes of colour.

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Samara Weaver
Tide
2022
Trace paper, watercolor, wood
8" x 8"

About the Work
This pieces is a small moment, exploring one facet of color and motion of the ocean.

Bio
Samara graduated with her Masters in Architecture in 2013 from Tyler School of Art and Architecture. After graduating Samara worked in Architecture and Construction while continuing to develop her unique artistic voice using multiple mediums. In 2017 she took the leap to working for herself and started Design Hues, focusing on artisan floral and specializing in large floral installations. In 2018 Samara applied to the Juried Craft Show at The Delaware Art Museum, and was accepted with a host of other talented artists. Showing her work at the museum was a pivotal turning point in her artistic career, supporting shifting her focus to her art full time. She was accepted in Spring 2020 for an art studio at the Delaware Contemporary art museum and has been working full time creating and selling her artwork, functional ceramics and porcelain jewelry.

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Orlando Saverino-Loeb
Beachin Cliffs
2018-2020
Acrylic, ink, gesso, marker, and spray paint on canvas
24" x 24"

About the Work
Beachin Cliffs is about arrival to a scene. A place we may have been in a dream, and a setting for a party. The painting explores the uniqueness of individuals and how upon arriving to and celebrating in a place we can let that shine. As the characters arrive at the precipice, some look back, some are excited, and some wait. This emotional diversity is key to any party, and in this work that is explored in each figure in the scene. So, arrive with them and overlook the grassy shore, and feel the golden light of the fading afternoon wash over you by the cliffside.

Bio
Orlando Saverino-Loeb is a Philadelphia born artist. He is the CEO of Philadelphia Art Handling and has been working as a artist for the past 11 years and for the last 3 of those years has been working as the Technical Director at HOT•BED, an art gallery in Philadelphia. He has a background in Technical Theater, Industrial Design, Construction, and Art. He has worked as a direct assistant for the COO and Director of Appraisals at PALL MALL Art Advisors where he gained experience in the business of the art world as well as seeing and being involved in the appraisal process first hand. He has experience moving high value pieces with care and efficiency. He has his BFA from Tyler School of Art at Temple University, and graduated with the Senior Painting Award.

His own work is influenced by surrealist imagery, the compositions in 19th century Romanticism paintings, and extended stays in Italy. He deconstructs the environments he's experienced, and rebuilds them as reflections on humans and their activities. He uses characters, symbols, and visual metaphors to create a sense of familiarity that facilitates the creation of unique new ideas and insights in the mind of his viewer.

His work has been shown at the Stella Elkins Tyler Gallery, the InLiquid Gallery, Fleisher Art Memorial and the DaVinci Art Alliance among others. In 2018 he was selected to participate in the 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 has continued to show work as a member of DaVinci Art Alliance, and during 2020 he had six paintings in an international show in Paris with the DF Art Project, as well as showing work with Air Mattress Gallery, NYC virtually. More recently he has shown in NYC with SOLAS Studio.

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Elisabeth Nickles
Deer Vessel
2003
Cast glass
63" x 13" x 13"

Courtesy of Schmidt Dean Gallery

About the Work
My work exists in the edge between the physical study of organic form and psychological metaphor. Issues of the human psyche are seen in relationship to nature and as a fragment of nature. The mind and body are moving parts of the larger system of biological cycle and subconscious knowledge. My depiction of natural form is my mental projection and physical association with the non-human world. With humor and fascination I bring my obsessions, memories and identity to a place where the inner and outer world are melded together.

Bio
Elisabeth Nickles is a mixed media sculptor living in Philadelphia. She has produced bodies of work in bronze, glass and paper. She attended the Boston Museum School and The Pennsylvania Academy of Fine Art and in 2007 received an MFA from Alfred University. Her work has recently been shown at the Philadelphia Airport, Schmidt Dean Gallery and Exit Art. She is currently a Muralab artist in Residence at NextFab through the Breadboard Science Center and Mural Arts where she is using new technologies to make small scale models that will be exhibited at the Esther Klein Science Center as possible projects for public spaces. During the past year, she completed a large scale commission for the SEPTA Arts in Transit program as well as a large wall sculpture for the offices of The Reinvestment Fund in Philadelphia.

