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Neal Schlosburg A&M2

Neal Schlosburg – Juried Artist – NS Fine Art Images

Artist Statement

Neal Schlosburg, photo artist: The mood of an image is a shared experience between artist and viewer.

I explore energy, emotion, and sensibilities with my images and their titles. My goal is to have an expressive exchange; one soul directly to another. I converse with light, shades, tones, textures, shapes, and words to tell a story and to convey my feelings. Life is diverse, so too are the moods.

Artist Bio

I am an artist who paints with light. My camera is my palette, my lenses are my brushes, Photoshop is my painter’s knife, and metal is my canvas.

My creative life began early with charcoal and pastels. More than fifty years past, my first hands on experience to photography was in summer camp. We developed black and negatives and printed them as contact sheets (thumbnails). The textures and shades of charcoal and pastels would later inform my photographic art.

Through the course of my life, my influences and passions have changed and evolved. Most of my artistic images over the last seven years reflect my desire to interact with spontaneous emotions. My subject matter is varied, but it is people and flowers I am most drawn to.

Music has also been an essential part of my life, and it entered the creative process in an unexpected way. Looking at one of my fine art images, a large delicate white flower with linen like petals, my wife said it reminded her of a beautiful wedding dress. The moment she made that comment, Billy Idol’s “White Wedding” played in my head. Since then, all my images are named after a song title, an album title, or a band name.

NS Fine Art Images

Christine Cardellino

Before anything else, I have a passion for paint and faith that in it and through it, something deeply meaningful can emerge.  In contemporary art, there are many ways—and ever new ways–to create visual art; it seems to me that one’s choice of medium/media has become especially significant in its own right.  I value my relationship with paint enough to let it move me much like it would in abstract painting.  When I start a piece, I never have a preconceived notion of its final state, and I tend to find, lose and shift as I feel my way along.  Cues and clues arise as the painting takes on a life of its own.  (The down side, I suppose, is that I’m not an efficient painter, and it can take a long time before everything comes together in a reasonably satisfying state.)

At the same time, I am fascinated by the way a visual image can put multiple ideas in play.  Underlying all my work are themes having to do with the very human need to make sense of one’s world.  My approach to the complexities of life is to avoid pinning down ideas or allowing a straightforward reading of an image, and as a consequence, the resulting artwork is often multi-layered or polysemic.  I know that a painting is successful when it is engaging enough to raise questions for viewers and stimulate their imaginations.

Dancing BearI paint with acrylic, supplementing it on occasion with other media, such as collage, water-soluble crayon or photo transfers. 

Typically, I work in series in order to explore a subject area.  Recently I completed the series I call “Fabulous Menagerie” — “fabulous” in the sense of pertaining to a fable—which is driven by our relationships with the other creatures that share our world.  A new series is in progress, tentatively titled “Behind the Magic Kingdom”, which takes an oblique, perhaps skewed view of fairy tales.

 

Christine Cardellino

Linda Plaisted

Linda Plaisted is an award-winning, classically-trained American painter, fine art photographer, encaustic and mixed media artist. Her art has been exhibited in galleries and museums around the world.  She has also illustrated numerous book and magazine covers for major publishers and her art has been placed in private and corporate collections worldwide. You may have seen her artwork on all the design blogs such as Design*Sponge, Apartment Therapy and Daily Candy.

Each piece of artwork she creates tells a story. She layers by hand images she has captured in her original photography, drawings, paintings and collected ephemera to create mixed media pieces with subtle depth and dreamlike detail. Her unique vision for the landscapes in which we live, reverence for the natural world and ability to conjure bittersweet emotion from dreamy evocative compositions is her trademark narrative style.

As a pioneer in contemporary photomontage, she founded Many Muses Studio in 2000 as a place to explore the marriage of many media. She is currently a resident artist with studios at The Griffin Art Center in Frederick, Maryland.

Plaisted-Herbarium

Many Muses Studio
Linda Plaisted
Linda@LindaPlaisted.com

 

Therese Brown

Starting down the artistic road came to me later in life and I’m constantly feeling like I’m playing catch up.  That being said, photography has become a part of my every day existence and the expression it affords me has been a tremendous tool for self-understanding and discovery.

