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Image Image Detail Jury
No.
Entry
No.
Title Material / Media Size  Year  Statement
1a
 
 
1a
 
153
 
Refugiadas I (Refugees I)
 
Oil on canvas
 
34"x48"
 
2009
My work is a reflection of many years of collective memories, images that over time have evolved and changed as I borrow them to create a series of works that somehow can tell a history. I create artworks addressing the human tragedy. Works seeking to incite reflections about war and the pain that conflicts inflict over our societies.
My artworks began on impulse a need to create and express thoughts through color as a visual rendering of social realities. Images that collect a multiplicity of feelings like frustration, anger, hope and renewal among many others.
Although my artwork was not created to make a visual rendering of the absolute reality hiding in within the complex problems of war, it does have the intention to remind people that: 
"Violence doesn't finish at the end of a war, the consequences will follow the heritage of those violent actions, in our social behavior and our way of thinking"
1b   1b 153 Refugiadas II (Refugees II) Oil and plaster on canvas 34"x48" 2009 My work is a reflection of many years of collective memories, images that over time have evolved and changed as I borrow them to create a series of works that somehow can tell a history. I create artworks addressing the human tragedy. Works seeking to incite reflections about war and the pain that conflicts inflict over our societies.
My artworks began on impulse a need to create and express thoughts through color as a visual rendering of social realities. Images that collect a multiplicity of feelings like frustration, anger, hope and renewal among many others.
Although my artwork was not created to make a visual rendering of the absolute reality hiding in within the complex problems of war, it does have the intention to remind people that: 
"Violence doesn't finish at the end of a war, the consequences will follow the heritage of those violent actions, in our social behavior and our way of thinking"
2a   2a 156 Two Women Inkjet Print 18"x24" 2015 The photographs I take are not planned. I make pictures by merging the unplanned. Creating pictures from disparate parts is what my work is about. Combining images of people, places, and things into content driven images is the challenge.
2b   2b 156 Wedding Party Inkjet Print 18"x24" 2015 The photographs I take are not planned. I make pictures by merging the unplanned. Creating pictures from disparate parts is what my work is about. Combining images of people, places, and things into content driven images is the challenge.
2c   2c 156 Blond In Black Inkjet Print 18"x24" 2015 The photographs I take are not planned. I make pictures by merging the unplanned. Creating pictures from disparate parts is what my work is about. Combining images of people, places, and things into content driven images is the challenge.
3a   3a 159 "Maze Run" mixed-media/acrylic w/ cut paper 23" x 29" 2015 Ever since I was a child I have been making art. Interpreting the world around me by drawing, painting, sculpting and collaging has always been the way I express myself.  I am interested in creating work that tells some kind of story often with humor or sometimes reflecting on
more serious topics.  The use of color plays an important role in my artwork.  My latest pieces have elements of collage material coupled with paint on canvas. Three- dimensional assemblages are part of my output as well.
3b   3b 159 "Contemplation" cut paper/collage 12" x 15" - Ever since I was a child I have been making art. Interpreting the world around me by drawing, painting, sculpting and collaging has always been the way I express myself.  I am interested in creating work that tells some kind of story often with humor or sometimes reflecting on
more serious topics.  The use of color plays an important role in my artwork.  My latest pieces have elements of collage material coupled with paint on canvas. Three- dimensional assemblages are part of my output as well.
4a   4a 162 Anna_G_8-31-13--15AB pinhole camera -
Digital pigment print
30" x 24" 2013 I use the extreme wide angle distortions of the round oatmeal box pinhole camera and the digital colorization to create a series of visceral images. Through successive pulling of curves in Photoshop, B&W values are replaced with color. The “Nude at Home” is a subset of a larger pinhole camera project begun in 1998.  In this series, begun about five years ago, I photograph the model nude in her home, apartment or studio. With the model in her space, all the objects in the image are a part of the life of the model. Then the pose, the furniture and the long, two minute exposures reveal an intimate portrait of the subject.
4b   4b 162 Anna_H_06-03-14--10AB Pinhole camera -
Digital pigment print
30" x 24" 2014 I use the extreme wide angle distortions of the round oatmeal box pinhole camera and the digital colorization to create a series of visceral images. Through successive pulling of curves in Photoshop, B&W values are replaced with color. The “Nude at Home” is a subset of a larger pinhole camera project begun in 1998.  In this series, begun about five years ago, I photograph the model nude in her home, apartment or studio. With the model in her space, all the objects in the image are a part of the life of the model. Then the pose, the furniture and the long, two minute exposures reveal an intimate portrait of the subject.
4c   4c 162 Linda_B_02-01-14--04AD Pinhole camera -
Digital pigment print
30" x 24" 2014 I use the extreme wide angle distortions of the round oatmeal box
pinhole camera and the digital colorization to create a series of visceral
images. Through successive pulling of curves in Photoshop, B&W values
are replaced with color. The “Nude at Home” is a subset of a larger pinhole
camera project begun in 1998.  In this series, begun about five years ago,
I photograph the model nude in her home, apartment or studio. With the
model in her space, all the objects in the image are a part of the life of the
model. Then the pose, the furniture and the long, two minute exposures
reveal an intimate portrait of the subject.
5a   5a 171 Blues On High, #5 Archival Pigment Print 41"x31" 2014 The High Line is a 1-mile public park, built on an historic freight rail line, elevated above the streets on Manhattan's West Side.  It was originally built in the 1930's as part of a massive public-private infrastructure project called the West Side Improvement.  In 1999, when the structure was under threat of demolition, the Friends of the High Line was formed, and in partnership with the City of New York, the rail line was saved, redesigned and planted as an aerial greenway. 
Strolling through the High Line is an uplifting experience, and not merely because of the 30 feet that separate you from the street.  The High Line is an urban oasis unlike any other.  There are grasses, perennials, trees and shrubs, with bloom times that span the entire year.  There are food vendors, musicians and permanent chaise lounges with unfettered views of the Hudson River.  You can sit, enjoy a drink, and watch the comings and goings of barges, cruise ships and sail boats.  There is an amphitheater with glass windows, facing north on 10th avenue, where you can voyeuristically watch the city as it unselfconsciously watches you. 
At night, the colors, atmosphere and beauty changes.  The lighting design is subtle - quiet and from below.  It is during the Magic Hour, the time just after the sun sets, that the sky goes deep blue.  It is during these few minutes every evening when the interplay between the azure sky, the golden light and the green plantings becomes the most intensely beautiful.  The colors appear deeply saturated, in a way that is unmatchable after the sky has gone black.  The images from "Blues On High" were all captured during this time.
5b   5b 171 Blues On High, #6 Archival Pigment Print 41"x31" 2014 The High Line is a 1-mile public park, built on an historic freight rail line, elevated above the streets on Manhattan's West Side.  It was originally built in the 1930's as part of a massive public-private infrastructure project called the West Side Improvement.  In 1999, when the structure was under threat of demolition, the Friends of the High Line was formed, and in partnership with the City of New York, the rail line was saved, redesigned and planted as an aerial greenway. 
Strolling through the High Line is an uplifting experience, and not merely because of the 30 feet that separate you from the street.  The High Line is an urban oasis unlike any other.  There are grasses, perennials, trees and shrubs, with bloom times that span the entire year.  There are food vendors, musicians and permanent chaise lounges with unfettered views of the Hudson River.  You can sit, enjoy a drink, and watch the comings and goings of barges, cruise ships and sail boats.  There is an amphitheater with glass windows, facing north on 10th avenue, where you can voyeuristically watch the city as it unselfconsciously watches you. 
At night, the colors, atmosphere and beauty changes.  The lighting design is subtle - quiet and from below.  It is during the Magic Hour, the time just after the sun sets, that the sky goes deep blue.  It is during these few minutes every evening when the interplay between the azure sky, the golden light and the green plantings becomes the most intensely beautiful.  The colors appear deeply saturated, in a way that is unmatchable after the sky has gone black.  The images from "Blues On High" were all captured during this time.
5c   5c 171 Blues On High, #7 Archival Pigment Print 41"x31" 2014 The High Line is a 1-mile public park, built on an historic freight rail line, elevated above the streets on Manhattan's West Side.  It was originally built in the 1930's as part of a massive public-private infrastructure project called the West Side Improvement.  In 1999, when the structure was under threat of demolition, the Friends of the High Line was formed, and in partnership with the City of New York, the rail line was saved, redesigned and planted as an aerial greenway. 
Strolling through the High Line is an uplifting experience, and not merely because of the 30 feet that separate you from the street.  The High Line is an urban oasis unlike any other.  There are grasses, perennials, trees and shrubs, with bloom times that span the entire year.  There are food vendors, musicians and permanent chaise lounges with unfettered views of the Hudson River.  You can sit, enjoy a drink, and watch the comings and goings of barges, cruise ships and sail boats.  There is an amphitheater with glass windows, facing north on 10th avenue, where you can voyeuristically watch the city as it unselfconsciously watches you. 
At night, the colors, atmosphere and beauty changes.  The lighting design is subtle - quiet and from below.  It is during the Magic Hour, the time just after the sun sets, that the sky goes deep blue.  It is during these few minutes every evening when the interplay between the azure sky, the golden light and the green plantings becomes the most intensely beautiful.  The colors appear deeply saturated, in a way that is unmatchable after the sky has gone black.  The images from "Blues On High" were all captured during this time.
6a   6a 172 Earth Warning:Overfishing The Oceans Acrylic and Collage on Canvas 18" x 2" 2015 These paintings are a continuation of my work to raise public awareness of both environmental and social justice issues.
6b   6b 172 Across The Line Acrylic, Sand, and Collage on Canvas 16" x 42" 2015 These paintings are a continuation of my work to raise public awareness of both environmental and social justice issues.
1   7a 175 MAN FROM KAZAKHSTAN Oil on Canvas 24"x30" 2015 My paintings are interpretations and representations of the subjects I work with. In my work, I aspire to capture the effect of light and shadow as it affect the object I am painting. As an artist I am inspired by the human figure. I am drawn to its unmatched power to evoke an emotional response. I am drawn to its rich tradition as the essential motif throughout the history of art.

Some of my most admired classical painters (Old Masters) from whom I have drawn inspiration are: Caravaggio, Rembrandt and Rubens. Also, American classical painters such as Sargent and Whistler have some influence on my work.

In my work, I endeavor to make beautiful art that is rooted in the classical tradition, yet contains a contemporary aesthetic. Each painting that I do gives me the opportunity to create a work of art that displays beauty and timelessness.
2   7b 175 SNOW BOOTS Oil on Linen 24"x30" 2015 My paintings are interpretations and representations of the subjects I work with. In my work, I aspire to capture the effect of light and shadow as it affect the object I am painting. As an artist I am inspired by the human figure. I am drawn to its unmatched power to evoke an emotional response. I am drawn to its rich tradition as the essential motif throughout the history of art.

Some of my most admired classical painters (Old Masters) from whom I have drawn inspiration are: Caravaggio, Rembrandt and Rubens. Also, American classical painters such as Sargent and Whistler have some influence on my work.

In my work, I endeavor to make beautiful art that is rooted in the classical tradition, yet contains a contemporary aesthetic. Each painting that I do gives me the opportunity to create a work of art that displays beauty and timelessness.
3   7c 175 MONICA Oil on Linen 24"x30" 2015 My paintings are interpretations and representations of the subjects I work with. In my work, I aspire to capture the effect of light and shadow as it affect the object I am painting. As an artist I am inspired by the human figure. I am drawn to its unmatched power to evoke an emotional response. I am drawn to its rich tradition as the essential motif throughout the history of art.

Some of my most admired classical painters (Old Masters) from whom I have drawn inspiration are: Caravaggio, Rembrandt and Rubens. Also, American classical painters such as Sargent and Whistler have some influence on my work.

In my work, I endeavor to make beautiful art that is rooted in the classical tradition, yet contains a contemporary aesthetic. Each painting that I do gives me the opportunity to create a work of art that displays beauty and timelessness.
4   7d 175 ALISON Oil on Linen 24"x30" 2015 My paintings are interpretations and representations of the subjects I work with. In my work, I aspire to capture the effect of light and shadow as it affect the object I am painting. As an artist I am inspired by the human figure. I am drawn to its unmatched power to evoke an emotional response. I am drawn to its rich tradition as the essential motif throughout the history of art.

Some of my most admired classical painters (Old Masters) from whom I have drawn inspiration are: Caravaggio, Rembrandt and Rubens. Also, American classical painters such as Sargent and Whistler have some influence on my work.