HEOS Ceramics
Flower + Salt Vase
2021
Reduction cooled, wood and salt fired ceramics, wheel thrown and altered vase
9" x 11" x 5.5"

hand washing recommended

About the Work
This piece is in a recent series of "envelope vases". I've been experimenting with the surface glazes and firing techniques lately. The hint of a pattern is left underneath the glazes, as the wood, ash and flame cool across the surface creating small white crystals. It's always a surprise when you un-brick the door!

Bio
Heather creates ceramics that reflect her distinct background. Throughout her career, she has traveled through Asia, Central America, Europe and the United States. These experiences have cultivated techniques and methods that are incorporated into her studio practice. Focusing on functional pottery, and sculptural still lifes; traditional practices and everyday objects are the spotlight of her work. She is currently Professor of Art at Prince George's Community College, and resides in Baltimore, MD.

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Anthony Vega
Dalliance (mrsn2010, less)
2015
Acrylic, linen
62" x 62"

About the Work
Anthony's current practice rests on his fascination of language, meaning and image. These interests are explored through the use of web based images, color and layering, but specifically through the exploration of how interpretations and connections are made both personally and socially.

Bio

Anthony Vega is a visual artist, educator and curator in the Philadelphia area. Originally from the rural town of Green Creek, New Jersey he has spent the last 14 years pursuing his artistic career. His undergraduate work was completed at Saint Joseph's University where he studied fine art and philosophy. His Master of Fine Arts degree was received from the University of Delaware.

He is currently Assistant Professor of Art at Reading Area Community college, and had previously taught as adjunct faculty at the University of Delaware and Penn State Brandywine, teaching studio courses, contemporary art theory and media studies. He exhibits his work in galleries, museums and other venues regionally and nationally.

Anthony was also the director of the University of Delaware Philadelphia gallery, UD@Crane in the Crane Arts building.

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German Vazquez
RENE
2021
120 Medium Format Film on Digital Print
20" x 16" framed

About the Work
My approach to Photography presents a critical viewpoint on the ideas related to religion and sexuality, particularly in colonized countries such as Puerto Rico. Inspired by paintings from Baroque and Rococo and gestures like Titian's The Venus of Urbino, Sandro Botticelli's The Birth of Venus in art history as well as Hieronymus Bosch, The Garden of Earthly Delights.

Growing up in Puerto Rico, an island with very strong and deep rooted religious beliefs. Which created a fear to be your true authentic self , due to societal and religious oppression towards the LGBTQ+ Community and as I began to explore stories similar to my own experiences within the Queer community. Queer & Trans people are often targeted, As nature becomes that safe place where they can reconnect with themselves and release themselves from hatred and colonial oppression This current series is not just a reflection, but a documentation of the human beings who are tired of living in spaces where they do not feel welcomed, loved or protected !

One of the most important goals to me as a Queer artist of color is redirecting our views on this community from the trauma that surrounds them, and finding ways to highlight by celebrating the life of each individual with confidence, sexuality and gender identity. To overcome the stereotypical judgment and condemnation that was placed into our culture, and endangered the shared experience of primal safety and visibility.

Bio
German Ayala Vazquez is a Photographer , Creator and Visual Artist. Born in Bayamón Puerto Rico, currently living in Philadelphia, Pennsylvania. He is a 2020 Graduate with a Bachelor of Fine Art in Photography at the University of the Arts in Philadelphia, Where he was awarded The Adolf and Geraldine Paire full scholarship in 2018 to complete his studies in Fine Art photography. During this time, he was able to continue his interests in editorial and fashion photography while gaining expertise in the studio, documentary and Fine Art environment. Over the years German has won multiple awards for outstanding studio work from Profoto, and the 2020 TheNikon/Ben Rose Prize. He currently has work exhibited in Puerto Rico and Philadelphia has also been featured in multiple publications including Vogue Italia, Fluid Culture, Hunger Magazine amongst many others. His main focus is to not only to become a Storyteller in the Fashion Photography Industry, but to serve as an outlet to focus on conceptual and specific bodies of work to represent for the BIPOC LGBTQTT+, community.