I sometimes see in the real world…the light or the subject.  But sometimes the seeing is internal, a feeling, and what shape that takes in my mind’s eye. The themes that have emerged over time relate to my connection to the natural world and how I move through it, the vivid internal dialogue surrounding my life experience and connections to the past and future.  As I age my ancestors have begun to play into my work, in particular the women that came before me.

Working primarily with analog tools and techniques, pinhole imagery and cyanotype printing influence most of my current work.
Therese Brown Hand
Therese Brown

Elissa Farrow-Savos

The sculptures I create are somewhat inside out.  I take what is inside our heads and hearts, and represent those things through form and found objects, on the outside of the figure.  The effect is to turn the personal into the universal, and the secret into the known.  In doing this I sculpt a figure that gives physical form to stories most can recognize, but perhaps have not spoken of.  They are each a narration of an inner world revealed – the moments that we never thought to share, and the feelings that we are not quite sure we should feel about our bodies, our families, and our choices.

The actual pieces are a process all my own.  As I sculpt, I push the polymer clay past its intended size and boundaries, then incorporate found objects, and finally paint the baked clay with layers of oils.  All parts share importance, but the actual objects – rusty metal and weathered wood, decaying bones and empty boxes, scraps of fabric and bits of paper – this abandoned debris connects the sculptural world I have created to the actual world of the viewer.  They are a bridge from my imagination to theirs, and although the story I mean to tell may differ from what the viewer ultimately takes away, what is most important is that we have shared the tale.

Elissa Farrow-Savos
46815 Gunflint Way
Sterling VA 20164
571.594.1138
efarrowsavos@gmail.com
EFarrowSavos.com

Craig Kraft

I have created sculptural artwork for the past 35 years and public artwork for the past nineteen years. Over eighteen works have been sited/commissioned by such entities as The Rhode Island School of Design; Socrates Sculpture Park in Long Island City, New York; Montgomery County, Maryland; The District of Columbia Arts and Humanities Commission; St. Petersburg, Florida Fine Art Museum; Arlington Art Center, Arlington, Virginia; The Cell, New York City; Honfleur Gallery in Anacostia DC; Embassy Suites Hotel, North Carolina and Colorado; International sculpture exhibitions in the Busan, Korea Biennale, and the Museum of Contemporary Art in Merida, Mexico, and most recently Vivace for the Watha T. Daniel Library and the Anacostia Gateway in Washington D.C. I have taught Neon Light Sculpture at the Smithsonian Resident Associate Studio Arts Program the past 24 years.

Since 1983 the common thread of my work has been neon light. I use neon for its versatility: long-lasting industrial strength, vast possibilities of color, and for its willingness to be bent into almost any shape or form. It is the contradictory nature of light – tangible yet intangible, substantial yet insubstantial – that draws the viewer into the artwork. Light is, after all, how we see things. Light is in constant flux so it begs questions about perception and importance.

My most recent work, the Ground Zero Series is inspired by years of unrelated, overlapping graffiti on the walls of the Ground Zero Blues Club in Clarksdale, Mississippi. After transforming my own random scribbles into neon drawings in the series “Unintentional Drawings” I discovered a photograph in the NY times of the Ground Zero Blues Club. There were decades of intentional, overlapping marks entirely covering the club. I traveled to Clarksdale and collaborated with photographer Evy Mages, taking thousands of images of the club walls, ceilings and furnishings. Each mark is subject to an overlapping mark, until the messages become blurred and are transformed from their original intentions. Then someone makes an even bolder, broader mark, obscuring the history below. Finally, my light drawing becomes the last mark: highlighting, deconstructing and reinventing the images below.