In my work, I endeavor to make beautiful art that is rooted in the classical tradition, yet contains a contemporary aesthetic. Each painting that I do gives me the opportunity to create a work of art that displays beauty and timelessness.
1   8a 177 Flowers need attention, like people pencil, watercolor, photographs on paper 10"X14" 2015 In my recent work, I concentrate in figurative-flowers. In this series I invite the viewer to step forward, come closer and observe. Initially, the viewer comprehends a flower.  As he comes closer, he sees it is actually a cluster of repetitive images of a woman that together form a new entity. I want to lead the viewer to find the beauty in the details and pay attention to the simplicity of beauty around him. Like the figure, each flower is unique and has its own of beauty. Each flower carries its own secret. The viewer can only reveal it by getting closer.
By connecting and putting together the figures, I suggest a new identity to the object. The woman figure in its form of plural becomes a flower. It is the act of renewal. A term, that comes from the flowers as well as a woman body, which creates and gives new life.  The strong relationship between flowers and women always captivated me.  Flowers are sensual, almost poetic, sometime mysteries, like women. 
I work in different mediums: painting, sculpture, photography and mixed media. Different mediums allow me to express different ideas. Each medium creates a different "action" that I want to explore in my work.
I moved to NYC from Israel in 1999. Coming from a different cultural environment I had my own layers that were instilled in me, and then I started to observe new voices, visions, smells and nuances.  My new layers build one by one over my old ones and it pushes me to explore my relationship with the place I'm coming from and the place where I am now. Like in nature, my roots are strong and with that I am growing into my new surroundings.
2   8b 177 Flowers need attention, like people pencil, watercolor, photographs on paper 10x14 2015 In my recent work, I concentrate in figurative-flowers. In this series I invite the viewer to step forward, come closer and observe. Initially, the viewer comprehends a flower.  As he comes closer, he sees it is actually a cluster of repetitive images of a woman that together form a new entity. I want to lead the viewer to find the beauty in the details and pay attention to the simplicity of beauty around him. Like the figure, each flower is unique and has its own of beauty. Each flower carries its own secret. The viewer can only reveal it by getting closer.
By connecting and putting together the figures, I suggest a new identity to the object. The woman figure in its form of plural becomes a flower. It is the act of renewal. A term, that comes from the flowers as well as a woman body, which creates and gives new life.  The strong relationship between flowers and women always captivated me.  Flowers are sensual, almost poetic, sometime mysteries, like women. 
I work in different mediums: painting, sculpture, photography and mixed media. Different mediums allow me to express different ideas. Each medium creates a different "action" that I want to explore in my work.
I moved to NYC from Israel in 1999. Coming from a different cultural environment I had my own layers that were instilled in me, and then I started to observe new voices, visions, smells and nuances.  My new layers build one by one over my old ones and it pushes me to explore my relationship with the place I'm coming from and the place where I am now. Like in nature, my roots are strong and with that I am growing into my new surroundings.
1   9a 181 Stingerless Jellyfish/Palau Photograph 26x22 2012 As my hobbies include SCUBA diving and photography, it was a natural for me to start photographing aquatic and marine life.  I travel the world searching for unique underwater subjects to photograph, from Bonaire and Curacao to Indonesia and Hawaii, and most locations in between. Even off of the coast of New Jersey and the quarries of Pennsylvania, there are opportunities to photograph marine life.

I utilize very specialized underwater photographic equipment, including a specifically designed underwater camera, encased in a watertight housing with two speed lights attached.  I utilize a small modeling light for night time photography and a wide angle lens that I can actually put on and take off of the camera underwater.

The general approach that I have adopted for underwater photography is: get close, use a wide angle lens, get low and shoot upward toward the light, or use a speed light.
2   9b 181 Spotted Cleaner Shrimp/Indonesia Photograph 26x22 2013 As my hobbies include SCUBA diving and photography, it was a natural for me to start photographing aquatic and marine life.  I travel the world searching for unique underwater subjects to photograph, from Bonaire and Curacao to Indonesia and Hawaii, and most locations in between. Even off of the coast of New Jersey and the quarries of Pennsylvania, there are opportunities to photograph marine life.

I utilize very specialized underwater photographic equipment, including a specifically designed underwater camera, encased in a watertight housing with two speed lights attached.  I utilize a small modeling light for night time photography and a wide angle lens that I can actually put on and take off of the camera underwater.

The general approach that I have adopted for underwater photography is: get close, use a wide angle lens, get low and shoot upward toward the light, or use a speed light.
3   9c 181 Porcupinefish/Bonaire Photograph 11x13 2014 As my hobbies include SCUBA diving and photography, it was a natural for me to start photographing aquatic and marine life.  I travel the world searching for unique underwater subjects to photograph, from Bonaire and Curacao to Indonesia and Hawaii, and most locations in between. Even off of the coast of New Jersey and the quarries of Pennsylvania, there are opportunities to photograph marine life.

I utilize very specialized underwater photographic equipment, including a specifically designed underwater camera, encased in a watertight housing with two speed lights attached.  I utilize a small modeling light for night time photography and a wide angle lens that I can actually put on and take off of the camera underwater.

The general approach that I have adopted for underwater photography is: get close, use a wide angle lens, get low and shoot upward toward the light, or use a speed light.
1   10a 183 60 years between Part 1
(a collaboration with grandmother)
mixed media with dried plants 10 x 10 2015 Five years ago, I moved to Hawaii from New Jersey.  My first trip as an adult to Hawaii was to get to know my grandmother, Joan Allen who lived there as an artist.  I immediately saw the similarities in our personalities and we both influenced each other in life and artistically.  At the age of 92, my grandmother is faced to deal with years of artistic production  - either by giving the inventory away or selling her frames inexpensively, which still contained her artwork.  I received a few of these frames that had her nature collages.  She did decades ago by pressing items she found in Hawaii.

When I was thinking about the word "nexus" being a link between two or more things, I thought about the relationship with my grandmother.  Our link has always been that we were both artists, now are link is that we both live in Hawaii, and what grew was a strong connection of love for each other.
2   10b 183 60 years between Part 2
(a collaboration with grandmother)
mixed media with dried plants 9x9 2015 Five years ago, I moved to Hawaii from New Jersey.  My first trip as an adult to Hawaii was to get to know my grandmother, Joan Allen who lived there as an artist.  I immediately saw the similarities in our personalities and we both influenced each other in life and artistically.  At the age of 92, my grandmother is faced to deal with years of artistic production  - either by giving the inventory away or selling her frames inexpensively, which still contained her artwork.  I received a few of these frames that had her nature collages.  She did decades ago by pressing items she found in Hawaii.

When I was thinking about the word "nexus" being a link between two or more things, I thought about the relationship with my grandmother.  Our link has always been that we were both artists, now are link is that we both live in Hawaii, and what grew was a strong connection of love for each other.
1   11a 184 One Throw Links up a Thousand Threads Acrylic and Enamel on Carved Wood 36.5" X 38"x2 2014 I have been working in this medium for about twenty-five years.  In that time I have done over thirty commissioned works on Leftist themes for a collector in Marfa, Texas.  These narrative and biographical pieces have generated a lot of scraps which I then utilize to construct abstract works with center around the complexity of the natural world.  These pieces represent two different aspects of my approach to life.
2   11b 184 Slouching Towards Bethlehem Acrylic on Carved Wood 48"X 43" X 3" 2014 I have been working in this medium for about twenty-five years.  In that time I have done over thirty commissioned works on Leftist themes for a collector in Marfa, Texas.  These narrative and biographical pieces have generated a lot of scraps which I then utilize to construct abstract works with center around the complexity of the natural world.  These pieces represent two different aspects of my approach to life.
1   12a 187 Evening oil/canvas 20 x 16" 2015 I paint what catches my attention, what excites. I try to mirror the expression on a face, the soft light of early morning, the purity of a communion with nature. I'm passionate about my subjects and seek to paint the truth in what I see, while adding a touch of my own spirit.

I hope to engage you with compositions that evoke strong feelings in you. Accurate drawing skills, sound painting techniques are the foundation of my artwork.  Although truthful depictions are my goal, it is important that you sense the soul in my subjects and the beauty that lies in the simplest of objects.
2   12b 187 Love oil,pencil,charcoal / Mixed Media 3 x 5" 2010 I paint what catches my attention, what excites. I try to mirror the expression on a face, the soft light of early morning, the purity of a communion with nature. I'm passionate about my subjects and seek to paint the truth in what I see, while adding a touch of my own spirit.

I hope to engage you with compositions that evoke strong feelings in you. Accurate drawing skills, sound painting techniques are the foundation of my artwork.  Although truthful depictions are my goal, it is important that you sense the soul in my subjects and the beauty that lies in the simplest of objects.
1   13a 188 Swimmers Mixed Media: Original Photography, Acrylic, Oil Stick 32x42 2013 My work strives to discover new ways to work with photographs as a material, much like one would work with paint, to express; a feeling, a sense of place, a moment in time that communicates experience on a visceral level. I emotionally respond to texture, either actual or implied and work in layers to create a tangible substance in my artwork.
2   13b 188 Ska Dancers 1 Mixed Media: Original Photography, Collage, Acrylic, Oil Stick 26x38 2014 My work strives to discover new ways to work with photographs as a material, much like one would work with paint, to express; a feeling, a sense of place, a moment in time that communicates experience on a visceral level. I emotionally respond to texture, either actual or implied and work in layers to create a tangible substance in my artwork.
3   13c 188 Ska Dancers 2 Mixed Media: Original Photography, Digital Media, Acrylic, Oil Stick 8x24 2014 My work strives to discover new ways to work with photographs as a material, much like one would work with paint, to express; a feeling, a sense of place, a moment in time that communicates experience on a visceral level. I emotionally respond to texture, either actual or implied and work in layers to create a tangible substance in my artwork.
4   13d 188 Trent at Hipster Cafe Mixed Media: Acrylic, Solvent Transfer 8x10 2015 My work strives to discover new ways to work with photographs as a material, much like one would work with paint, to express; a feeling, a sense of place, a moment in time that communicates experience on a visceral level. I emotionally respond to texture, either actual or implied and work in layers to create a tangible substance in my artwork.
1   14a 190 This is Where We Were charcoal on paper in 4 parts, each panel 5" x 7" 7" x 33"  = 4 panels, each 5" x 7", plus margins 2015 For years I’ve been seduced by landscape, and the interaction of land, water, and light.   My work is specific to place:  I hike and climb there. I explore space in my drawings – negative space, and how it stretches deep.  Surface is important, and the calm shapes land makes:  the dark swell of mountains, the clear cold of a hidden pond, the watery undulation of a distant horizon,  the shadows of a rock ledge.  I choose charcoal for its immediacy, and delight in its responsiveness, and its surprises.
2   14b 190 Red River Gorge Series: Ledge charcoal on paper 9" h x 7" w 2010 For years I’ve been seduced by landscape, and the interaction of land, water, and light.   My work is specific to place:  I hike and climb there. I explore space in my drawings – negative space, and how it stretches deep.  Surface is important, and the calm shapes land makes:  the dark swell of mountains, the clear cold of a hidden pond, the watery undulation of a distant horizon,  the shadows of a rock ledge.  I choose charcoal for its immediacy, and delight in its responsiveness, and its surprises.
1   15a 191 TAR BEACH Acrylic on canvas 48" x 36" 2013 My painting, HOME DEPOT, was a fine way for me to loosen up my work.  I have always been after a looseness and spontaneity in my work and the caulking gun  took full control out of my hands and certainly helped me produce a painting that had the desired effect I was searching for.  In my very next painting, TAR BEACH, I strove to show the seemingly kaleidoscopic  streets that I saw as a five year old child from my view on TAR BEACH.  There are streets going every which way color popping out all over and a feeling of randomness.
2   15b 191 HOME DEPOT Acrylic on Canvas 40" x 30" 2013 My painting, HOME DEPOT, was a fine way for me to loosen up my work.  I have always been after a looseness and spontaneity in my work and the caulking gun  took full control out of my hands and certainly helped me produce a painting that had the desired effect I was searching for.  In my very next painting, TAR BEACH, I strove to show the seemingly kaleidoscopic  streets that I saw as a five year old child from my view on TAR BEACH.  There are streets going every which way color popping out all over and a feeling of randomness.
goss1   16 193 Untitled Digital Photograph on Exhibition Fiber Paper 24" x 33.5" 2014 -
1 1D 17a 194 One Shadowy Day (911) plaster and oil 27 "×18"x18" 2015 -
2 2D 17b 194 Sold Figure on a Rock plaster and oil 14"x13"×10" 2015 -
1 1D 18a 196 Abrupt Departure Fiberglass, resin, found objects 56" x 60" x 53" 2015 My sculpture has its focus on human nature and how we think and behave: our concerns with those close to us -- family, friends and lovers -- and those distant whom we learn and care about through accounts in the news. The deepest mystery, in spite of being the most intimate, is ourselves and that is my subject matter as well. Although I have carved in wood and stone, modeled figures in clay and wax for bronze, and fabricated structures in steel, I find working with found objects and fiberglass, the most versatile for creating the series I am doing now, called “Sculptural Stories.” Some pieces serve as metaphors for human experience, such as the grace and vivid color of Harley-Davidson, some more evident such as the painful family dysfunction seen in Abrupt Departure.
2   18b 196 Outsourced Computer parts, scarf, found objects 51" x 18" x 20" 2012 My sculpture has its focus on human nature and how we think and behave: our concerns with those close to us -- family, friends and lovers -- and those distant whom we learn and care about through accounts in the news. The deepest mystery, in spite of being the most intimate, is ourselves and that is my subject matter as well. Although I have carved in wood and stone, modeled figures in clay and wax for bronze, and fabricated structures in steel, I find working with found objects and fiberglass, the most versatile for creating the series I am doing now, called “Sculptural Stories.” Some pieces serve as metaphors for human experience, such as the grace and vivid color of Harley-Davidson, some more evident such as the painful family dysfunction seen in Abrupt Departure.
3   18c 196 Harley-Davidson Bronze, found objects 14" x 15" x 8" 2013 My sculpture has its focus on human nature and how we think and behave: our concerns with those close to us -- family, friends and lovers -- and those distant whom we learn and care about through accounts in the news. The deepest mystery, in spite of being the most intimate, is ourselves and that is my subject matter as well. Although I have carved in wood and stone, modeled figures in clay and wax for bronze, and fabricated structures in steel, I find working with found objects and fiberglass, the most versatile for creating the series I am doing now, called “Sculptural Stories.” Some pieces serve as metaphors for human experience, such as the grace and vivid color of Harley-Davidson, some more evident such as the painful family dysfunction seen in Abrupt Departure.
1   19a 202 Angela Photography 24 in x 36 in 2015 -
2   19b 202 Angela Photography 24 in x 36 in 2015 -
1   20 203 Methuselah Bronze 7 x 5 x 4 2010 -
1   21a 205 Tongue Tied Acrylic on Canvas 40" x 30" 2014 I strive to recreate mechanical works by hand.  I focus on imagery from pop culture and hand- drawn sketches.  I work primarily in acrylic paint. I incorporate the “artist’s hand” in all of my works.  I prefer complementary, synthetic colors and intense lines. I love it when a piece strikes the balance between a childhood influence and my personal vision. The mood I aim for is somewhere between contemporary and nostalgic.

