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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.
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.
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.
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.
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.
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.
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.
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.
plein air oil paintings of Tom Martino, inspired by the light and
color of the beaches and rocky coastline of New England, are
eagerly sought after by private collectors. Whether landscape,
still life or portrait, his representational interpretations blend
tonalist with impressionist techniques, and invite a shared
personal celebration of color and light.
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
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.
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.
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
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.
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
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.
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.