CraigKraftStudio.com
202-588-9655

Image:
Ground Zero XVIII
2014
digital photo and neon
36″x24″x3.5″

Albert Schweitzer

“Albert Schweitzer is a visionary artist who lives and works in Baltimore Maryland. Although classically trained his paintings are imbued with the naive, raw simplicity and energy that one would associate with outsider art.  As a student Albert studied with Grace Hartigan.  This association with Grace Hartigan has created a lasting influence on his work.”    From a review by Ruth Robertson

Born in Wisconsin in 1967, Albert now lives in Baltimore, Maryland.  He received his B.F.A. degree in painting from the University of Wisconsin-Whitewater in 1990.  He received an M.F.A. in painting from the Maryland Institute College of Art.  He studied under Grace Hartigan at the Hoffberger School of Painting, graduating in 1995.

Albert exhibits frequently in New York, Baltimore, and Washington, D.C.  His work is in many private and permanent collections.

Dancing on water30072

Albert Schweitzer

John Bodkin

I am primarily a painter, but I tend to think of myself as just an artist. I love to paint. No, I really love to paint. It is something that just wraps its arms around me. I have been painting for more than fifty years. I have painted over a thousand paintings I think. I work at it every day.  I think of it as my job. My process is somewhat methodical. My work is abstract and has been for many years. When people ask me where I get my ideas I tell them I paint what I see. It’s true.

I think that as a foundation to all else, you must be able to draw. I draw every day. It is not unlike a musician practicing his instrument. I look at it the same way. Most of my ideas come from my drawings. I find that exploring this way actually make me very free during the painting process. I always make a lot of changes during the process of painting. You see it must work as a painting…no matter what you planed. My large paintings are about 6×7 feet and the medium ones are 5×6 feet. I very much like painting with oil paint. It is what I was trained with in art school and Grad school and I am comfortable with it. I painted on wooden panels for a number of years and while I do like that surface, I really enjoy canvas. It is more practical for the larger works.

My work is very transparent in what it is all about to me and I am always surprised when other people ask me if it’s this or that. I translate life to visuals. I try to find an experience or moment that is universal and play it as a visual. I like employing patterns as an element to work with my drawing. I see patterns as a plane or form and even as a color sometimes. It is essential to keep exploring. It makes the work new and exciting every day.

I try to participate in as many shows as I can each year. I have a gallery in New York that has been very supportive. I am always looking for an opportunity to exhibit and my studio is a busy place. I often have people drop in along with artists friends and people interested in looking at or buying my work. We always have a good time.

johnbodkinstudio.com

 

Note: In keeping with the Artists & Makers Studios mission, which includes connecting with the community beyond our doors, we are pleased to highlight the exceptional work of artists, makers and other creatives within the Baltimore-Washington metropolitan region. In addition to our Resident Artists & Makers, we’re pleased to present another artist whose studios are “beyond our doors.”

 

 

Evan J. Parker, III

You’d think that after almost sixty years on the planet, I would handle things like taxes, the business side of art or an artist bio like something approaching an adult, instead of the kid at the table being told to finish that mound of congealing cauliflower and melty cheese, that tasted wrong from the first bite…and later that night surfaced like golden, chunky napalm.

Up until the late 1960s, I was a normal airplane and army-man drawing kid.  Then there was the library’s ad in Life Magazine (I bet) that I remember looking at and, like really good psycho-pharmaceuticals taking effect (again, I bet),  realized…this was allowed.  Permission to step through a door I didn’t realize was there.  It was a Peter Max image, super stylized winged guy  flying across the sky above a landscape, pastels and bright colors.  “Picture yourself…tangerine trees…marmalade Evan J Parker Gemini 9x9 72dpiskies…”.  A few years later, Yes released “Fragile” and the album art by Roger Dean  ensured my condition was permanent.  School? School was nine tenths social experiment (not particularly successful), but I learned one thing.  The work I did in classrooms had almost nothing to do with the art I went home and made (freaked out my teachers).  Weirdly, still holds true.  I participate  in drawing  marathons, come home and those drawings contribute almost nothing to future projects.

