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Since graduation from the Rhode Island School of Design, my career has been in ceramic sculpture, mask making, costume design, and photography. My passion is portraiture in both sculpture and photography. I am interested in form, texture, light and fantasy. My work combines a deep reverence for nature with the realm of dreams, imagination, and archetype.

I strive to make connections between movement and flow in my work. Everything has a way of melding into another. Working in both sculpture and fine work I hope to present these concepts. 90% of the material I sculpt is harvested, processed, treated and dried myself. The color is naturally enhanced through my drying and treatment process. I do not use stain and the only film finish I use is a rubbing process of wax, shellac and lacquer. Through a deep understanding of my material, to a cellular level, I work with and within the grain and growth rings to bring as much flowing movement. These are meditation pieces, they are meant to be touched and can help clear one's mind.

The Museum of Modern Art in New York City has always been a favorite - photographing there has added a dimension and giving me more reasons to spend time there. I began . . . by watching people observe art. Then I focused in on one painting - I stood next to this, photographing people and their reactions to it. It was actually a psychological study as well. I saw it as a destination piece of art for most foreigners and they all wanted to have their pictures taken with it - almost to give them confirmation that they were there. This led me to photographing people and superimposing their image on the piece that they were looking at. The concentration of the viewer on the art gave this a zen feeling and the person became part of the painting. It was an exciting experience to be able to see and do this.

Izabella Gordon Casselman has always been a mark maker; from the time she drew in the dirt with a stick at the age of 6 to now at the age of ??????? Along the way she became a storyteller using all types of materials which made her more or less a mixed media artist. She believes that the end product, the images she produces, allow her to try to understand the world she inhabits both conscious and unconscious. Her myriad of thoughts lead her to believe that people are all unique and one can only try to understand the human condition. The hard part of storytelling is the realizations that there can be many, many endings and sometimes no endings.

Prang, Ticonderoga, Crayola were my materials the first several years, with paper, cardboard and no instruction or rules (exception: no tracing). A box of 110 Crayons held so much promise. Behold the Gold! (which rarely delivered what it promised). As a child I was scribbling storylines from songs, radio programs or my head; at a later time I expected I would illustrate books. The advertising world, however, seemed to pay the rent after college and creativity under pressure was the challenge. I am not sure artists like me ever stop learning, gathering, unlearning, learning. . . but the pleasure and frustration of the early years with Prang, Ticonderoga, and Crayola have become a touchstone.

Kelley is a mixed media artist with an intense love for the art of painting. She portrays the complex, painful and joyful emotions that occur with the human experience.
Through the process of painting she has discovered she is capable of many things in and outside the realm of art as long as she is willing to risk opening herself up on a very personal level.
Kelley will continue to pursue painting with great excitement and determination and focus on the portrait as she firmly and passionately believes every individual has a story that needs to be told. More importantly, we all deserve to be the subject of someone’s canvas somewhere.

I have always drawn from nature and I usually work in a series that is inspired by a particular place. I am drawn to a view, respond to a detail or chance encounter with something that lives there. When I “see“ a painting, compose a painting in my mind’s eye, that is the start of a journey into the lines and colors, spaces and feelings of that particular place.

As the daughter of an artist, I was fortunate to have the encouragement to explore being creative in any way possible. After a 30 year break from the easel, I am rediscovering this creative outlet and getting lost in the luxury of the oil paint and color. My goal as an artist is to share what brings me joy and happiness. My pug Scarlet and flowers are my favorite muses.
Each time I step up to the easel and place my brush on the canvas is a learning experience. Feeling the sensuousness of the paint itself, the vibration of blending the colors, and the emotion that arises as I work. This exploration has increased my appreciation of all artists and their work. It has given me the gift of a new viewpoint. It has lessened my personal need for perfection and to let my flow be more natural.
I am looking forward to this ongoing artistic journey.

Originally from Newport, RI, I've been working in clay for over 50 years. My styles range from art deco, Japanese americanized raku, tableware and now architecturally inspired porcelain and lighting. In 2019 I began working in porcelain after 50 years concentrating in stoneware and raku clay. It's a totally different material for me and has led me in a completely new direction with my work. The architecture surrounding me in Newport, RI and Bucks County, PA are the inspiration highlighted in my new lighting work.