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Kathleen Shaver
Small Painting 11-C (red& brown)
Oil on paper
36" x 28"

About the Work
My paintings are best described as a search for the primal. My approach is informed by abstract expressionism and a love of paint. I work from a place where intuitive gestures and mark-making record a quest for a pre-linguistic awareness. I am inspired by the Lascaux cave painters, whose images transcend time, culture, and language. This quest for a primal, wordless image touches, what is to me, the deepest mystery of human existence: Where did I come from and where am I going? My paintings invite viewers to consider an existence that is not limited by words, preconceptions, or conventional identities, yet one that is framed by an unknowable mystery.

My artistic process can also be described as a primal searching. Although I work within the tradition of paint on canvas, I am constantly shifting my approach in pursuit of the unexpected. Discovery happens when I paint faster than I can think. I work on multiple pieces at a time, with canvases ranging in size from very large to very small. I may start with thin washes of paint combined with calligraphic lines, eventually building up to a thick, textured surface. To apply the paint, I use a variety of spatulas, palette knives, rollers, and misshapen old brushes as well as my hands. I let the work dry between sessions. I do not plan my approach.

Motivated by a kind of anxiety or doggedness combined with belief, I allow my intuitive and emotional self to react to the canvas and to determine the next step. Building up the paint surface and then scraping it down in areas, I seek to reveal something unknown. I hope that the viewer senses a discovery, beyond words, and is touched by the mystery of human existence that my work explores.

Bio
Kathleen Shaver is a Philadelphia painter who studied at Moore College of Art & Design and the Pennsylvania Academy of the Fine Arts (PAFA). Her work has been included in a major survey of contemporary Philadelphia artists at the Philadelphia Museum of Art and in exhibits at PAFA, Woodmere Art Museum, the James A. Michener Art Museum, The State Museum of Pennsylvania, and Moore.

In addition to the Rodger LaPelle Galleries and 3rd Street Gallery in Philadelphia, Kathy has exhibited in galleries located in Delaware, Maryland, New York, New Jersey, Washington D.C. and Texas. She is the recipient of numerous awards for painting and her work is included in both private and corporate collections. Currently, she serves as the President of the Moore College of Art & Design Alumni Council.
Kathy is also a 1976 graduate of the Hospital of the University of Pennsylvania School of Nursing. Her first position was staff nurse and evening charge nurse on the Older Medical Unit at Children's Hospital of Philadelphia. Kathy also worked as an operating room nurse at Hahnemann and Graduate Hospitals in Philadelphia and was among the first group of nurses to be certified in operating room nursing.

In 2011, she completed a permanent installation of 27 paintings, The History of Nursing as Seen Through the Lens of Art, at the University of Pennsylvania School of Nursing. This work was presented as a gift form the HUP Alumni Association to celebrate 125 years of nursing at Penn.

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Melissa Maddonni Haims
IED #9
2016
Upholstery textiles, various threads, yarns, cassette tape, leather, suede, postindustrial, pre consumer waste. Stuffed with the shredded fabric of humanity.
10" x 8" x 5"

About the Work

IEDs are soft sculptures based on the behavioral diagnosis "Intermittent Explosive Disorder," a disorder characterized by sudden episodes of impulsive, aggressive, violent behavior or angry verbal outbursts that are disproportionate to the situation. IED is usually associated with additional mood disorders, such as Bipolar Disorder and Manic Depression.

Using divergent materials such as the shredded fabric of humanity and machine knit poly cotton yarns, I bind and coil, cinch, sew, and truss my work into awkward shapes to symbolize the physical embodiment of internal rage and discomfort. Each organ-like sculpture personifies an individual expression of the daily stresses and frustrations we accumulate and push down into a tightly bound knot of smoldering fury. These soft sculptures represent the knotted stomachs of the 5.7 million people in America (18+) who are living with Bipolar Disorder.

Bio

After attending a long list of East Coast art schools studying sculpture, painting, and printmaking, her career began in New York City in the 1990s. Eventually, life led her back to Philadelphia, where she now lives with her husband and daughter.