I am having an inner argument with myself that isn’t always particularly civil, about whether you can have multiple influences, reference and borrow from those influences, and still say you’re making original art.  And there are many influences- the Vienna Secession, the golden age illustrators, particularly John Bauer, many others and of course, Roger Dean…I consider my major strength to be drawing, something I can’t honestly say I love doing, but when I’m doing it, I feel like I’m doing what I’m supposed to be doing.  Imagine my conflict when my collages sell better and get into more shows. I really enjoying re-imagining and juxtaposing images, but it’s a little disheartening when the work you do that’s best received relies on other artist’s work. The kinder bits of myself tell me to roll with it, but my inner bully/critic just sneers at what he sees as a lack of originality… but I feel and see that  lack everywhere.  Art that’s cliché.  Music that brings out my Dad’s voice, “Turn that crap down! It all sounds the same!”  I start to feel that really, “original” is impossible- some part of whatever’s “new” has been done, seen, heard before.  Except, for those wow! moments when somebody creates something that’s brilliantly  composed, or demonstrates tremendous skill, or both, even, maybe.  It might even sink in that I’m looking at a beautiful watercolor of a bird… and birds have been drawn a million times before…and it’s just that this has….something that sets it apart.

Permission granted to continue.   (note to self) Find that something.

ejp3art.weebly.com

 

 

Morna Crites-Moore

Making Things Keeps Me Centered
I love working with textiles. My favorites are those that are old, those that have already served some purpose before becoming fodder for my art. If they’re worn, torn, stained, or weary from use, that’s all the better. In my work, you’ll see fragments of precious items I’ve gathered over the years – a worn-out wool sweater, a blanket that is no longer useful to the family it once served, vintage table linens cast aside when “easy care” textiles made their debut, a long-forgotten mitten, or velvet curtains rescued from a crumbling church rectory.
 
Stitching by hand, I piece together my scraps of vintage wool, linen, velvet, and silk, often adding carefully chosen antique buttons and other tiny objects. I deeply treasure the sense of history I feel when I’m handling these abandoned details of life.
 
When I work with old textiles, I’m aware of their having had a former life; they have meant something to somebody and that infuses each piece with its own, distinct personality. I’m mindful of their importance and it informs my decisions on how they’re placed within a piece.
 
I’m drawn to repetitions: squares upon squares, circles within circles, triangles flying about a border. This is most readily observed in my modern day take on old folk art textiles … penny rugs, traditional quilts, and primitive paintings have all made their way into my finished pieces, albeit in a decidedly quirky form.Morna Crites-Moore - flying geese
 
I have a visceral reaction to texture and color, a deep appreciation of how light spreads across a finished piece and makes much of the various “hills” and “valleys” created by all the stitching and manipulation of the fabric.
 
I adore hand stitches. I find it difficult to call an end to the stitching on some pieces. The act of stitching, when done a certain way, becomes a form of meditation. When I work, I often stop to look at my progress and before I know it I’m lost, wandering along the pathways of all those stitches. It makes for slow but satisfying progress.
 
My hope is that my work might mean as much to others as it does to me, so that we become connected at a deep and possibly indescribable way.

Nick Grant Barnes

Yorkshire metalsmith Nick Grant Barnes and Diane; two brilliant teenagers, two cats & Bethany the pup have made their home & workspace in Maryland since 1995.

Through teaching & creating one off commissions for customers & exhibitions, he has developed his style working with a myriad of mediums from precious metals, plastics, woods, & not too precious materials that are fun to play with.

Color, Shape & form

The form follows my desire to explore the shapes & textures materials will allow me to inflict on them using my hands & a variety of hand tools. Inevitably the piece comes to abowls conclusion when light & the way it plays on the form pleases me. To this end, function is not always to the forefront of my thinking; more the desire to hold, to touch or simply to gaze. We all decide to what function items we bring into our lives should have, I just narrow those choices down a wee bit.

Nick’s work has been collected & exhibited internationally, as well as featured in numerous publications.

 

500 Metal vessels

500 Wedding Rings

The Yaw Gallery – The Functional Vase – 1998

FoldForming – Charles Lewton-Brain

Nick currently teaches part time in the Jewelry department at the prestigious Art League School in Alexandria,VA

Nick is also a part of the talented collective teaching at Thomas Jefferson Community Center in Arlington, VA

He is an active & proud member of the Washington Guild of Goldsmiths

 

AWARDS

Metals prize – Creative Crafts Council – 1998

Extraordinary Service Award – Washington Guild of Goldsmiths Biennial Show – 2002

Metals prize – Creative Crafts Council – 2002

Secret Indentities Show – Best in show – 2nd place – 2005

WGG – Metalwork Biennial show – Jurors special recognition award – 2005

Saul Bell design award – Rio Grande – 2nd place in the Enamel category – collaborative piece with Abby Shindler Goldblatt.