1   21b 205 Exploding Skull Acrylic on Canvas 30" x 40" 2015 I strive to recreate mechanical works by hand.  I focus on imagery from pop culture and hand- drawn sketches.  I work primarily in acrylic paint. I incorporate the “artist’s hand” in all of my works.  I prefer complementary, synthetic colors and intense lines. I love it when a piece strikes the balance between a childhood influence and my personal vision. The mood I aim for is somewhere between contemporary and nostalgic.
1   22a 207 After three seasons on the road, the Enchanted Amusements Traveling Carnival troupe [ . . . ] acrylic gouache on canvas 22" x 28" 2015 I am fascinated by what lays beneath the surface of the shiny, clean and accepted.  The carnival that once was new and bright but is now creaky and run down.  The faded elegance of an old tuxedo being worn by one who believes “that is the proper way to dress“.  The surgically enhanced body.  Happy paint chipping away to reveal a rusted damaged body.  Growing up one of my influences was the transparent anatomy pages that when flipped, revealed blood and muscles intense and brilliant.
I take a similar approach in creating my subjects.  I want to expose what they are thinking, their urges and how they see themselves. I present them inside out.  Who they are becomes how they look and how they interact with each other.  And they are all desperate for the good times that will eventually lead to disappointment.
2   22b 207 Constance believes the air around her to be rarefied. [ . . . ] acrylic gouache on canvas 28" x 22" 2012 I am fascinated by what lays beneath the surface of the shiny, clean and accepted.  The carnival that once was new and bright but is now creaky and run down.  The faded elegance of an old tuxedo being worn by one who believes “that is the proper way to dress“.  The surgically enhanced body.  Happy paint chipping away to reveal a rusted damaged body.  Growing up one of my influences was the transparent anatomy pages that when flipped, revealed blood and muscles intense and brilliant.
I take a similar approach in creating my subjects.  I want to expose what they are thinking, their urges and how they see themselves. I present them inside out.  Who they are becomes how they look and how they interact with each other.  And they are all desperate for the good times that will eventually lead to disappointment.
1   23a 208 Jessie T. Pettway: Gee's Bend Quilter textile 13 x 10 2015 I am a textile compositor using textiles as paint. Incorporated in my work are wool, cotton, and silk fabric, fleece, handspun and millspun yarn, silk fiber, and metallic fibers. I use natural and synthetic dyes to create colors I want. I only design and work on things that are especially meaningful to me. I have studied with others a bit but am mostly self taught because I continue to experiment and try to capture new things in new ways. I love my work and do it nearly every day. I believe that textiles are received by the viewer in a different way than fine art and there is science showing that a different part of the brain is stimulated when viewing a textile. It appeals to the senses, especially touch, and gives a feeling of warmth before the brain even registers the visual image. You will see people's reactions.

2   23b 208 Elephant textile 20 x 14 2015 I am a textile compositor using textiles as paint. Incorporated in my work are wool, cotton, and silk fabric, fleece, handspun and millspun yarn, silk fiber, and metallic fibers. I use natural and synthetic dyes to create colors I want. I only design and work on things that are especially meaningful to me. I have studied with others a bit but am mostly self taught because I continue to experiment and try to capture new things in new ways. I love my work and do it nearly every day. I believe that textiles are received by the viewer in a different way than fine art and there is science showing that a different part of the brain is stimulated when viewing a textile. It appeals to the senses, especially touch, and gives a feeling of warmth before the brain even registers the visual image. You will see people's reactions.

  24a 209 Lost and Alone 1 Premium Luster Photo paper 11x14 2015 Lost and Alone
Conceptually, this project deals with the changes in my family dynamics. I’ve suffered an abusive relationship with my ex-husband that was both mental and physical for 15 years. I got the strength and courage to leave because of my children. I did not want them to grow up in that type of environment thinking that the domestic abuse was ok. I use photography to capture the experience’s I’ve encountered in the past to heal and move on. I also want to be able to reach out to others and to help the people who have also experienced what I have.  It has taken a long time to be able to talk about this situation and how it affected my life. The use of photography has been a source of healing from the past. It has given me the strength to work through my feeling and put them aside. It has been a long journey for me and being able to work through this with my photography has been a great release.
A lot of my past work has dealt with photographs of old abandoned buildings. I felt that this would be the best setting for this project. I have been drawn towards these types of objects because of how I was feeling in my life. I have always felt alone and that’s why I feel that I am drawn to these types of environments. I have also included self-portraits into setting to express and show the impact of my past. The self-portraits also include photographs or items form my past relationship. The idea is to incorporate my past into the house I am photographing.
  24b 209 Lost and Alone 2 Premium Luster Photo paper 11x14 2015 Lost and Alone
Conceptually, this project deals with the changes in my family dynamics. I’ve suffered an abusive relationship with my ex-husband that was both mental and physical for 15 years. I got the strength and courage to leave because of my children. I did not want them to grow up in that type of environment thinking that the domestic abuse was ok. I use photography to capture the experience’s I’ve encountered in the past to heal and move on. I also want to be able to reach out to others and to help the people who have also experienced what I have.  It has taken a long time to be able to talk about this situation and how it affected my life. The use of photography has been a source of healing from the past. It has given me the strength to work through my feeling and put them aside. It has been a long journey for me and being able to work through this with my photography has been a great release.
A lot of my past work has dealt with photographs of old abandoned buildings. I felt that this would be the best setting for this project. I have been drawn towards these types of objects because of how I was feeling in my life. I have always felt alone and that’s why I feel that I am drawn to these types of environments. I have also included self-portraits into setting to express and show the impact of my past. The self-portraits also include photographs or items form my past relationship. The idea is to incorporate my past into the house I am photographing.
25 25d 25 210 "Java Jive" The Coffee Table Wood, Aluminum, Plexiglass 72"x42"x34" 2014 To quote Gwen Schrift (Feature Writer for Calkins Media) on a review of the New Hope Art Center’s “Works in Wood” annual event, “this is a pure art piece”. From the artist that created the piece, “It is actually a Functional Art piece”. However you choose to look at this unique creation, you can’t help but smile.
Yes, the coffee table is extremely well crafted woodworking, artfully designed and engineered. It certainly meets all of the criteria one expects to find in sophisticated fine art, anywhere. But it’s functionality is a feature missing in most fine art. This is a very usable piece of furniture that makes a statement.
Since completing this piece, it has appeared in three exhibitions. In October 2014, it received “Best in Show for Sculpture” honors at the Guild of Creative Art, annual Open Juried Show. That event was held at the Guilds Gallery in Shrewsbury, NJ. “Java Jive” The Coffee Table, has been shown at the Works in Wood, annual Open Juried Show, held at the New Hope Arts Center,in New Hope, PA and most recently displayed in Philadelphia, at the gallery in City Hall for the “All That Jazz” exhibition to celebrate National Jazz Month in April this year.