Melissa's work has been held and displayed in galleries, museums, and in private collections throughout the United States. In 2014 she was featured on an A&E network television program about artists who make work out of unusual materials. She has been yarn-bombing internationally since 2010.

Since 2012, Haims has focused on creating work about death, dying, and mental illness. She draws viewers in with color, texture, and the promise of a tactile experience (every piece of work is meant to be touched, loved, and handled). They then deliver a "one, two punch" with a challenge to think and talk about difficult subjects. More specifically, her work has largely focused on America's endemic gun violence and its impact on our communities.

Her latest large-scale installation was with March for our Lives in 2020. She crocheted a 25' flag for a voter registration event on the iconic Philadelphia Museum of Art's staircase.

Greg Kelly
Untitled
Oil on panel
14" x 11"

About the Artist
Greg Kelly is an artist based in Philadelphia, PA. Kelly received his BFA in Painting from the University of Delaware in 1990, and an MA in Arts Education from the University of the Arts. Kelly has worked as a picture framer for over 35 years, including owning and operating the Kelly-Webber 201 Gallery in the Crane Arts Building from 2006-2010. Kelly maintains a studio practice making small scale abstract works out of his Fishtown home.

John Klinkose
Treading Water
2006
Oil on canvas
24-1/2" x 24-1/2"

About the work
Blue; my world is variations of blue. I fell in love with sky and water at an early age. In my life I have been a pilot, sailor and swimmer. I paint against the background of these experiences. To float or fly is to be free or apart from the world, to be in defiance of gravity. My paintings are populated with airplanes and swimmers defying gravity. History, Science and Politics are important to my world view but, there is something more, something transcendent about sailing out of sight of land, flying solo in a small plane or night swimming under the stars. On the edge that can only be viewed when loose or free of the normal moorings. This is what I try to paint about. Paint as an exploration of the transcendent.

Bio
John Paul Klinkose began pondering history, aviation, space exploration, and the human condition at an early age. While experiencing the usual Hoosier childhood, he could just as easily arrive home after a hard day of bike-riding to find an impromptu polling place set up in the garage as he could find mac and cheese on the table.

His earliest dreams of astronauts and World War II aviators, led John to pursue a degree in aviation at Indiana State University. Facing the realities of the world, he switched to the more practical pursuit of Aviation Administration. Yet, quickly discovered after graduation that running an airport would not fulfill his adventurous soul and feed his artistic spirit. So, he did what any lifelong, land-locked kid would do, he ran away to join the United States Coast Guard and see the world - well at least the slice that ran up and down the East Coast and into the Caribbean. John ably served four years in ships making harrowing runs to Jamaica, living the sailor's life in Key West and finally navigating the treacherous waters stirred up by Hurricane Bob and the "Perfect Storm" off of Rhode Island.

While taking art classes in the suburbs of Maryland, a Pennsylvania Academy of the Fine Arts recruiter spotted his raw talent at the Corcoran Museum of Fine Arts in Washington, DC and said, "Now son, those abstract schools that are trying to woo you are all well and good. But, when you want to paint a foot, you need to know how to paint a foot - not some swirly patch that could be a foot or a fishtail." Well, the recruiter was probably a bit more professional than that, but you get the point.

Upon receiving his Certificate from the Pennsylvania Academy of Fine Arts, John lived and worked from a garret in the Fairmount section of Philadelphia where he painted whimsical pictures of swimmers and aircraft which he showed in Philadelphia and New York's Chelsea district. Apart from painting John worked as a conservation technician at the prestigious firm of Kreilick Conservation LLC, working on famous sculptures and architecture all over the east coast and midwest including sculptures such as Andrew Jackson, the Statue of Freedom atop the U.S. Capital, in Washington D.C. as well as scraping the bird do off the giant Oldenburg' clothespin in Philadelphia among many others.

After 27 years on the east coast, John and his lovely partner Jennifer decided it was time to return to their roots in Indiana, moving to the Meridian-Kessler neighborhood of Indianapolis where John continues to paint his whimsical pictures of water and sky

TJ Walsh
Untitled
2015
Crayons and paint pens, acrylic
14" x 11"

About the Work
Words like improvisation make believe, invention, whimsy, and intuition are words that have been used to describe my work. My work reflects an investigation into what it means to make marks on a surface to convey emotion. It is informed by many hours of listening to people share their stories of transition or struggle with me in the therapy room. The immediacy of mark making is therapeutic and healing. Making marks and pushing paint is about breaking through the noise of life to unearth the conversation beneath.