WGG – Metalwork Biennial show – jurors special recognition award – 2010

Metals prize – Creative Crafts Council – 2011

WGG – Metalwork Biennial show – jurors special recognition award – 2014 

Metals prize – Creative Crafts Council – 2015


See more of Nick’s work at
 NickGrantBarnes.com

Corrine Bayraktaroglu

I was born in a mining Village in the North East of England and came to America in 1978 as a young married woman. My history of creativity started with the guidance of my mother and grandmothers, who taught me how to knit, crochet and embroider. However it wasn’t until I was 40 years old that I took my first drawing and painting classes and through the mentoring of my art instructor Marie Linnekin that I realized my dream to be an artist.

It’s now been 21 years working as an artist that I now realize I was always an artist, I just didn’t have all the right tools or the confidence  Art is part of a lifelong journey of curiosity about everything around me and using art as a means to question, challenge, cope, explore, understand, and communicate.  As a dear friend and art pal, Nancy Mellon, says I am extremely curious about the world around me and create as a response to that, whether it’s through embroidery, painting, ipad art, photography, jafagirl public art projects, or assemblage.

As with life my art has a yin yang quality to it and is like a crazy quilt I stitched together, frayed in some places, threadbare in others, and sometimes hanging by a thread, some dark, some light, some whimsical, but each image adds to this beautiful quilt called life.

At times I use art and the process of creating as a means to cope and this couldn’t be any truer now. In January I was diagnosed with Stage 1 Invasive Breast Cancer and while my prognosis is very good, and I don’t need chemo, I still have to do 33 sessions of radiation treatment. Every radiation day I walk by landscaping stones in the hospital car park and one day I saw a smooth round one and thought it would be fun to paint a boob on it as a mark of this new ritual for 6 weeks.  Next day I decided each treatment day I would pick up a stone and paint whatever came toLove Lies Bleeding mind during my treatment time.

So my new daily ritual has been radiation, and then the excitement of coming home and painting a stone, and each day is a joyful art surprise. As the bowl fills I am encouraged that the end of treatment is getting closer. One day the bowl will be filled and it will be beautiful.

Along with working on my art I am a member the Jafagirls, Yellow Springs Arts Council Permanent Collection Steering Committee, Yellow Springs Arts Council Gallery Committee, admin for Yellow Springs Arts and Culture Blog, and admin for Yellow Springs Art Exchange on FaceBook.

Jafabrit’s Art: C-Central

Corrine Bayraktaroglu

Jafagirls Project Page

Corrine’s Instagram

M. Jane Johnson

Recently, I was honored to have been chosen for a 2017 solo show slot at the Art League in Alexandria, VA.  I had tried a couple of times before and was not chosen which just proves you have to keep plugging.  I felt really good about the pieces I submitted this time and the theme around the paintings.  I had a theme that was close to my heart, the death of one of my very dear friends from lung cancer.  Thankfully, my friend’s spirit had helped guide me a long and my submittal was a success. 

I am a process driven mixed-media painter who builds their paintings from layers and layers of acrylic, collage, oil pastel, and stenciled textures.  As each painting builds, it starts to reveal images to me.   All the paintings go through the same process ending as either abstract, figurative or flowers.  Not long after my friend was diagnosed with cancer figures that reminded me of geishas started showing up in my work. 

The geishas kept showing up painting after painting dressed in their beautiful kimonos that I created from layers of collage, texture, drawing, and dragging in various metallic and interference paints.  As I worked on them I decided to try and make an abstracted version of a kimono and to create a luminous surface that would represent silk.  I wanted the paintings to have a glow about them.  I have a very strong understanding of color and strove to make the colors unique for each painting but still in compatible palettes. 