The light colored wood is Bass Wood; often used in the fabrication of musical instruments. The dark colored wood is Baked Poplar. It should be noted that the dark wood, seen as the coffee and the dark stripe around the outside is actually the same piece of wood. ¼ inch thick, aluminum is employed as musical twists of steam. Unlike the woodwork (finished in Clear Satin Lacquer) the laser cut aluminum twists are left raw with applied frosted plexiglass notes. The piece weighs approximately 175 lbs.
1 1d 26a 211 Seven Sins /Seven Virtues Raku /Photography/Found Objects 50"W x 48"D x70"H 2015 My current work has taken on the role of narrative, personal in conception yet universal in its interaction with the viewer.  Most of my work is a reflection of me, of my feelings, my interpretations, my memories and opinions. They are collections and assemblages that evoke introspection regarding the self, institutions and expectations.
I often start my work with a phrase, an adage, a limerick. I develop a list of words complex and sometimes contradictory that describes a particular theme: memories of a bygone era, a feeling, an expression which evolve into a short story of sorts that play themselves out in my mind.  I refine and develop those narratives into sculptures.  Thrown ceramic forms, found objects and discarded furniture set the stage and are an integral part in the narratives. The narratives express childhood, relationships, gender identity, moral and political conflicts.
I admire and have been influenced by the art of Louise Nevelson, Marisol Escobar and Judy Chicago. I find every aspect of the process alluring the physical aspect of throwing on the potter’s wheel, the search and selection of found objects, the piecing together of the parts into an expressive whole.
2   26b 211 Xenophobia Raku/ 14" w x 14"d x 36"h 2013 My current work has taken on the role of narrative, personal in conception yet universal in its interaction with the viewer.  Most of my work is a reflection of me, of my feelings, my interpretations, my memories and opinions. They are collections and assemblages that evoke introspection regarding the self, institutions and expectations.
I often start my work with a phrase, an adage, a limerick. I develop a list of words complex and sometimes contradictory that describes a particular theme: memories of a bygone era, a feeling, an expression which evolve into a short story of sorts that play themselves out in my mind.  I refine and develop those narratives into sculptures.  Thrown ceramic forms, found objects and discarded furniture set the stage and are an integral part in the narratives. The narratives express childhood, relationships, gender identity, moral and political conflicts.
I admire and have been influenced by the art of Louise Nevelson, Marisol Escobar and Judy Chicago. I find every aspect of the process alluring the physical aspect of throwing on the potter’s wheel, the search and selection of found objects, the piecing together of the parts into an expressive whole.
1   27a 212 "it all begins with a kiss" Mixed media: metal, rivets and wood 20 inches  X 26 inches 2014 Mass-produced, inexpensive objects from contemporary society and popular culture are integral to my art. I use these elements to evoke a story, but I leave an opening for the viewer to fill in the details. I plan to tell a story before I begin to rivet, stitch, adhere, or arrange. This narrative guides the layers in my work. It is the thread that ties my work together. We are a consumerist society, surrounded by our possessions, but we don’t give ourselves time to consider the greater story these items collectively tell.
  27b 212 Lemon Meringue Quilt Mixed media: paper and cotton thread 21inches X 17 inches 2015 Mass-produced, inexpensive objects from contemporary society and popular culture are integral to my art. I use these elements to evoke a story, but I leave an opening for the viewer to fill in the details. I plan to tell a story before I begin to rivet, stitch, adhere, or arrange. This narrative guides the layers in my work. It is the thread that ties my work together. We are a consumerist society, surrounded by our possessions, but we don’t give ourselves time to consider the greater story these items collectively tell.
1   28a 213 Gantz, Joan 1. "The Pull" oil on canvas 24" x 32" 2014 Artist Statement   Feb 2015
My painting has developed through many phases of media. Presently I am working in oils and enjoy their texture and diversity on a variety of support surfaces.
My subject matter has evolved from strongly representational to purely abstract.
I give deliberate intent toward movement and emotion through my palette, brushstrokes, and texture. I work to engage the viewer for a shared creative experience.
Joan Gantz is a professional visual artist who paints in all mediums. She has studied under various artists at the LBI Foundation for the Arts and Sciences, The Yard School and the New Jersey Center for Visual Arts. She is also a critical care nurse, educated at Seton Hall University and Rutgers University.
2   28b 213 Gantz, Joan 2. " Atmosphere" oil on canvas 30" x 30" 2015 Artist Statement   Feb 2015
My painting has developed through many phases of media. Presently I am working in oils and enjoy their texture and diversity on a variety of support surfaces.
My subject matter has evolved from strongly representational to purely abstract.
I give deliberate intent toward movement and emotion through my palette, brushstrokes, and texture. I work to engage the viewer for a shared creative experience.
Joan Gantz is a professional visual artist who paints in all mediums. She has studied under various artists at the LBI Foundation for the Arts and Sciences, The Yard School and the New Jersey Center for Visual Arts. She is also a critical care nurse, educated at Seton Hall University and Rutgers University.
1   29a 218 Building 7 acrylic 25' x 48" 2014 The Arch Bishop Walsh Housing Projects has helped shape me into the artist that I am today. I am sending you a few different types of works. Included is a small minimal cityscape.It is from a series of large simplified views of a building. It is a six color stripe atmospheric image of the building I came home to everyday while growing up. I remember, I would look up to see if the lights were on in my 8th floor apt. This was important, because I did not have a door key. So, if the lights were out, it meant that no one was home and I wouldn’t bother going up. Of course, looking up, I saw so much more than just my apartment windows. I observed the sky, and the stars, and the lights, and clouds, and the sun, and it changed every time I looked up. It instilled in me thousands of impressions and feelings.  The image is an upstretched canvases that hangs from a single 1”x1” wood at the top.
The figurative work is an abstraction from drawings that I did on the beach. I have a need to create both representational and non-representational imagery.
2   29b 218 Beach Girl acrylic 36" x 48" 2014 The Arch Bishop Walsh Housing Projects has helped shape me into the artist that I am today. I am sending you a few different types of works. Included is a small minimal cityscape.It is from a series of large simplified views of a building. It is a six color stripe atmospheric image of the building I came home to everyday while growing up. I remember, I would look up to see if the lights were on in my 8th floor apt. This was important, because I did not have a door key. So, if the lights were out, it meant that no one was home and I wouldn’t bother going up. Of course, looking up, I saw so much more than just my apartment windows. I observed the sky, and the stars, and the lights, and clouds, and the sun, and it changed every time I looked up. It instilled in me thousands of impressions and feelings.  The image is an upstretched canvases that hangs from a single 1”x1” wood at the top.
The figurative work is an abstraction from drawings that I did on the beach. I have a need to create both representational and non-representational imagery.
1   30a 222 Pyramids II Wood, Metal, Cardboard, Stone, Plastic, Paint 33x34x4 2014 Free Architecture is construction released from the compromises required by functionality. Form is no longer required to follow function because the expression of form is the object’s function. My wall hung constructions seek to purify architecture into art by diverting the design process at the conceptual stage of early development – before it is forced to accommodate the pragmatic spatial requirements of human habitation.

I purposely work in the traditional preliminary modeling materials utilized by architects and designers, such as cardboard and balsa, and then juxtapose them with more durable building materials like stainless steel and polished stone to refer to the contrast between the artist and the artisan. The end result is what I call free architecture – an object that is free of practical constraints, as it was in the beginning of the creative process when it was first conceived, not as a preliminary model for some future prosaic structure of brick and mortar, but as art.
2   30b 222 Red Ball 1 Cardboard, Metal, Wood, Paint 28x27x4 2015 Free Architecture is construction released from the compromises required by functionality. Form is no longer required to follow function because the expression of form is the object’s function. My wall hung constructions seek to purify architecture into art by diverting the design process at the conceptual stage of early development – before it is forced to accommodate the pragmatic spatial requirements of human habitation.