I care very deeply about all the formal elements of art and how they come together in a composition, but the subject matter of my work I leave to the process of painting, and start each and every one by making something out of nothing. I am an intuitive painter who relies on a process that is visually directed and which leads to the finished piece. I have no idea of the painting I am about to start, and until the very last moment of conviction, have no certainty that it will remain in the form that is in front of me. Through a very long series of moves--changes, cancellations and additions--an idea unfolds. It is an exhausting process, but it keeps a forward moving momentum to my work. There is a certain level of ambiguity in the work, allowing the viewer to interpret the content or meaning. I believe this is the best way for me to arrive at authenticity. When I respond viscerally then I know I am moving in the right direction. I am searching for a psychic energy and trying to make sense out of something enigmatic, organizing bits of dreams, memory, imagination, worldly concerns and ethereal elements. In the end, I hope it is about an unseen essence and an existential beauty.

Bio
TJ Walsh, BFA, MA (b. 1985) is a: Artist, Psychotherapist, and Higher Education Administrator in Philadelphia.

TJ received his BFA from the University of the Arts, Philadelphia. Received his MA in Counseling Psychology at Eastern University, Saint Davids, PA.

Prior to his work in higher education administration and mental health, Walsh was a Creative Director and Director of Communications for several national and international nonprofit organizations. He has professional experience in brand development, corporate communications, non-profit marketing, social media engagement, fundraising communications, project management, and strategic planning.

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

Walsh writes and speaks on the topics of art, culture, faith & mental health. His work is exhibited and published internationally.

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Richard J. Boutwell:
Near Egilsstadir, Iceland
2004
Gelatin silver contact print
7-5/8" x 9-1/2", framed 18" x 16"

Bio
Richard J. Boutwell, originally from Joshua Tree, California, is a photographer and printmaker based near Philadelphia, Pennsylvania.

In 2002, Boutwell relocated to Bucks County, Pennsylvania to enter an intensive apprenticeship with the photographers Michael A. Smith and Paula Chamlee. He worked as their assistant in the field, studio, and darkroom until 2008. He then became their full-time printer and ran the scanning and digital studio at their photography book publishing company, Lodima Press, until 2015.

His photographs have been included in national and international group exhibitions and private and public collections. He has served as a guest lecturer on the history of landscape photography at mid-Atlantic colleges and universities.

Boutwell's personal work, originally influenced by early 20th-century modernists, shifted as he was exposed to the work of the New Topographics, along with the work of the 19th century colonial expedition and geological survey photographers. This led him to begin investigating his personal connection to the greater cultural, industrial, and environmental history of the landscape-mostly involving issues of water rights in the West, and the impact of recreation in the desert landscapes of the Southwest.

His current bodies of work are informed by aspects of archeology, family history and myth, and the influence of technology and social media on how we interact with the natural environment.In addition to his traditional landscape photography, he is now combining those photographs with found objects, historical materials, and appropriated mapping and scientific data.

Mat Tomezsko
Untitled from There is No (series) #67
Acrylic on paper
18-1/2" x 15-1/2"
unframed

About the Work
There Is No was a part of the InLiquid Juvenile In Justice exhibition November 8 - December 12, 2013.

In July 2012, I made a series of 94 paintings called There Is No, while teaching workshops at the Covenant House, a shelter facility for homeless youth located in Philadelphia's Kensington neighborhood. The young people I worked with had experienced devastation on a level unimaginable to most people. All of them had lost friends and relatives; some had no living family members left. Informed by their input and my own experience of my friend's death, I developed imagery and vocabulary that approximates the experience of the tumultuous and frustrated emotional reactions that come from violent loss.