Each painting had its’ own story to reveal to me.  As the layers built and showed me the way to progress.   I had to pull the chaos of all the layers together to create a beautiful finished image that allowed the layers to shine through creating the kimonos.  Most paintings have at least 30 layers that need to be pulled together.  I want the viewer step in and look closely at the painting and see all of the deep, rich textures and layers, then step back and see the over all simplicity of the overall shape of the figure.  While the painting is extremely complex on an intimate level the figure is kept to a more stylized form using positive and negative space.

purple parasol

The geishas were my “hidden muse” as they kept popping up in my work.  My friend Beth, was my real muse in her very short fight against cancer.  She was gone in 6 months.  We got to spend some time together while she was sick and while she was struggling she was still our beloved Beth with her inner glow.  To me, the geishas reminded me of Beth and her beautiful inner spirit.  No matter what is going on around them, the geishas are always seen as beautiful and elegant wrapped in their stunning kimonos.  They stood for women who face all sorts of difficult situations but still put on a brave face and strive to remain beautiful no matter what. 

You can find my work at my studio in Building 10 at the Workhouse Arts Center in Lorton, VA.  My solo show at the Art League will be in Oct. 2017. 

Susan Shalowitz

Susan Shalowitz was introduced to oil painting in 2008 when she took a workshop and began painting from her photos.  Interest quickly turned into passion, and she has been painting ever since.

Susan is currently studying classical painting at the Compass Atelier where she is enrolled in her third year of a three-year Master Artist program.  There, she has gained a classical technical foundation and has enjoyed expanding her skill set, including learning master techniques, plein air and still life.  From the start, Susan’s work has centered Susan Shalowitz Waves I 4x6 72dpiaround her fascination with the the natural world and the ingenuity of its design.

Through her paintings, she studies and shares the abundance of beauty in life’s many forms.   Her current body of work explores the connection we have to the ocean, in its many moods.

sshalowitz.com

Julianne Fuchs-Musgrave

Almost all art begins with marks on paper. Some are then transformed with scissors and glue. The paper constructions from my childhood have evolved into structures that begin with abstract ink paintings. They then evolve into constructions. Each is crescendo from that initial joy of painting. All are expressions of the beauty I see everywhere. I approach my work with a desire to meld functional structure with the freedom of “Color School” abstract paintings.

Each piece incorporates my training as a painter, a sculptor – and the kid in me who always loved working with colored papers and glue. It is always a wonderful challenge to see a final work emerge from an idea, built from a series of painted images. All of my artworks are handmade, using classic and new art materials: archival inks, and fine art papers. I also work with recycled and alternative materials such as Tyvek that become unique bases and interesting components.

Julianne Fuchs-Musgrave

Tanya Davis

My watercolors are intricate and representational. Most often I am drawn to reflections and transparency – the sheen on water, for example, or the patina of vintage ornaments. I work in layers, transparent washes one upon another until I’m satisfied. Sometimes there are 35 or 40 washes in one area; the work is painstaking. I’m closing in on my 600th piece over my 25 year career.

I’ve long since thrown out the conscripted rules of watercolor technique I was taught, including the idea that a watercolor must be quick and spontaneous. All the never and always statements that combine to a formulaic recipe with predictable outcome: meh. If you want rules and certifiable outcomes, go into math, not art.

There are layers of symbolic meaning as well, though most often this is obscure, not obvious. My work explores relationships, connections, and disconnections. There’s an element of autobiography – I comment on my own journey, because it is what I know firsthand. And because I am seeking… Clarity? Insight? Peace. This search is played out in my compositions and color harmonies, dark and light values.

Curling Wave-LGI
Sometimes there is meaning in the objects I choose to paint, sometimes it is in the way these things talk to each other, or the reflections hidden within. Often I pair still life objects by pure instinct. I do not know myself, why these things belong together until after the piece is finished and I write a description for my clients. Then: oh of course. This one’s texture is the inverse of that one. Or the curve of one object mimics the shape of another, in subtle repetition of form.

I grew up in Florida and the Caribbean, and majored in art at Florida State University. I’ve been a professional artist since 1989. Most of my work is in private collections near and far.