I purposely work in the traditional preliminary modeling materials utilized by architects and designers, such as cardboard and balsa, and then juxtapose them with more durable building materials like stainless steel and polished stone to refer to the contrast between the artist and the artisan. The end result is what I call free architecture – an object that is free of practical constraints, as it was in the beginning of the creative process when it was first conceived, not as a preliminary model for some future prosaic structure of brick and mortar, but as art.
1   31a 223 GEORGE IN BARBADOS ACRYLICS 26 1/2" X 32 1/2" 2013 My artistic statement is:
"My paintings are very colorful for everyone to enjoy."
2   31b 223 WINTER LIGHT ACRYLICS 32 1/2 " X 26 1/2" 2014 My artistic statement is:
"My paintings are very colorful for everyone to enjoy."
3   31c 223 WINTER'S DEER PATH ACRYLICS 28 3/4" x 24 3/4" 2015 My artistic statement is:
"My paintings are very colorful for everyone to enjoy."
1   32a 225 Coral Imagined Glazed Porcelain, spray foam, wooden bottom 10 1/2" h x 11 1/2" w x 12" d 2014 Inspired by the deep sea, these recognizable but abstracted works come into existence in order to satisfy feelings of apprehension with a compulsive act of rolling out appendages and placing them over and over again.   The intent is to rid one’s mind of anxiety ridden feelings, the mechanical act of creating these works acts as a distraction.   With the visual vocabulary stemming from the sea, decipherable beings come into existence in order to beautify the manner in which they are unearthed. 
2   32b 225 Echinoidea Preserved Glazed Ceramic, Wood 7" h x 9" w x 6 1/2" d 2014 Inspired by the deep sea, these recognizable but abstracted works come into existence in order to satisfy feelings of apprehension with a compulsive act of rolling out appendages and placing them over and over again.   The intent is to rid one’s mind of anxiety ridden feelings, the mechanical act of creating these works acts as a distraction.   With the visual vocabulary stemming from the sea, decipherable beings come into existence in order to beautify the manner in which they are unearthed. 
33a   33a 227 Cold Shoulder with a New Face digitally manipulated photograph, inkjet printed on archival paper 22" x 11.35" unframed 2015 I had an obsession with objects as a child, and I still do. In addition to my cherished shells and orange peel canoes, I had little porcelain figurines, mostly children and animals, that I would arrange, re-arrange, and play with. Like my mother’s cherubic Hummels that she displayed in the dining room breakfront, these benignly appealing figures could be found in many homes like mine. In some ways, they were the closest thing to “art” we were exposed to early on.
As I discovered my own aesthetic, I began to reject figurative objects like these as “kitsch”; they seemed saccharine, even distasteful. My own developing work and collections leaned toward an organic, almost primitive sensibility — more like the shells and orange peels — and rarely included any obvious human expression.
Recently, my husband and I cleaned out his parents’ house after their deaths, and I was confronted with what to do with their collection of figurines similar to the ones from my childhood. I felt an unexpected reverence and affection for them as I began photographing them, first for inventory, then with artistic intention. There was humanity there, almost as if I were taking a portrait of a real person.
To my surprise, the faces held the most fascination and emotion for me in this new work.  I had the urge to digitally extract the features from the porcelains and place them on different bodies — and vice versa.
For one series, I scouted and photographed ancient figures and faces in the Metropolitan Museum of Art’s Roman, Greek, and African galleries and digitally collaged them with the figurines I’d photographed.
I expected the results of my manipulations to feel ironic or critical, and there is a bit of that, but they were transformed into something genuinely compelling and meaningful to me. In addition to the puzzle of their arresting appearance, they raise questions about what is attractive or comfortable for us to look at, and how we as a civilization have assigned meaning and value to objects and images — particularly those that show us an idealized reflection of ourselves.
2   33b 227 Duck Girl with Red Shoes and a New Face digitally manipulated photograph, inkjet printed on archival paper 22" x 11.35" unframed 2015 I had an obsession with objects as a child, and I still do. In addition to my cherished shells and orange peel canoes, I had little porcelain figurines, mostly children and animals, that I would arrange, re-arrange, and play with. Like my mother’s cherubic Hummels that she displayed in the dining room breakfront, these benignly appealing figures could be found in many homes like mine. In some ways, they were the closest thing to “art” we were exposed to early on.
As I discovered my own aesthetic, I began to reject figurative objects like these as “kitsch”; they seemed saccharine, even distasteful. My own developing work and collections leaned toward an organic, almost primitive sensibility — more like the shells and orange peels — and rarely included any obvious human expression.
Recently, my husband and I cleaned out his parents’ house after their deaths, and I was confronted with what to do with their collection of figurines similar to the ones from my childhood. I felt an unexpected reverence and affection for them as I began photographing them, first for inventory, then with artistic intention. There was humanity there, almost as if I were taking a portrait of a real person.
To my surprise, the faces held the most fascination and emotion for me in this new work.  I had the urge to digitally extract the features from the porcelains and place them on different bodies — and vice versa.
For one series, I scouted and photographed ancient figures and faces in the Metropolitan Museum of Art’s Roman, Greek, and African galleries and digitally collaged them with the figurines I’d photographed.
I expected the results of my manipulations to feel ironic or critical, and there is a bit of that, but they were transformed into something genuinely compelling and meaningful to me. In addition to the puzzle of their arresting appearance, they raise questions about what is attractive or comfortable for us to look at, and how we as a civilization have assigned meaning and value to objects and images — particularly those that show us an idealized reflection of ourselves.
34a   34a 228 Three Muses Photography (Toned Silver Gelatin Print) 16 x 20 Framed 2015 These are nudes but the kind I like best, unobtrusive and subtle.
34b   34b 228 Kicking Up A Ruckus Photography (Silver Gelatin Print) 20 x 16 Framed 2015 These are nudes but the kind I like best, unobtrusive and subtle.
35a   35a 229 Nebula And Constellation Photography on canvas 24"x18" 2011 Abstract art can be seen in everything all around us, whether in nature or man made. We just need to look at things with an open mind.
In the case of botonicals, the veins in a leaf or the edge of a flower's petal can become an abstract thru the camera's lens. Light and shadow can add to all of this. It all depends on how each artist sees things.
Metals rusting are a great subject matter for abstracts. Multiple layers of paint tend to show through as metals age. A combination of textures, color, light and shadows are what I look for to compose an image as I look through my lens. While I may see one thing in my images, others may see something else. While I may feel one emotion when I am shooting these abstracts, it may evoke another emotion for someone else.
That's the beauty of creating my abstracts. They can be open to each person's own interpretation. One is impelled to look for a time and walk away with what they wish from each image.
35b   35b 229 Other Side Of the Black Hole Photography on canvas 18"x24" 2011 Abstract art can be seen in everything all around us, whether in nature or man made. We just need to look at things with an open mind.
In the case of botonicals, the veins in a leaf or the edge of a flower's petal can become an abstract thru the camera's lens. Light and shadow can add to all of this. It all depends on how each artist sees things.
Metals rusting are a great subject matter for abstracts. Multiple layers of paint tend to show through as metals age. A combination of textures, color, light and shadows are what I look for to compose an image as I look through my lens. While I may see one thing in my images, others may see something else. While I may feel one emotion when I am shooting these abstracts, it may evoke another emotion for someone else.
That's the beauty of creating my abstracts. They can be open to each person's own interpretation. One is impelled to look for a time and walk away with what they wish from each image.
35c   35c 229 My Goldfish Bowl Photography on canvas 24"x18" 2012 Abstract art can be seen in everything all around us, whether in nature or man made. We just need to look at things with an open mind.
In the case of botonicals, the veins in a leaf or the edge of a flower's petal can become an abstract thru the camera's lens. Light and shadow can add to all of this. It all depends on how each artist sees things.
Metals rusting are a great subject matter for abstracts. Multiple layers of paint tend to show through as metals age. A combination of textures, color, light and shadows are what I look for to compose an image as I look through my lens. While I may see one thing in my images, others may see something else. While I may feel one emotion when I am shooting these abstracts, it may evoke another emotion for someone else.
That's the beauty of creating my abstracts. They can be open to each person's own interpretation. One is impelled to look for a time and walk away with what they wish from each image.
36a   36a 231 Catwalk Photography 12x18 2015 I have been a resident of Stanhope, NJ for 23 years and I am the 2012 recipient of the Mr. and Mrs. Gerald Tedesco Award for Photography at the 25th Annual Skylands Juried Art Exhibit.
I grew up in Oakhurst, NJ and attended Richard Stockton College of New Jersey and received a BA in Psychology. After college, I worked as a social worker, in Atlantic City.
After starting my family, I moved back to Oakhurst and received an AAS in Communication Design from Brookdale Community College. After spending several years in a corporate environment as a graphic artist/web designer, I started a freelance business.
I use my talented eye as a photographer with the added training of a professional Graphic Designer to find inspiration not only in the most subtle displays of nature but also in the hard edges and textures of the city.
36b   36b 231 Evergreen Through Window Photography 11x14 2010 I have been a resident of Stanhope, NJ for 23 years and I am the 2012 recipient of the Mr. and Mrs. Gerald Tedesco Award for Photography at the 25th Annual Skylands Juried Art Exhibit.
I grew up in Oakhurst, NJ and attended Richard Stockton College of New Jersey and received a BA in Psychology. After college, I worked as a social worker, in Atlantic City.
After starting my family, I moved back to Oakhurst and received an AAS in Communication Design from Brookdale Community College. After spending several years in a corporate environment as a graphic artist/web designer, I started a freelance business.
I use my talented eye as a photographer with the added training of a professional Graphic Designer to find inspiration not only in the most subtle displays of nature but also in the hard edges and textures of the city.
37a   37a 233 Eccentric Photograph, Archival Digital Print 24" x 30" 2015 Artist Statement –
“The camera is a remarkable tool. It allows the Artist to reveal that which can never be seen…”
My photographic work ranges from traditional imagery such as landscape and portraiture to the creation of photographic montages. The montages are compositions created by the blending of several different images. This type of work requires the skills of both the photographer and the painter . These images tend to be surrealistic in tone and modern in feeling even though they are usually based  on a more traditional type of photographic imagery.
The compilation of these layered images mirrors the complex nature of experience; not completely realized and somewhat mysterious with a deep current of undertones and hidden meanings. The result is the creation of images that have both power and presence ; images  that achieve  “ more reality “ than a single layer of imagery .can express. These  images also invite the spectator to interpret and become more involved with the artwork . In essence, the spectator can participate in the telling of the story behind the work, enhancing and enriching the Art experience.
Many of these pieces grow in impact as they grow in size. The enlarged scale leads to the creation of a strong, vital presence in the work. There is a sense of something just about to happen in the scene; something awaited with longing and great anticipation:
37b   37b 233 State of the Arts Photographic Montage,Archival Digital Print 30" x 36" 2015 Artist Statement –
“The camera is a remarkable tool. It allows the Artist to reveal that which can never be seen…”
My photographic work ranges from traditional imagery such as landscape and portraiture to the creation of photographic montages. The montages are compositions created by the blending of several different images. This type of work requires the skills of both the photographer and the painter . These images tend to be surrealistic in tone and modern in feeling even though they are usually based  on a more traditional type of photographic imagery.
The compilation of these layered images mirrors the complex nature of experience; not completely realized and somewhat mysterious with a deep current of undertones and hidden meanings. The result is the creation of images that have both power and presence ; images  that achieve  “ more reality “ than a single layer of imagery .can express. These  images also invite the spectator to interpret and become more involved with the artwork . In essence, the spectator can participate in the telling of the story behind the work, enhancing and enriching the Art experience.
Many of these pieces grow in impact as they grow in size. The enlarged scale leads to the creation of a strong, vital presence in the work. There is a sense of something just about to happen in the scene; something awaited with longing and great anticipation:
a   38a 234 'Hahahaa' Watercolor on paper 18x23 2015 I Love Painting! I am glad to share with all of you 2 portraits of my younger son, Tejus. The portraits are a celebration of his childhood, him at his happiest, cutest, silliest, sweetest best. Childhood to me should be fun, carefree, & full of cheer. I have tried to capture that mood with bright & fun colors. The backgrounds are bright representing colorful memories rather than a solid wall or structure. The bright cheerful yellows are to accentuate that mood.
I Love Watercolors! To me it is the most magical medium. It’s the only medium where you get luminous glows without even using the slightest hint of white paint. The colors to a certain extent blend and mix on their own. It’s almost as if it has a mind of its own. Experiencing as that drama unfolds on paper while controlling it to the best of your ability, I think is the magic or wonder in art. That also is a quality of childhood.
I worked from our family photographs for all these portraits. I tried various compositions for the portraits & then sketched them freehand on paper. The paintings are a mixture of wet-in-wet, wet on dry techniques. I used masking fluid to save the highlights. The skin tones are mostly just three primary colors with the clothing colors & the bright yellows reflecting on their faces.
Every moment while painting these portraits was pure joy.  I hope the portraits take the viewer back to their happy & carefree feeling of childhood. I am very happy I painted all these portraits.
Thanks & Best Wishes,
Medha
38b   38b 234 'Teju' Watercolor on Paper 12x18 2015 I Love Painting! I am glad to share with all of you 2 portraits of my younger son, Tejus. The portraits are a celebration of his childhood, him at his happiest, cutest, silliest, sweetest best. Childhood to me should be fun, carefree, & full of cheer. I have tried to capture that mood with bright & fun colors. The backgrounds are bright representing colorful memories rather than a solid wall or structure. The bright cheerful yellows are to accentuate that mood.
I Love Watercolors! To me it is the most magical medium. It’s the only medium where you get luminous glows without even using the slightest hint of white paint. The colors to a certain extent blend and mix on their own. It’s almost as if it has a mind of its own. Experiencing as that drama unfolds on paper while controlling it to the best of your ability, I think is the magic or wonder in art. That also is a quality of childhood.
I worked from our family photographs for all these portraits. I tried various compositions for the portraits & then sketched them freehand on paper. The paintings are a mixture of wet-in-wet, wet on dry techniques. I used masking fluid to save the highlights. The skin tones are mostly just three primary colors with the clothing colors & the bright yellows reflecting on their faces.
Every moment while painting these portraits was pure joy.  I hope the portraits take the viewer back to their happy & carefree feeling of childhood. I am very happy I painted all these portraits.
Thanks & Best Wishes,
Medha
39a   39a 235 Animalia graphite on arches hotpress 30x22 2014 Seen/Unseen
These drawings are from an ongoing series “Seen/Unseen” which are abstractions of the interior of the human body.  They are derived from organs and other internal structures of the body; some real and some invented.  In certain instances they are repeated as multiple images and sometimes taken from multiple viewpoints. There is a soft tactile surface, and at times an ethereal quality is achieved through both the adding and removing of marks on the paper. They might also be drawings of imaginary sculptures of an indeterminate material.
Throughout my career I have worked in both drawing and sculpture and my method of working in graphite is similar to working in clay where there is both applying and removal of marks or material. The erasures in the drawings add volume moving them towards a sculptor’s perspective. While removing clay from a sculpture is an actual removal, the erasure in the drawings is not an act of negation. The erasure in the drawing is both removal of marks and creating new marks in the same stroke.
39b   39b 235 False Images (study) graphite on arches hotpress 30x22 2013 Seen/Unseen
These drawings are from an ongoing series “Seen/Unseen” which are abstractions of the interior of the human body.  They are derived from organs and other internal structures of the body; some real and some invented.  In certain instances they are repeated as multiple images and sometimes taken from multiple viewpoints. There is a soft tactile surface, and at times an ethereal quality is achieved through both the adding and removing of marks on the paper. They might also be drawings of imaginary sculptures of an indeterminate material.
Throughout my career I have worked in both drawing and sculpture and my method of working in graphite is similar to working in clay where there is both applying and removal of marks or material. The erasures in the drawings add volume moving them towards a sculptor’s perspective. While removing clay from a sculpture is an actual removal, the erasure in the drawings is not an act of negation. The erasure in the drawing is both removal of marks and creating new marks in the same stroke.
39c   39c 235 Doubled (study) graphite on arches hotpress 30x22 2013 Seen/Unseen
These drawings are from an ongoing series “Seen/Unseen” which are abstractions of the interior of the human body.  They are derived from organs and other internal structures of the body; some real and some invented.  In certain instances they are repeated as multiple images and sometimes taken from multiple viewpoints. There is a soft tactile surface, and at times an ethereal quality is achieved through both the adding and removing of marks on the paper. They might also be drawings of imaginary sculptures of an indeterminate material.
Throughout my career I have worked in both drawing and sculpture and my method of working in graphite is similar to working in clay where there is both applying and removal of marks or material. The erasures in the drawings add volume moving them towards a sculptor’s perspective. While removing clay from a sculpture is an actual removal, the erasure in the drawings is not an act of negation. The erasure in the drawing is both removal of marks and creating new marks in the same stroke.
40a   40a 238 Yet untitled Oil on canvas 48x38 2015 I am an abstract oil painter with nearly 14 solo exhibitions. Currently, I am a painting fellow in Italy and last summer completed a painting residency in Manhattan at the School of Visual Arts. I have won several award and exhibit work on a regular basis.
My inspiration for work varies. At times it is conceptual as with my current series about the passage of time.  Other times, I make one mark on the canvas leading to another mark, resulting in a conversation among the marks creating a cohesive whole.
40b   40b 238 String Theory Oil and embroidery thread 48x38 2015 I am an abstract oil painter with nearly 14 solo exhibitions. Currently, I am a painting fellow in Italy and last summer completed a painting residency in Manhattan at the School of Visual Arts. I have won several award and exhibit work on a regular basis.
My inspiration for work varies. At times it is conceptual as with my current series about the passage of time.  Other times, I make one mark on the canvas leading to another mark, resulting in a conversation among the marks creating a cohesive whole.
41a   41a 239 Transative Night Fall Encaustic on panel Board 12 x 6 2015 I am a Brooklyn born artist and painter, now living in the North New Jersey area for the past seventeen years. My focus is on Abstracts. I works on paper, canvas and panel in a variety of media. My work is available in originals, prints and commissions.

“My paintings emerge from nature, emotion and music, my own little contradiction world where no rules or reason reign.” My work is collected national and international.
41b   41b 239 Nights of Goodbye Encaustic on panel Board 12 x 6 2015 I am a Brooklyn born artist and painter, now living in the North New Jersey area for the past seventeen years. My focus is on Abstracts. I works on paper, canvas and panel in a variety of media. My work is available in originals, prints and commissions.

“My paintings emerge from nature, emotion and music, my own little contradiction world where no rules or reason reign.” My work is collected national and international.
40a   40a 238 Yet untitled Oil on canvas 48x38 2015 I am an abstract oil painter with nearly 14 solo exhibitions. Currently, I am a painting fellow in Italy and last summer completed a painting residency in Manhattan at the School of Visual Arts. I have won several award and exhibit work on a regular basis.
My inspiration for work varies. At times it is conceptual as with my current series about the passage of time.  Other times, I make one mark on the canvas leading to another mark, resulting in a conversation among the marks creating a cohesive whole.
40b   40b 238 String Theory Oil and embroidery thread 48x38 2015 I am an abstract oil painter with nearly 14 solo exhibitions. Currently, I am a painting fellow in Italy and last summer completed a painting residency in Manhattan at the School of Visual Arts. I have won several award and exhibit work on a regular basis.
My inspiration for work varies. At times it is conceptual as with my current series about the passage of time.  Other times, I make one mark on the canvas leading to another mark, resulting in a conversation among the marks creating a cohesive whole.
41a   41a 239 Transative Night Fall Encaustic on panel Board 12 x 6 2015 I am a Brooklyn born artist and painter, now living in the North New Jersey area for the past seventeen years. My focus is on Abstracts. I works on paper, canvas and panel in a variety of media. My work is available in originals, prints and commissions.

“My paintings emerge from nature, emotion and music, my own little contradiction world where no rules or reason reign.” My work is collected national and international.
41b   41b 239 Nights of Goodbye Encaustic on panel Board 12 x 6 2015 I am a Brooklyn born artist and painter, now living in the North New Jersey area for the past seventeen years. My focus is on Abstracts. I works on paper, canvas and panel in a variety of media. My work is available in originals, prints and commissions.