Bio

Mat Tomezsko is an artist from Philadelphia creating abstract paintings, public art installations, and community art projects based around participation and everyday visual language. His approach to composition is informed by mid-century formalism and conceptualism. His work was recognized by the 2017 Americans for the Arts Public Art Network Year in Review for outstanding public art. Tomezsko's artwork has been exhibited at numerous art spaces regionally and nationally, including the Crane Arts, Woodmere Art Museum, the Center For Emerging Visual Artists (CFEVA), and Wexler Gallery in Philadelphia; Lillstreet Art Center in Chicago, IL; the Delaware Contemporary in Wilmington, DE; and Thomas Hunter Projects in New York, NY. He has created several notable public art projects including 14 Movements: A Symphony in Color and Words, a mile-long temporary mural installed in downtown Philadelphia during the 2016 Democratic National Convention; Look Long and Look Good, a series of 30 paintings currently installed along Main Street in Manayunk; and Flowering Axes, a mural in the 5th Street Vehicular Tunnel underneath the Ben Franklin Bridge.

His work is in the collection of The Wharton School at The University of Pennsylvania, Fox School of Business at Temple University, Capital One in Wilmington, DE; and various private collections.

Samuel Rodriguez
Inner
2022
Collage
12" x 9"

About the Work
The Artwork was created with the help of another visual artist friend (Yannick Lowery) through a workshop I learned the art-making process and procedure to bring you this work of art tittled "Inner". Inner is a collage that illustrates societal pressure and how it effects our inner experience as humans.

Bio

Sam Rodriguez, Founder, and Executive Director of Walls for Justice is also a muralist and a multi-disciplinary teaching artist with the belief that art creates social change. Based out of Philadelphia, Pennsylvania. Sam has been teaching art for more than 12 years through the Mural Arts program, having led the Artrepreneur Program for six of those 12 years. Sam merges art and entrepreneurship to teach skills needed to create social impact in today's creative economy. In his artistic practice, Sam organizes collaborative mural projects that bring together artists, and community members.

In June 2020, Sam organized businesses, artists, and community members to unite and paint murals on the plywood protecting store windows during the social justice protests that arose from the killing of George Floyd. By painting murals that quoted inspirational people of color and reflected their shared values, Sam discovered a way to transcend the polarity between the businesses and protesters and to bring them together through collaboration and an artistic act of solidarity. This experience inspired him to start Walls for Justice, the nonprofit through which he continues to create monumental and historical public artworks that heal and support our communities.

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Stephen Perloff
Drexel Bank, 15th & Walnut Streets, Philadelphia, PA
1975/2007
Archival inkjet print
6" x 9.5", framed 14' x 17"

Bio
Stephen Perloff is the founder and editor of The Photo Review, a critical journal of international scope publishing since 1976, and editor ofThe Photograph Collector, the leading source of information on the photography art market. He has taught photography and the history of photography at numerous Philadelphia-area colleges and universities and has been the recipient of two grants from the Pennsylvania Council on the Arts for arts criticism. He was the recipient of the Sol Mednick Award for 2000 from the Mid-Atlantic region of the Society for Photographic Education, the first annual Vanguard Award from the Philadelphia Center for the Photographic Image in 2007, and the Colin Ford Award for Curatorship from the Royal Photographic Society in 2012.

His photographs have appeared in numerous exhibitions and reside in many museum and private collections, including those of the Philadelphia Museum of Art, the George Eastman Museum, the Santa Barbara Museum of Art, the James A. Michener Art Museum, Lehigh University, Haverford College, and the University of North Dakota.

Pauk Rider
Primitive 16
2010
Archival carbon ink print
8" x 8", framed 16" x 14"

About the Work
A series of images using discarded, ordinary, everyday found objects shot isolated on a plain white background. The presentation, ike a scientific record, gives these societal rejects new perspective and weight. The abandoned items become mysterious and intriguing modem relics. Though they no longer serve
any useful function, they possess an elegance and patina from their time spent weathered by the elements as if pulled from an archeological dig.

In the second part of the series, I have combined the discarded objects with textured surfaces that are meant to reference cave paintings. They give the impression of the efforts of a previous civilization to communicate the familiar of their world, but now a mystery to our world.

Bio
Paul Rider has lifelong roots in the Philadelphia area and eamed his BFA in Photography from Philadelphia College of Art, Philadelphia, PA., (now University of the Arts). He received his MFA in Photography from Savannah College of Art & Design, Savannah, GA.