You can visit my working studio in the Torpedo Factory Art Center in Alexandria, Virginia. A related extracurricular, much of the past decade or so has been dedicated to volunteering for and at times leading an extraordinary artist colony, the Torpedo Factory Artists Association. I’m not on any organizational boards right now, but I want to say how much I appreciate the artists who step up to lead and innovate, here and elsewhere. Kudos, Judith, on A&M Studios and Salon!

Tanya Davis

Ric Garcia

Ric Garcia is a Cuban-American artist working and exhibiting in the DC metro area. He is a painter and digital print maker. When asked about his work, Garcia has said, “I like to make ordinarily nice ideas into extraordinarily cool ones”.

Ric’s work is inspired by the cultural mash-up of his adolescence and an exploration of his cultural identity as both distinct and blended. He also considers his work as a process of finding a visual common ground to present imagery unique to his bi-cultural experience. An example of this is the painting  titled Goya Star. The painting represents a real Latino consumer product but the phrasing on the label and artwork are changed to create a hybrid fusion between a Goya black bean can and a Campbell’s soup can. Garcia, when speaking at length about his work says, “My choice to produce a body of work with Latino products as subjects made sense for me. I also wanted to represent more than the product alone…One of the ways I think of my work is as a still life or portrait, so the subject is placed in a environmental or emotional context. My work is less about representing the product and more about eliciting emotional reactions orIron Beer Macho_sm encouraging questions from the viewer.”

His work builds on the legacy pop art, as he has stated, “I chose to work in this style, first for its place in art history as an American art form and second for it’s immediacy, power, and flexibility to convey ideas. My version of this style is more distressed and with an urban graphic aesthetic.” His process involves both traditional and digital techniques and he has recently described it as “… I’ll sketch to establish a basic visual direction and then move into a digital environment to produce several studies for composition and color. I’ll use reference material from photos I’ve taken or images harvested from magazines and the internet. While creating the studies I’ll decide which medium to produce the work. Sometimes the choice is to produce the work as both a print and a painting. I regularly incorporate a few image conventions into the work such as stars and benday dots to energize the composition and suggest material or atmospheric texture in my work.”

Ric earned a BFA in graphic design and illustration from the University of Miami and is employed by the Smithsonian Institution as a visual designer. His work is in many private and public collections. Most recently his work has been added to the DC Commission on the Arts and Humanities Art Bank collection and the Arts and Cultural Heritage Division of The Maryland-National Capital Park and Planning Commission, Prince George’s County, Maryland collection.

 

Cindy Packard Richmond

If someone had told me in 2000 that I would become a professional artist, I would have countered, “Sure, right after I’m done orbiting Mars.”  Even though my mother was a professional  artist and my father a writer, it seemed truly improbable.  

I had early illusions of pursuing an art career.  Then, a college professor told me my work looked like “smudge by numbers.”  I laughed, but something in me fizzled.  I became a writer instead.  Thirty years later, my mother’s death sparked an interest in art classes.  The Art League of Alexandria tapped a vein that otherwise never would have seen the light of day.

Although my work is realistic,  there is a strong abstract base to  the composition.  I love playing colors against one another.  My subjects are far ranging, but my relationship to them is apparently thorny.  A friend pointed out that my choices reflect a ‘negative emotional resonance.’  My food series of  corpulent fruit, vegetables and seafood must be a reaction to my continual weight issues.  My Asian series could be traced back to the abandonment I felt when my parents went to Japan and Thailand for six weeks.  I don’t paint figures (body image issues?) And the sailboat series only confirms the theory. My childhood summers were spent run aground, becalmed, befogged and capsized.

Hermione final copy_sm

But then again, my landscapes have only positive resonance.  They celebrate the island where I am most at home.  I avoided landscapes for a long time because they were my mother’s forte.  And though we shared the specific geography, our paintings are nothing alike.  Quirky sparks my interest (see my series with vintage windup animals.)  I am also drawn to oddity – a basket of shoe lasts, a pile of railroad oil cans, block and tackles – though it doesn’t sell.