“My paintings emerge from nature, emotion and music, my own little contradiction world where no rules or reason reign.” My work is collected national and international.
42a   42a 240 Steps for Violet Acrylic on Canvas 40" x 30" 2013 Color is powerful. It illicits a response from most of us on a visceral level. It is the interactions of color in the real world that inform and inspire my artwork. By working from photographs for my painting and from live models for my drawing I am able to emphasis the color that I see in front of me. The paintings, taken from a good photograph, become more alive, emotional and responsive. It is very much about the process of picture making.
    42b 240 Vanishing NYC-Elizabeth Street Acrylic on Canvas 36" x 24" 2015 Color is powerful. It illicits a response from most of us on a visceral level. It is the interactions of color in the real world that inform and inspire my artwork. By working from photographs for my painting and from live models for my drawing I am able to emphasis the color that I see in front of me. The paintings, taken from a good photograph, become more alive, emotional and responsive. It is very much about the process of picture making.
43a   43a 242 Hiking in Mariposa Water color on paper 33"x28" 2014 Born in Calcutta, India, she was a biomedical research scientist for 25 years, in India and then in the US. She moved to New Jersey two decades ago, raised a family and worked for many years at UMDNJ. Yet her life was incomplete. In 2005, she set up an easel in her guest room and returned to her childhood passion: she began painting full-time.
Entirely self-taught, Indrani works solely in watercolors, transforming the medium beyond its typical constraints to produce the texture and richness of acrylics and oils. Her paintings span her whole universe, from her local supermarket in New Jersey, to her childhood home in Calcutta, to scenes from travels around the world.  In each she tries to express something specific – a particular color, the interplay of light and shade, a moment we see but never notice, or a memory she has carried since her childhood. She paints to communicate the way she sees the world.
43b   43b 242 Summer Tomatoes Water color on paper 20"x24" 2014 Born in Calcutta, India, she was a biomedical research scientist for 25 years, in India and then in the US. She moved to New Jersey two decades ago, raised a family and worked for many years at UMDNJ. Yet her life was incomplete. In 2005, she set up an easel in her guest room and returned to her childhood passion: she began painting full-time.
Entirely self-taught, Indrani works solely in watercolors, transforming the medium beyond its typical constraints to produce the texture and richness of acrylics and oils. Her paintings span her whole universe, from her local supermarket in New Jersey, to her childhood home in Calcutta, to scenes from travels around the world.  In each she tries to express something specific – a particular color, the interplay of light and shade, a moment we see but never notice, or a memory she has carried since her childhood. She paints to communicate the way she sees the world.
44a   44a 243 Lady of the Lake photography montage 20x16 (framed to 24x20) 2015 The majority of my artwork today is based in photography. Initially, it was a reference for drawing and painting but as I delved into it over the years, I began experimenting with many different techniques within the medium itself. The initial photograph is seldom the end result but usually the starting point for a montage, collage, digital painting or whatever I feel will develop the vision I have in mind. Current technology and use of the computer as an art tool has opened up a world of new possibilities to explore and add to my arsenal of options as an artist. I hope the viewer of my work will project their personal ideas and emotions into the image,  creating a meaning or story all their own.
44b   44b 243 Groundhog Day photography montage 20x16 (framed to 24x20) 2014 The majority of my artwork today is based in photography. Initially, it was a reference for drawing and painting but as I delved into it over the years, I began experimenting with many different techniques within the medium itself. The initial photograph is seldom the end result but usually the starting point for a montage, collage, digital painting or whatever I feel will develop the vision I have in mind. Current technology and use of the computer as an art tool has opened up a world of new possibilities to explore and add to my arsenal of options as an artist. I hope the viewer of my work will project their personal ideas and emotions into the image,  creating a meaning or story all their own.
45a   45a 244 Golden Ochre X oil on wood 11" x 48" 2015 These X series paintings are inspired by John Singer Sargent's Madame X painting. Ron EA Powell mixes a variety of techniques and styles in his haunting yet strangely tranquil paintings. Utilizing the Gestalt theory, Powell paints sections of the figure, allowing the viewer's mind to complete the totality of the form. The sensuous faces of his subjects are often executed by painterly brushwork and expressionist flourishes. At times pensive, contemplative or unabashedly fervent, Ron’s subjects reveal themselves to us while remaining enigmatic.
45b   45b 244 Cadmium X oil on wood 11" x 48" 2015 These X series paintings are inspired by John Singer Sargent's Madame X painting. Ron EA Powell mixes a variety of techniques and styles in his haunting yet strangely tranquil paintings. Utilizing the Gestalt theory, Powell paints sections of the figure, allowing the viewer's mind to complete the totality of the form. The sensuous faces of his subjects are often executed by painterly brushwork and expressionist flourishes. At times pensive, contemplative or unabashedly fervent, Ron’s subjects reveal themselves to us while remaining enigmatic.
46a   46a 245 Excavations VIII Watercolor and color pencil 8.25" x 5.75" 2012 The preliminary work that gave rise to the “Excavations” series came about during a period of mental and physical exhaustion after months of coping with an undiagnosed illness.  Confined to working in short bursts and working on projects I could hold in my lap while painting in a reclining position, these paintings became, of necessity, improvisational and intimate in scale. These same work restrictions also conspired to strip away all the superficial trappings of making a work of art.  I only recognized in hindsight that the images generated during this period represent an honest and unpremeditated account of that moment in time when the shadow of a thought gives birth to the impulse to create. 
Images from this difficult period, which I now view as a gift, continue to inspire the works from the “Excavations” series, and this series continues to be, on many levels, about a search for beginnings.  Ultimately all the works from this series have been created in a state of contentment and good health. 
46b   46b 245 Excavations VII Watercolor and color pencil 10.25" x 8.25" 2011 The preliminary work that gave rise to the “Excavations” series came about during a period of mental and physical exhaustion after months of coping with an undiagnosed illness.  Confined to working in short bursts and working on projects I could hold in my lap while painting in a reclining position, these paintings became, of necessity, improvisational and intimate in scale. These same work restrictions also conspired to strip away all the superficial trappings of making a work of art.  I only recognized in hindsight that the images generated during this period represent an honest and unpremeditated account of that moment in time when the shadow of a thought gives birth to the impulse to create. 
Images from this difficult period, which I now view as a gift, continue to inspire the works from the “Excavations” series, and this series continues to be, on many levels, about a search for beginnings.  Ultimately all the works from this series have been created in a state of contentment and good health. 
46d   46d 245 Excavations V Watercolor and color pencil 12" x 5.25" 2011 The preliminary work that gave rise to the “Excavations” series came about during a period of mental and physical exhaustion after months of coping with an undiagnosed illness.  Confined to working in short bursts and working on projects I could hold in my lap while painting in a reclining position, these paintings became, of necessity, improvisational and intimate in scale. These same work restrictions also conspired to strip away all the superficial trappings of making a work of art.  I only recognized in hindsight that the images generated during this period represent an honest and unpremeditated account of that moment in time when the shadow of a thought gives birth to the impulse to create. 
Images from this difficult period, which I now view as a gift, continue to inspire the works from the “Excavations” series, and this series continues to be, on many levels, about a search for beginnings.  Ultimately all the works from this series have been created in a state of contentment and good health. 
47a   47a 246 Anticipating the Gloom of Night Acrylic 12 x 16 2015 Most of his paintings focus on artifacts of the 20th century including interesting products, toys, automobiles and structures in urban landscapes. His primary objective is to capture the emotional aspects of these artifacts. Most of his images emphasize the play of light and shadow that not only help define the object’s form, but also conveys the mystery, history or the sense of sadness that is often missed by the casual observer.
47b   47b 246 Dorset and Edgewater Acrylic 15 x 18 2015 Most of his paintings focus on artifacts of the 20th century including interesting products, toys, automobiles and structures in urban landscapes. His primary objective is to capture the emotional aspects of these artifacts. Most of his images emphasize the play of light and shadow that not only help define the object’s form, but also conveys the mystery, history or the sense of sadness that is often missed by the casual observer.
48a   48a 247 Mail Angel Acrylic 16 x 20 2015 She is a NJ Licensed Psychologist and an Art Therapist who has keen interest in art, psychology and helping others.    Over the past thirty years, she has melded a professional career and a personal life that have combined these passions.   Starting with BA degree from the College of New Jersey in Art Therapy and Psychology, she has used art to develop art therapy programs to help bereaved children and their families cope with death and loss.   Grace also has a Ph.D. in Child Clinical Psychology from Seton Hall University.  She has authored numerous articles and several training manuals about the use of art and creative methods to positively facilitate the grieving process.  Art making as therapeutic modality has been a primary way for her to work with children in
48b   48b 247 Beach Nap Acylic 12 x 16 2015 She is a NJ Licensed Psychologist and an Art Therapist who has keen interest in art, psychology and helping others.    Over the past thirty years, she has melded a professional career and a personal life that have combined these passions.   Starting with BA degree from the College of New Jersey in Art Therapy and Psychology, she has used art to develop art therapy programs to help bereaved children and their families cope with death and loss.   Grace also has a Ph.D. in Child Clinical Psychology from Seton Hall University.  She has authored numerous articles and several training manuals about the use of art and creative methods to positively facilitate the grieving process.  Art making as therapeutic modality has been a primary way for her to work with children in private practice. 