Working in discrete series, Rider creates his imagery by constructing still life in the studio utilizing found objects and also through the use of abstract and documentary photographic styles. The compelling issue that has driven his work, is the interface and struggle between nature and manmade urban culture. All of his photographic projects share an elegant, visually compeling narrative and strong thoughtful, almost sculptural, composition.

He has taught at the university level since 2003. Rider's photographs have been exhibited in Europe and throughout the United States

Stuart Rome
PotGoat
2012
Pure pigment photographic print
11-1/2" x 11-1/2", framed 20-3/4" x 20-3/4"

About the Work
My photographs of California pot growers, the tribe of trimmer kids who work the harvest and the activists who run the dispensaries are a group at odds with government and yet are working as farmers cultivating plants that have been in demand since the beginning of culture; at odds with society but in demand by that same society. This is a sad commentary on our lack of honesty about who we are publicly and privately. Our lack of honesty has engendered as much pain and death as a 'war' and it has been waged against the poorest and most defenseless of our citizens. In 1982 Ronald Reagan spoke to his constituents of the difficulties of controlling the American counter culture and African Americans; soon after he gave his famous war on drugs speech which began a thirty year war that made a few Americans who built the new prisons rich and drug cartels even richer while the poor and predominately black population suffered. A new tipping point has been reached in public opinion; the war has been an abject failure. Whenever I think of all the lives cut short by this approach, I've felt a shame and anger that I have wanted to speak about in my own works.

Bio

Stuart Rome has worked as a photographer since the 1970's during which time he began exhibiting works in color - both landscapes and portraits, entitled, Modern Mythologies. His first solo exhibition was presented at the International Museum of Photography in 1978.

His interests in anthropology led to book projects photographing antiquities in Latin America and Asia as well as recording remnants of these expressions found in the rituals of trance. This documentary work led to landscape photographs of forests as a manifestation of pantheistic energy.

Patterning found in tribal art and textiles became the framework from which ideas about the natural world would emerge in his most recent published work, Drawn from Nature as well as ongoing Forest Pictures and the new series, "Oculus".

In 1985 Stuart Rome was hired to design and build a new Photography Program at Drexel University in Philadelphia, where he continues to teach until his retirement in 2019.

Stuart Rome has exhibited extensively over the years in solo and group exhibitions - in galleries and museums. Amongst his publications are: Maya, Treasures of an Ancient Civilization, Abrams, 1985; Forest, a monograph, Nazraeli Press, 2005; Signs and Wonders, The Southeast Museum of Photography, 2011. The John Simon Guggenheim fellowship was awarded in 2015 for his most recent work, "Oculus", photographs from within giant redwoods and sequoias.

Kathryn Pannepacker
Green Honeycomb (from the archives)
2007
Handwoven with jute, fabric, coiled aluminum foil

Bio
Kathryn Pannepacker is a textile/visual/community artist living in Philadelphia, PA. She graduated from Penn State University back in the late 80's with a major in English- Creative Writing/ minor in Art. Her studies continued with numerous intensive apprenticeships, nationally and abroad. She has done many projects with Mural Arts Philadelphia and other organizations over the years with folks of all ages and backgrounds.
Kathryn exhibits locally, nationally and internationally, and has work in private and public collections. Via Mural Arts Philadelphia's Porch Light Initiative at The Kensington Storefront in Philadelphia, Kathryn and colleague, Lisa Kelley, co-created an art/craft-making 'sanctuary studio' workshop series called Tuesday Tea & Textiles. Working with folks in active addiction, they believe that creating an environment of belonging, meaning and purpose is a critical piece in any 'recovery model' (not to mention in life and community!) as the nation scrambles for solutions during an epidemic of addiction and despair. Art as Harm Reduction! For many years, and still, she makes yarn 'shags'/ art-for-all pieces on chain link fences for neighborhoods, often overlooked. Kathryn has received numerous grants including The Leeway Foundation's Transformation Award. Her work has been featured on the cover of AMERICAN CRAFT and in many other publications.