I am profoundly grateful to discover I am a professional artist.

Cindy Packard Richmond

Min Enghauser

I began making photographs as a child; exploring, learning and becoming aware through photography. For me, photographs, and the act of making them, are glimpses of timeless Spirits and of the pure and unbiased realities of nature.

The eye of the camera, unlike eye of the viewer does not look at life subjectively, no judgment is passed, no value placed, no claim staked. In that it is the most like the Mind’s eye. When I photograph I try to detach. I don’t question the attraction I have to a subject – it’s an attraction so it’s primal. I expose the film and move on, not interfering, not questioning, not staking a claim. It is in the printmaking part of the process when the photographs become mine and to what I was reacting becomes clear and what is to be revealed is, if only to me. I tweak and fuss the image until the sense of light, the tones and textures elicit familiar feelings, primal attractions, a sense of Spirit of place. And I delight in that something that is unanticipated, that something that I thought could not be seen. In making the photographs mine they become my teachers. And they impart an orderly quietness of symmetry in which Spirit reveals itself. Although a long and loyal maven of the traditional wet darkroom, the new technological advancements in photography and digital printing offer me a way of rendering to paper what I see as the inherent beauty of photographic film. My photographs are made on film, scanned into the computer and then interpreted using the timeless sensibilities of the traditional fine art photographic print maker.

In 1992, I received a Bachelors of Fine Art in photography from Shepherd College in Shepherdstown, West Virginia. I was juried into the renowned Torpedo Factory Art Center in Alexandria, Virginia in 2006 where I can be found in Studio 309. In addition to fine art pursuits, I also work with other photographers to bring their images into the digital realm with high quality scanning, retouching, printing, instruction and consultation.

My “Tychs” are not paintings, clearly, I borrow the terminology. The multi-image pieces from back in the day were typically alter and church pieces with religious and spiritual significance, Mine are about unveiling the Spirit of the landscape and it’s messages and messengers.

Multi-image pieces are something I’ve done on and off since the onset of creativity symptoms. The desire to put the pieces together, if you will, continues to resurface. For the last few years, it has done so with force. I’m still trying to figure out the allure of placing images side by side, end on end. I think it has something to do with defining those single things that carry through, a form or an idea, that jumps from one frame to the next, threading it all together, if just for a moment.

It isn’t all about concept or perception, it’s also about tools and materials. I have been shooting film for 30 years. The sincerity of film is something that has become an integral part of my process. I don’t wish to fool or distort, enhance or mimic, I wish to record, interpret and reveal. Traditional photographic films are sincere, organic and tangible, just like the land itself, that is resonance.

MinEnghauser.com

Pam Rogers

Pam Rogers works with a broad array of organic materials to create fluid, abstract works on paper as well as large-scale nature based sculptures and installations.  She creates her works on paper utilizing plant and soil pigments and often making the paper as well.  Her sculptural installations are assembled from an array of vegetation in various stages of bloom and decay.  In all her works, Rogers addresses the complex relationship between individuals and nature, sustainability and growth, past and present.

Rogers’ sculptural installations, whether suspended or earth-bound use locally found flowers, leaves, and herbs, along with fiber and disjunctive pieces of hardware and are bound into massive, compelling forms that are infused with an ominous beauty.  She grounds the work into the current season and creates them to be site-specific by incorporating organic materials that reflect the shifting cycles of nature, while utilizing plants relevant to a specific place.

Rogers’ two-dimensional works reveal dense passages of paint while complemented by a strong use of negative space.  She evokes a profusion of natural imagery, often counter-balanced by decay, elements that choke or bind, and sometimes s suggestion of tiny creatures hopelessly trapped in the mass of organic matter.  Yet in her continuing examination of the complex relationship between people, plants, and place, Rogers never loses sight of the beauty inherent in the cyclical character of nature.  The artist has observed, “I am always intrigued by presenting beauty with elements that challenge the viewer to question what lurks beneath.”

Pam Rogers
Arlington Arts Center
3550 Wilson Blvd
Studio #209
Arlington, VA 22201
pamrogersart.com
pam@pamrogersart.com