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.

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.

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.

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.

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.

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

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.

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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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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