49a   49a 249 Rearview Inkjet Print 19" x 13" 2014 We function and exist in our day-to-day lives as a part of multiple communities. Often our everyday life becomes so familiar that we do not take notice of the activities that we participate in and the structural environment around us, or question the role that they have in our lives.
The routine of driving is one common activity in communities. As a driver you are constantly attentive to what is happening around you, trying to get somewhere and predicting the moves of other drivers. What happens when there is a break in that awareness?  Still stuck in the car, in a seat, I am looking at what is happening when we are stopped at a light or in traffic. Do we just sit and stare ahead, have a conversation, or see what is happening around us? I am documenting through the use of my rearview mirror, looking at the actions occurring behind my car while I am waiting.
49b   49b 249 Rearview Inkjet Print 19" x 13" 2014 We function and exist in our day-to-day lives as a part of multiple communities. Often our everyday life becomes so familiar that we do not take notice of the activities that we participate in and the structural environment around us, or question the role that they have in our lives.
The routine of driving is one common activity in communities. As a driver you are constantly attentive to what is happening around you, trying to get somewhere and predicting the moves of other drivers. What happens when there is a break in that awareness?  Still stuck in the car, in a seat, I am looking at what is happening when we are stopped at a light or in traffic. Do we just sit and stare ahead, have a conversation, or see what is happening around us? I am documenting through the use of my rearview mirror, looking at the actions occurring behind my car while I am waiting.
50a   50a 250 Not Actual Wolves Acrylic on canvas 30" x 24" 2013 During the practice of making images over the last few years, a few important realizations have revealed themselves. The exploration of abstraction is a dialog that forces me to consider how and why the image develops. My concern lies with the surface of the painting, without the illusion of space beyond these two dimensions. Therefore, these paintings are ‘about’ exactly what you see.
But paintings grow and develop through process, so their meaning must start there.  I am drawn to working with simple geometric shapes, careful to not plan too far into the future. The use of acrylic, sometimes coupled with drawing materials, allows me to work swiftly or slowly. The process- layering, mixing, removing, editing- dictates what the finished image will look like.
50b   50b 250 Ancient Missives Acrylic, oil stick on canvas 36" x 24" 2011 During the practice of making images over the last few years, a few important realizations have revealed themselves. The exploration of abstraction is a dialog that forces me to consider how and why the image develops. My concern lies with the surface of the painting, without the illusion of space beyond these two dimensions. Therefore, these paintings are ‘about’ exactly what you see.
But paintings grow and develop through process, so their meaning must start there.  I am drawn to working with simple geometric shapes, careful to not plan too far into the future. The use of acrylic, sometimes coupled with drawing materials, allows me to work swiftly or slowly. The process- layering, mixing, removing, editing- dictates what the finished image will look like.
51a 51a-d 51a 251 Elitist Small Minds Mixed Electronics 6 x 9 x 6 2014 My work takes a sarcastically humorous critique on the human condition as seen thru the lens of technology. I employ typography, 2D design, light, motion, sound, code, sensors, and 3D printed objects to create interactive experiences with both digital and alternative processes.
I create performative sculptures that play the role of surrogate interlocutor, and encourage the viewer to become an active participant in exploring and generating the experience. I intend my work to then reflect an interaction or narrative on any number of peripheral human qualities. Ranging from the hidden excesses of tourist experiences to subjective robotic creature like implementations of phobia.
This reflected humanity is then brought into question by light hearted means. Somewhat possibly enchanted objects that imply and belie the humor of an increasingly technology dependent human condition.
51b 51b-d 51b 251 Initial Chess 3D Printed PLA & Sand 6 x 9 x 6 2014 My work takes a sarcastically humorous critique on the human condition as seen thru the lens of technology. I employ typography, 2D design, light, motion, sound, code, sensors, and 3D printed objects to create interactive experiences with both digital and alternative processes.
I create performative sculptures that play the role of surrogate interlocutor, and encourage the viewer to become an active participant in exploring and generating the experience. I intend my work to then reflect an interaction or narrative on any number of peripheral human qualities. Ranging from the hidden excesses of tourist experiences to subjective robotic creature like implementations of phobia.
This reflected humanity is then brought into question by light hearted means. Somewhat possibly enchanted objects that imply and belie the humor of an increasingly technology dependent human condition.
51c 51c-det 51c 251 Memory Makes Time Persistent Mixed Electronics, Resin, Brass, Wood 4 x 10 x 6 2010 My work takes a sarcastically humorous critique on the human condition as seen thru the lens of technology. I employ typography, 2D design, light, motion, sound, code, sensors, and 3D printed objects to create interactive experiences with both digital and alternative processes.
I create performative sculptures that play the role of surrogate interlocutor, and encourage the viewer to become an active participant in exploring and generating the experience. I intend my work to then reflect an interaction or narrative on any number of peripheral human qualities. Ranging from the hidden excesses of tourist experiences to subjective robotic creature like implementations of phobia.
This reflected humanity is then brought into question by light hearted means. Somewhat possibly enchanted objects that imply and belie the humor of an increasingly technology dependent human condition.
51d 51d_d 51d 251 Nouveau Josephine 3D Printed PLA & Electronics 8.5 x 13.5 x 8.5 2013 My work takes a sarcastically humorous critique on the human condition as seen thru the lens of technology. I employ typography, 2D design, light, motion, sound, code, sensors, and 3D printed objects to create interactive experiences with both digital and alternative processes.
I create performative sculptures that play the role of surrogate interlocutor, and encourage the viewer to become an active participant in exploring and generating the experience. I intend my work to then reflect an interaction or narrative on any number of peripheral human qualities. Ranging from the hidden excesses of tourist experiences to subjective robotic creature like implementations of phobia.
This reflected humanity is then brought into question by light hearted means. Somewhat possibly enchanted objects that imply and belie the humor of an increasingly technology dependent human condition.
52a   52a 252 Before You, Ahead of You, Behind You Watercolor on Canvas 36" x 24" 2011 My experiences have shown me the best and worst of humanity. They have filled me with incredible sadness, joy, shame, and pride. Through my experiences in the military and as a firefighter, I have experienced firsthand the intersection of tragedy and beauty. My artwork is an attempt to process this dichotomy; to give order, cleanliness, and detail to chaos.
My compositions explore strained conflicts between stability vs. fragility, strength vs. weakness, and male vs. female. I translate my personal response to conflict through a meticulous control of color, a clean aesthetic, and a deliberate use of negative space.
Although I use a variety of media, I gravitate towards watercolor. Because of its calming and near-medicinal characteristics, it serves as a counterpoint to these themes. My presentation acknowledges the beauty that surrounds these conflicts and makes the work accessible.
52b   52b 252 With You, Beside You, Despite You Watercolor on Canvas 36" x 24" 2011 My experiences have shown me the best and worst of humanity. They have filled me with incredible sadness, joy, shame, and pride. Through my experiences in the military and as a firefighter, I have experienced firsthand the intersection of tragedy and beauty. My artwork is an attempt to process this dichotomy; to give order, cleanliness, and detail to chaos.
My compositions explore strained conflicts between stability vs. fragility, strength vs. weakness, and male vs. female. I translate my personal response to conflict through a meticulous control of color, a clean aesthetic, and a deliberate use of negative space.
Although I use a variety of media, I gravitate towards watercolor. Because of its calming and near-medicinal characteristics, it serves as a counterpoint to these themes. My presentation acknowledges the beauty that surrounds these conflicts and makes the work accessible.
53a   53a 255 Blue Kolo Raku fired bowl 5x3" 2015 -
53b   53b 255 Sand Kolo Raku fired bowl 6x4.25" 2015 -
54a   54a 257 Lava Flow Glass and Acrylic on Canvas 10" Round 2015 -
54b   54b 257 Forgotten Bethlehem Oil on Linen 16x20" 2015 -
54c   54c 257 Broken Glass Factory Glass, Paper, Acrylic on Canvas 16x20" 2015 -
55a 55a_Det 55a 258 Wild Rumpas Brooches Bronze, Nickel, Copper & Wood 9" x 12" x 11" 2014 I’m a “people watching” junkie.  Studying human interaction deeply influences my art and helps me develop concepts for my work.  My art reflects my fascination with people and the sublimely ordinary; it’s a lens which magnifies society, where profound thoughts and issues can assume the role of humor.  I illustrate fresh perspectives and quirky interpretations that reflect our culture and explore elements of everyday life.  I take great pleasure in recognizing the simplicities and intricacies in people and then translating that commentary into works of art…with a lighthearted twist. 
Metal is my way down the rabbit hole.  From the beginning, the process of transforming flat sheets of metal into significant pieces of art has struck me as magical.  I love the creative power that you can attain with metal and the way it combines with other mediums.  Metal is my vehicle for transforming my inner visions into reality. 
In reality, my art is nothing more than a pursuit of the higher value of my own life, for the viewer…creating the possibility of initiating a dialogue out of any ambiguities found in my art…and perhaps, some personal discovery along the way.  
55b   55b 258 Domestic Goddess Nickel, Silver, Brass & Mixed Media 9" x 9" x 9" 2011 I’m a “people watching” junkie.  Studying human interaction deeply influences my art and helps me develop concepts for my work.  My art reflects my fascination with people and the sublimely ordinary; it’s a lens which magnifies society, where profound thoughts and issues can assume the role of humor.  I illustrate fresh perspectives and quirky interpretations that reflect our culture and explore elements of everyday life.  I take great pleasure in recognizing the simplicities and intricacies in people and then translating that commentary into works of art…with a lighthearted twist. 
Metal is my way down the rabbit hole.  From the beginning, the process of transforming flat sheets of metal into significant pieces of art has struck me as magical.  I love the creative power that you can attain with metal and the way it combines with other mediums.  Metal is my vehicle for transforming my inner visions into reality. 
In reality, my art is nothing more than a pursuit of the higher value of my own life, for the viewer…creating the possibility of initiating a dialogue out of any ambiguities found in my art…and perhaps, some personal discovery along the way.  
56a   56a 259 Untitled Wood, Paint 7.75"x7.75"x13" 2015 This Artist's studio practice is focused primarily on the construction of sculptures that explore form and materiality in relationship to functionality. His body of work consists of geometric wooden vessels, designed to hold generous volumes of liquid paint, which are built as both functional molds for holding paint (the paint is poured into the wooden forms and then allowed to dry over many weeks), as well as autonomous documents of this casting process.  Through deft sensitivity to his materials and craftsmanship, but open to the unpredictable aspects of his process, he multi-part sculptures explore the fraught relationship between a control and chaos.
56b   56b 259 Self Portrait Cont. (Contained) Wood, Paint 11.5"x13"x3" 2015 This Artist's studio practice is focused primarily on the construction of sculptures that explore form and materiality in relationship to functionality. His body of work consists of geometric wooden vessels, designed to hold generous volumes of liquid paint, which are built as both functional molds for holding paint (the paint is poured into the wooden forms and then allowed to dry over many weeks), as well as autonomous documents of this casting process.  Through deft sensitivity to his materials and craftsmanship, but open to the unpredictable aspects of his process, he multi-part sculptures explore the fraught relationship between a control and chaos.
57a   57a 260 Untitled (Estuary turbulence) mixed media (paint, drawing, cut paper) 36in w x 7in h 2014 These works are part of a series which contemplates my relationship to nature and water. They are the result of walks along the estuaries near my home. Not pristine sanctuary untouched by humans, but slices of wilderness that exist despite human intrusions. The water both washes away what came before and preserves traces in the sand, mud or grass.

I create images that are a reflection on the experiences of my walks. The imagery drifts back and forth between abstract and figurative in a process I think of as visual poetry; making marks, building textures and exploring different compositions.
57b   57b 260 Oyster Beach mixed media (paint, drawing, cut paper) 40in w  x 12in h 2015 These works are part of a series which contemplates my relationship to nature and water. They are the result of walks along the estuaries near my home. Not pristine sanctuary untouched by humans, but slices of wilderness that exist despite human intrusions. The water both washes away what came before and preserves traces in the sand, mud or grass.