I make images using photography. For me, photography is capturing the moment, which through the lens is a totally different perspective than just being there. It is a look, an angle or just a special mix of shapes and shades. When I shoot, I like to spend time where I am to absorb the spirit of it all and then it just happens. I shoot with a Canon EOS 5D digital full frame single lens reflex camera. I utilize Adobe Light Room to make small adjustments to the image to produce just the right result…. that is, right for me, for that is why I do this.

Papermaking captured my interest while I was studying painting and sculpture at the Art Students League in New York City. I was attracted to the manipulative aspects of the medium and its creative and functional possibilities combining color and shape as well as texture.
My process starts by mixing two different fibers in order to make my sheets of paper. I combine cotton linter, which is soft and flexible with a fiber called abaca, which is strong and durable. I introduce dye and other materials into the mix to add color and texture. I then use the sheets of paper to cover my form. A water proofing solution of acrylic, matte or gloss is then applied to protect the work.

My art is usually inspired by nature found at home or as seen in my travels. Experimenting with a variety of mediums and styles, including encaustic, printmaking, photography, painting and bookmaking I use color and texture to convey my interpretation of a point of interest.

I juggle chainsaws, question authority, poke bears, abhor waste, step on sidewalk cracks, and play with fire. Anything that comes to hand is a potential art part, from tiny 15/0 beads to big blocks of styrofoam. Just because.

I'm in love with both abstract and representational painting. I feel a strong connection to prehistoric geometric abstraction and would like to investigate this area further. But I am a story teller at heart, using events and observations from my life and allowing them to grow akin to a novelist whose book seems to write itself with unforeseen twists and turns, and the author just along for the ride.

MANJULA PADMANABHAN (b.1953) artist, illustrator, author. ARTIST: charcoal on paper, acrylic and oils on canvas; graphic art prints and commercial reproductions; small 3D heads in papier mâché and modeling clay. Favorite subjects: plants, birds, animals, people. Style: mildly surreal, with elements of humor. ILLUSTRATOR: 20+ published books for children, plus two collections of comic strips, with one on-going weekly comic strip. AUTHOR: novels, short stories, plays.

I am still at it - dreaming in clay. I am drawn to its forgiving, tactile qualities, the technical aspects of glazing and the alchemy of the fire. And while I sometimes dabble with other materials - bronze, glass, metals, textiles, encaustic paints and watercolors - I think that clay will always be my first medium of choice.

As I have changed, my work and focus has changed. I have moved from early abstract subjects to observed work including landscapes, interiors and people. I include humor and beauty in my work to make people think, wonder and laugh at an image or an assemblage of images. My art becomes an improvisation inspired by the experience of the world before me. The result is a work of art that ends up in an unforeseen place, richer than and very different from where it started.

When I took my first printmaking class I fell in love with the materials and process. The rich black lines, textures and tactile responses it elicited in me was something I could not find in my undergraduate paintings. While completing my MFA program, I was encouraged to play and experiment with materials. Emphasis was placed on the creative responses to materials rather than the finished product. This complemented my feelings about printmaking. Most of my prints are monotypes or monoprints and I often work back into them with paint, drawing materials or collage.

My discovery and ensuing passion for encaustic paints is a logical outgrowth of printmaking. Like printmaking, encaustics are very experimental in nature. In fact the process of painting with encaustics will often dictate the outcome of the image. The unpredictability of this medium is one of my strongest attractions to it. Encaustics also lend themselves to collage, so I often incorporate prints, found objects and paper into my paintings.

The world has never been the way it is now but the human spirit remains the same. The selection of subject matter reflects my interest in the transformation of the visible world into art. From the early works of direct observation to the more recent biblical and mythological themes, I have been on an open-ended journey. Through growth and change, painting, drawing and printmaking, every step of the creative process has been to develop a more personal statement. I hope that my artistic vocabulary, my flowers, my figures, my spiritual mysteries will connect with and raise a responsive dialogue between audience and artist.