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Marcelo Daldoce
Segmentos 1
2019
Watercolor monotype on BFK paper
20" x 28" (framed)

Courtesy of Sugarlif NYC

About the Work
Marcelo Daldoce (b. 1979, Brazil) is a contemporary artist whose paintings address current personal, social, and environmental issues through ethereal, idealized landscapes.

Daldoce's work speaks to the many migrations he has taken throughout his life - both physical and cultural. His process is a personal journey of self-discovery and self-identification, of finding belonging in the unfamiliar, and drawing passion from his heritage. As Brazilian playwright Nelson Rodrigues identified, "Brazil is not a country, it is not a nation, it is not a people: it is a landscape."

Structuring his pieces within a storytelling narrative, Daldoce's meditative imagery explores subjects of loss: through migrations, power, and environmental disaster. Metaphors inspired by mythology, folktales, and stories are woven with forests, violence, and hubris. Believing in the power of allegory, Daldoce lets nature become his stage to tell these stories on: creating a sublime image that holds and espouses a hidden drama within it.

Bio
Marcelo Daldoce is a Brazilian artist living and working in Brooklyn, NY. In 2016, he received his MFA from the New York Academy of Art, and has earned residencies at the Leipzig International Art Program in Germany and the Eric Fischl Residency in Maryland. His work has also been featured in group exhibits in Brazil, New York city, Sotheby's, and many other galleries around the world, as well as on the cover of various art publications and mainstream magazines like There and GQ. Daldoce was awarded the Elizabeth Greenshields Grant in 2017 and 2019. Daldoce currently teaches at the NY Academy of Art and Art Students League of NY.

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Hanga Mathe
Slate Pendant with turquoise
2022
2" pendant on a Sterling silver 16" 1mm Spiga Tiny Wheat Neck Chain with Spring Ring

Bio
Hanga Mathe is a Hungarian born book designer and jeweler living in Philadelphia. Her love of paper, it's texture, it's smell, it's touch, it's variability. Her paper earrings are made of a special corrugated paper. Supplementary components are sterling silver and surgical metal. As a result even the largest pieces are lightweight. Through precision craftsmanship and a special smooth coating of enamel, the pieces become both solid and splash-resistant.

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Brent Crothers
Two Into One
2009
Wood
18" high x 10" diameter

Bio
Brent Crothers passed away February 2020.

Sculptor Brent Crothers had 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' sculptures are 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 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.

Solo exhibitions include venues such as: Urban Outfitters Corp. Head Quarters in Philadelphia, PA; Anthropologie's Gallery at Rockefeller Center, NY, NY; Hillyer Art Space in Washington, DC; Haven Arts in the Bronx, NY; and Duke University in Durham, NC.

Group exhibitions include: Baltimore Museum of Art in Baltimore, MD; The Portsmouth Museum in Portsmouth, VA; The Historical Society of Washington in DC; Rowan University Art Gallery, Glassboro in NJ; and The Art Museum of the Americas in Washington, DC.

Paul Fabozzi
Petro #1
2018
Ink and colored pencil on paper mounted on gouache on paper
19" x 13"

About the Work
How can painting and drawing evoke the physical sensations and conceptual associations one has while navigating architectural spaces that can't be reduced to its purely visual elements? By suspending a temporal experience within a static image, my paintings and drawings offer an opportunity to reflect on the ways in which bodily experience is overlaid at every turn with informational and mental pulsations. My overarching goal is to make images that remind us of our deep need to actively establish visual, tactile, and reflective connections to our physical world.

Bio
Paul Fabozzi's paintings and works on paper have been included in numerous solo and group exhibitions in New York, Philadelphia, Los Angeles, San Francisco, Rome, London, Busan, and beyond. His work is included in numerous private and public collections, including the Weatherspoon Art Museum, San Diego Museum of Art, Neuberger Museum of Art, Frost Museum of Art, Samuel Dorsky Museum of Art, and New York Public Library. Awards include a fellowship from the New York Foundation for the Arts. He edited an anthology of writings on contemporary art-titled Artists, Critics, Context: Readings in and around American Art since 1945-published by Prentice-Hall and is currently Professor of Fine Arts at St. John's University in New York City.