I create images that are a reflection on the experiences of my walks. The imagery drifts back and forth between abstract and figurative in a process I think of as visual poetry; making marks, building textures and exploring different compositions.
58a   58a 261 Deep Space Acrylic On Canvas 40" x 40" 2015 I paint because I love color, materials, and the process.
For most of my life I’ve created interpretations of photographs, as a scene and portrait painter.
In 2014 I began to work abstractly. I enjoy the improvisational aspect, and the freedom from having something specific in mind when I start.
I especially like being surprised by the result, instead of being disappointed it doesn’t look like the picture I had  in mind when I started.
58a   58b 261 Five Elements Acrylic On Canvas 40" x 40" 2015 I paint because I love color, materials, and the process.
For most of my life I’ve created interpretations of photographs, as a scene and portrait painter.
In 2014 I began to work abstractly. I enjoy the improvisational aspect, and the freedom from having something specific in mind when I start.
I especially like being surprised by the result, instead of being disappointed it doesn’t look like the picture I had  in mind when I started.
59a   59a 262 Landscape for Subconscious Need digital print 17.7 x 21.3 x 1 2013 This Artist's practice explores human and nature relationship regarding nature as a focus for the formation of individual and community's identity. Growing alienation from nature and dominating consumer lifestyle results in more time spent in constructed, artificial spaces like shopping malls defined as non-places, which being real measure of time have no identity, relations and history. The scene of nature paid close look at as opposite can open itself to reveal a secret life, a narrativity and history outside the given field of perception.
Miniature landscape paintings placed in standardized plastic bottle caps are a small world on it's own without national restrictions depicting sky, fields and woods, surrounded by contemporary frame. The scenes juxtapose contemporary consumer lifestyles with man's historically romantic relationship with nature.
59b   59b 262 Bigger Sales oil/ found plastic 3.3 in in diameter/ bottle top 2012 This Artist's practice explores human and nature relationship regarding nature as a focus for the formation of individual and community's identity. Growing alienation from nature and dominating consumer lifestyle results in more time spent in constructed, artificial spaces like shopping malls defined as non-places, which being real measure of time have no identity, relations and history. The scene of nature paid close look at as opposite can open itself to reveal a secret life, a narrativity and history outside the given field of perception.
Miniature landscape paintings placed in standardized plastic bottle caps are a small world on it's own without national restrictions depicting sky, fields and woods, surrounded by contemporary frame. The scenes juxtapose contemporary consumer lifestyles with man's historically romantic relationship with nature.
60a   60a 263 Sisters Oil 30x30 2014 -
60b   60b 263 Fall Mosaic 24x30 Oil 24x30 2014 -
61a   61a 264 Noguchi Lamp # 1 Pastel on Paper 25" x 32" 2015 My work is an expression of imagined space created through color and spatial relationships.  When painting an interior, for instance, I do not consider the obvious chairs, walls, and floors to be the subject of the piece.  Rather, the elaborated relationships among these elements help comprise the content of the painting.  I prefer to work from life and compose simultaneously with drawing and color.  My color is often expressive rather than descriptive; it is used to constitute form and to create tension.
Each painting is a translation of the rhythms, harmonies and balances I perceive among real objects within a real environment.  By synthesizing those sensations I experienced directly from seeing the objects themselves, I hope to arrive at an original conception of pictorial space.  I want a space that is at once descriptive of tangible objects, and at the same time pictorially intangible.  This very personal space is created by my use of color and the compositional placement of images within the painting.  I want my art to embody two worlds - the human accessibility of one and the pure intensity of the other - realism and abstraction, objective and non-objective, known and unknown.
61b   61b 264 Crepe Myrtle Oil on Canvas 32" x 42" 2015 My work is an expression of imagined space created through color and spatial relationships.  When painting an interior, for instance, I do not consider the obvious chairs, walls, and floors to be the subject of the piece.  Rather, the elaborated relationships among these elements help comprise the content of the painting.  I prefer to work from life and compose simultaneously with drawing and color.  My color is often expressive rather than descriptive; it is used to constitute form and to create tension.
Each painting is a translation of the rhythms, harmonies and balances I perceive among real objects within a real environment.  By synthesizing those sensations I experienced directly from seeing the objects themselves, I hope to arrive at an original conception of pictorial space.  I want a space that is at once descriptive of tangible objects, and at the same time pictorially intangible.  This very personal space is created by my use of color and the compositional placement of images within the painting.  I want my art to embody two worlds - the human accessibility of one and the pure intensity of the other - realism and abstraction, objective and non-objective, known and unknown.
62a   62a 265 CHESS 1 OIL ON CANVAS 18"x 24" 2014 In 2004 the artist got her certificate in Print Media and Prepress only to realize that this train had long left the station without her.
She returned to drawing again. She started drawing portraits from photo pictures focusing on the spirit and personality of the person.
In 2008 she tried for the first time a new media – oil paint. Under Paul Cassale’s (local fine artist) supervision she gained confidence to explore and learn more about oil paint media. Moreover, she had to stop for a while and take a break.
Last year in September she joined the painting class again, this time it was under Patti Nebelling guidance.
Every person has a different opinion of what is beautiful and likeable and what is not. Then take a look how she’s doing now and see if you like it.
62b   62b 265 CHESS 2 OIL ON CANVAS 18" x 24" 2014 In 2004 the artist got her certificate in Print Media and Prepress only to realize that this train had long left the station without her.
She returned to drawing again. She started drawing portraits from photo pictures focusing on the spirit and personality of the person.
In 2008 she tried for the first time a new media – oil paint. Under Paul Cassale’s (local fine artist) supervision she gained confidence to explore and learn more about oil paint media. Moreover, she had to stop for a while and take a break.
Last year in September she joined the painting class again, this time it was under Patti Nebelling guidance.
Every person has a different opinion of what is beautiful and likeable and what is not. Then take a look how she’s doing now and see if you like it.
63a   63a 266 Meridian mixed media collage 36x48 inches 2013 In the tradition of James Baldwin, I am an eyewitness.  An eyewitness to things seen and unseen. I'm Newark artist, and a citizen of the world, who has been living, working, teaching, and making art for over a half-century in the great metropolis. My life has been shaped by the city's fiery cauldron of art, politics, music, dance, fashion, power and personalities.
My favorite instrument of art is the camera, and the camera, negative and JPEG are the vessels that capture the essence of my memory, that which I intend to be expressed or indicated. The photographer's encapsulated memory makes us historians by default.  Our work serves as a commentary on our personal observations of past, present and future events in our lives, our communities, and by natural extension, the world.
63b   63b 266 The Creative Impulse Mixed media Black & White Photomontage 25X33 inches 2012 In the tradition of James Baldwin, I am an eyewitness.  An eyewitness to things seen and unseen. I'm Newark artist, and a citizen of the world, who has been living, working, teaching, and making art for over a half-century in the great metropolis. My life has been shaped by the city's fiery cauldron of art, politics, music, dance, fashion, power and personalities.
My favorite instrument of art is the camera, and the camera, negative and JPEG are the vessels that capture the essence of my memory, that which I intend to be expressed or indicated. The photographer's encapsulated memory makes us historians by default.  Our work serves as a commentary on our personal observations of past, present and future events in our lives, our communities, and by natural extension, the world.
64a   64a 268 John Oil on paper 12 x 16 in. 2015 Thisartist resides in the New York City metro area who only trained to become an artist in the classical tradition as an adult. With no previous art training, he attended The Art Students League and The National Academy in New York City and learned classical art techniques from his teachers. As a student, he trained under such skilled artists as Brandon Soloff, Dan Gheno and Eric Michelson. He seeks to replicate the beauty of the human form by simplifying it's complexity while capturing the personality of the subject. By studying the works and techniques of the great masters, he hopes to continue the great classical art traditions that they've passed down for centuries.
64b   64b 268 Santiago Graphite on paper 11 x 17 in. 2012 Thisartist resides in the New York City metro area who only trained to become an artist in the classical tradition as an adult. With no previous art training, he attended The Art Students League and The National Academy in New York City and learned classical art techniques from his teachers. As a student, he trained under such skilled artists as Brandon Soloff, Dan Gheno and Eric Michelson. He seeks to replicate the beauty of the human form by simplifying it's complexity while capturing the personality of the subject. By studying the works and techniques of the great masters, he hopes to continue the great classical art traditions that they've passed down for centuries.
66a   66a 272 Sanctification Acrylic on Canvas 24 x 48 inches 2015 -
66b   66b 272 Compression Acrylic on Canvas 20 x 20 inches 2015 -
67a   67a 273 West Light archival pigment print 22w x 26h 2015 When I see light illuminating a building or a stairway, sneaking in from the side, articulating the texture of a wall or highlighting a detail, I want to reach out and touch it.  By capturing the movement of light and making it tangible, I seek to preserve the instant of visual delight.  
I am pulled in by the imprint of the human species, the interaction of the buildings around us with nature, and the artistic process – these things attract me.  Others may capture the untouched landscape….my eye is drawn to the built environment, expressed in color, pattern, or often, in the defining clarity of black and white.
67b   67b 273 through one thing...to another archival pigment print 22w x 26h 2013 When I see light illuminating a building or a stairway, sneaking in from the side, articulating the texture of a wall or highlighting a detail, I want to reach out and touch it.  By capturing the movement of light and making it tangible, I seek to preserve the instant of visual delight.  
I am pulled in by the imprint of the human species, the interaction of the buildings around us with nature, and the artistic process – these things attract me.  Others may capture the untouched landscape….my eye is drawn to the built environment, expressed in color, pattern, or often, in the defining clarity of black and white.
68a   68a 274 Brooklyn Bridge Oil on Canvas 8x10 2014 This artist enjoys painting plein air as a way of connecting her love of art and nature.  She found a way in college to combine both interests by studying Art and Biology at the College of St. Elizabeth and then received a Masters in Environmental Science from Rutgers University. Her professional career as a public affairs specialist working in industry, government and non-profit organizations occupied much of her time over the past years. She is enjoying a renewed interest in her first love, oil painting. Gail lives in Cranford, NJ with her husband and family.
68b   68b 274 View from Long Island City Oil on Canvas 8x10 2014 This artist enjoys painting plein air as a way of connecting her love of art and nature.  She found a way in college to combine both interests by studying Art and Biology at the College of St. Elizabeth and then received a Masters in Environmental Science from Rutgers University. Her professional career as a public affairs specialist working in industry, government and non-profit organizations occupied much of her time over the past years. She is enjoying a renewed interest in her first love, oil painting. Gail lives in Cranford, NJ with her husband and family.
68c   68c 274 Duck Pond Oil on Canvas 5x7 2014 This artist enjoys painting plein air as a way of connecting her love of art and nature.  She found a way in college to combine both interests by studying Art and Biology at the College of St. Elizabeth and then received a Masters in Environmental Science from Rutgers University. Her professional career as a public affairs specialist working in industry, government and non-profit organizations occupied much of her time over the past years. She is enjoying a renewed interest in her first love, oil painting. Gail lives in Cranford, NJ with her husband and family.
69a   69a 275 "East 54th Street" recycled industrial material 19 inches high, 8 inches wide, 6 inches deep 2015 "East 54th Street" and "Looking East" are two works that continue to fulfill my desire to create urban realities with sculpture from recycled materials.
"East 54th Street" using old tire jack ratchets sets a city block that matches my view of the corrosive elements that evolve within the day to day of city life. These corrosive elements are many faceted, but not always negative, and can conjure the nostalgia that city dwellers feel for their neighborhoods.
"Looking East" is a view of Moscow we know from photos and paintings of Red Square and it's surrounding orthodox churches with their bulbous steeples. Russia has always presented a contradictory presence for me. The familiarity of it's images contrasts the lack of understanding of I feel for it's people, culture and of course it's history and politics.
69b   69b 275 :"Looking East" reccycled mixed media 28 inches high, 11 inches wide, 11 inches deep 2014 "East 54th Street" and "Looking East" are two works that continue to fulfill my desire to create urban realities with sculpture from recycled materials.
"East 54th Street" using old tire jack ratchets sets a city block that matches my view of the corrosive elements that evolve within the day to day of city life. These corrosive elements are many faceted, but not always negative, and can conjure the nostalgia that city dwellers feel for their neighborhoods.
"Looking East" is a view of Moscow we know from photos and paintings of Red Square and it's surrounding orthodox churches with their bulbous steeples. Russia has always presented a contradictory presence for me. The familiarity of it's images contrasts the lack of understanding of I feel for it's people, culture and of course it's history and politics.
70a   70a 276 TGiF Digital Photograph 25 x 25 1/2 2013 I am a street photographer attempting to capture moments in time in an artistic way.  Most of my work consists of images shot without prior knowledge of the subject(s).
70b   70b 276 Conversation Digital Photograph 25 x 30 2014 I am a street photographer attempting to capture moments in time in an artistic way.  Most of my work consists of images shot without prior knowledge of the subject(s).
71a   71a 277 Unfinished love Acrylic, mixed media on canvas 36 in. x 48 in 2011 Passion and sensibility are the main topographies of her inner self and are represented in each brushstroke. Using different media and techniques, she molds her paintings in intense, soul-searching abstract expressions. Born in Monterrey and raised in Mexico City, Patty Guzman's creations are in themselves intense cathartic experiences. As her life has been marked by a merciless episode of wrenching suffering, her art became her ultimate hope for liberation. Shades of red are frequent in her works, symbolizing dual love and pain, warmth and darkness, sweetness and intensity, expressions of profound inner peace.
71b   71b 277 Dia de los Muertos Acrylic, mixed media on Canvas 36 x 36 in 2014 Passion and sensibility are the main topographies of her inner self and are represented in each brushstroke. Using different media and techniques, she molds her paintings in intense, soul-searching abstract expressions. Born in Monterrey and raised in Mexico City, Patty Guzman's creations are in themselves intense cathartic experiences. As her life has been marked by a merciless episode of wrenching suffering, her art became her ultimate hope for liberation. Shades of red are frequent in her works, symbolizing dual love and pain, warmth and darkness, sweetness and intensity, expressions of profound inner peace.
71c   71c 277 Receiving the Magic Acrylic, mixed media, gold leaves on Linen 36 x 48 in 2014 Passion and sensibility are the main topographies of her inner self and are represented in each brushstroke. Using different media and techniques, she molds her paintings in intense, soul-searching abstract expressions. Born in Monterrey and raised in Mexico City, Patty Guzman's creations are in themselves intense cathartic experiences. As her life has been marked by a merciless episode of wrenching suffering, her art became her ultimate hope for liberation. Shades of red are frequent in her works, symbolizing dual love and pain, warmth and darkness, sweetness and intensity, expressions of profound inner peace.
71d   71d 277 Catharsis Acrylic on Canvas 30 x 40 in 2014 Passion and sensibility are the main topographies of her inner self and are represented in each brushstroke. Using different media and techniques, she molds her paintings in intense, soul-searching abstract expressions. Born in Monterrey and raised in Mexico City, Patty Guzman's creations are in themselves intense cathartic experiences. As her life has been marked by a merciless episode of wrenching suffering, her art became her ultimate hope for liberation. Shades of red are frequent in her works, symbolizing dual love and pain, warmth and darkness, sweetness and intensity, expressions of profound inner peace.
72a   72a 278 Fanning acrylic/paper 22x30 inches 2015 My work is about the movement and marks that one makes and leaves with their presence.  I search for ways to layer marks and to leave paths to show the development of our building upon our past.
72b   72b 278 Vortex acrylic/paper 22x30 inches 2015 My work is about the movement and marks that one makes and leaves with their presence.  I search for ways to layer marks and to leave paths to show the development of our building upon our past.
73a   73a 279 Carousel Acrylic Paint on Canvas 28x16 2012 Two souls on an equal playing field can balance the whole and have great impact on the collective.
73b   73b 279 Cafe Salvacion Oil on Canvas 30x40 2013 Two souls on an equal playing field can balance the whole and have great impact on the collective.
  74a 280 Number 5, Man Charcoal 10x12 2015 2/20 steps of a study of four nude models.  Starting from a finished anatomical figure drawing, the figures were next rendered in contour, plain form, line structure, and finally impression.  The two pieces are the end result of using the scholastic method of figure drawing backwards.  Instead of taking steps to create a realistic figure drawing, they're used to create a more completely understood abstract drawing.
74b   74b 280 Number 5, Woman Charcoal 10x12 2015 2/20 steps of a study of four nude models.  Starting from a finished anatomical figure drawing, the figures were next rendered in contour, plain form, line structure, and finally impression.  The two pieces are the end result of using the scholastic method of figure drawing backwards.  Instead of taking steps to create a realistic figure drawing, they're used to create a more completely understood abstract drawing.