There is no time in my life when I was not an artist. The first medium was either painting or crayons and learning from watching my mother paint landscapes or from my grandparents painting almost anything. There was also printing, charcoal sketching and wood sculpting to watch. Photography was added as a medium while earning my living in a lab at Kodak, and my main art form for the many years when space, time and facilities were hard to find.

Eventually some dabbling with digital art on my iPad turned into digital painting and digital improvisations on the paintings, as powerful new digital art tools became available. My obsession with creating digital art has interfered with creating a new website for digital art, so here are some recent samples. There’s also a link to my photo website with some images going back over a half century. 

https://www.artdga.com

My current work involves the manipulation of forms through digital appropriation, replication, and pastiche. The images negotiate between the flat and the spatial incorporating a variety of media ranging from drawing, collage, painting and printing. I remake or repurpose representational or objective information in an effort to make an original ‘thing’: something seemingly tangible and beyond abstract. Much of this work is influenced by the glut of visual information that we are inundated with on a daily basis. The pieces are not only abstractions, but are a challenge to the viewer to think critically and question the authenticity of the images before them.

www.rebeccaaloisio.com

I have always worked with wood, picking up skills along the way and later studying at RIT. I worked as a lawyer and judge for many years. My sculpture gives form to my concerns about social and environmental justice, presenting them visually. Using a vocabulary of simple house forms, birds, boats, flowers, the character of the wood chosen and engraved text, I strive to engage viewers in a discussion of a world that is often unfair yet beautiful.

www.jerryalonzo.com

The overarching common goal and mission that I am always striving to achieve with any medium I work with, be it ink or words, is to tell a story. I see stories. I notice stories. I think stories. I feel stories. And I tell them. With ink. With words. Because stories need to be told. They all have a human heart at their core.

Depending on the medium, my approach to the style of storytelling might subtly vary, but ultimately, I carry out the same principles and core mission with both my visual and verbal work.

Through means of traditional forms of poetry and, at times, poetry in prose I seek to address and create awareness of several topics and issues, of both personal and universal nature. Some (but not limited to) of most resonating, and thus reoccurring, themes for my poetry are cultural/social displacement, cultural and ethnic identity issues, immigrant alienation, woman’s internalization, struggle with toxic relationships (parental and intimate), shapes that childhoods take. I also address various social issues in a format of ‘observed’ short stories condensed into poem-form – communicating social through personal, using a protagonist as a metaphor for larger social clusters.

My graphic work addresses stories, issues and conditions via metaphor, allegory, and tale-telling. It is aimed at allowing the audience to feel the work, rather than understand it, and perceive its message through introspection, intuition, and personal interpretation.

There is usually an underlying intellectual/cultural reference component to each of my graphic works, for I tend to allude to and weave in a multitude of symbology, lore, spiritual and cultural traditions, and reference to other significant creations (and creators) of the past if they help with the delivery of the principal mood/idea/essence of the piece. Yet in the end my purpose is for each piece to be received and absorbed intuitively, felt through and responded to internally in an individual manner, prior to it being dissected analytically.

Self-portraiture plays a huge role in my art, for I believe the more personal the story, the sentiment, the experience is, the more universally relatable it becomes. Thus, in quite a number of my graphic pieces I use myself as a model/reference, which allows me not only to better understand and learn my own self, yet the human nature overall.

www.lunar-berserkr-art.com
www.instagram.com/lunar_berserkr_art

The sources of ritual art in so-called "primitive" cultures have always interested me. I lived in Argentina and Mexico for a number of years. My Latin American experiences continue to influence my work as an artist.

 The trees in the woods behind my house in Brockport, New York are being taken over by the wild grapevines like kudzu in the Deep South. I collect vine and bark, harvesting it all year, to use in my sculptures and installations.

 I have been working on a series, developed from my hand stitched and coiled baskets. The baskets are cast in bronze using the lost wax method to produce one of a kind pieces. I plan each as a fragment or whole vessel.

 Like most artists, the concepts behind my work are personal. However, I expect my work to speak about nature, metamorphosis, loss and the handmade object

www.kingblack.com

I like to work in the space between figuration and abstraction. As much as I dislike labels, the term biomorphic abstraction may come close to what viewers see when they look at my work. I use a lot of different primal shapes and forms that remind many of biological, botanical or even celestial forms. I thrive on the challenge of making these contrasting forms, textures and colors work together. Whether the work is primarily sculptural or painterly I am trying to evoke and explore visceral feelings. Much of it is an attempt to evoke the mystery and exhilaration of growth and change as well as the desire for and fear of union.   Viewers see many different things in my work and that’s fine with me.

www.brandweinart.com

I have been creating my whole life. My projects and series of works have been primarily crafted with paint on canvas or paper, as well as exploring clay. All aspects of trees have primarily been my context for the last ten years. Currently, nests are my latest subjects. I am in the process of locating nests and a drone to collect images for my nest projects. Working with and learning about the latest technologies of drone capabilities as well as three-d printers are my focus. Needle felting is also a new skill that I will incorporate in my nests series.  Even though I am in the gathering and skill-expanding mode, I am very excited about my new project.

My work is fueled by energized nature—especially the waters, ice, skies and land forms of Lake Ontario and the Finger Lakes region of New York. Direct observation when painting en plein air connects me to a place as I learn its lines, colors, and story. In the studio, I further explore my compositions by changing scale and working in a variety of media including oil, oil and cold wax, encaustic wax, and graphite. In all my work, I distill nature to gestures and geometries and invite viewers into my experience.

http://www.phyllisbryceely.com/

Art re-presents either another vision of reality or a vision of another reality.

Art as encounter with the world is the dialogue between the artist and the world, wherein the medium is artwork conveying the idea as Art through the visual expressive journey by an icon that cannot be re-presented otherwise.

Art is a dialogue.

Art is an expression.

The Artist offers a journey that may be an extension (psychological) or a projection (metaphysical) through the re-presentation.

danielraymondchadwick@gmail.com

http://www.danielraymondchadwick.blogspot.com

Everything, whether man-made or natural, has order and structure. How they are respected, modified, or disrupted, influences my artistic journey. I utilize watercolor to invoke emotion from the viewer. I want the viewer to abandon their pre-conceptions and contemplate what I am suggesting. Through my acts and gestures, non representational images evolve resulting in celebrations of color and the exploration of surface and texture not found in traditional brushwork. As the painting looks back at the viewer, a conversation is begun and a relationship started, allowing one to mentally perceive what they cannot see with their eyes.

www.chaitfineart.com

Ansel Adams said,

“Ask yourself. “Does the subject move me to feel, think, and dream?”

Recently I have been exploring composite work along with black and white landscape photography. I’m fascinated with light and shadow and how it changes over time. In a minute a scene can transform in mood from playful to somber with the passing of a cloud. Water can capture a jewel of light and play with it and then toss it aside as the day passes. I’m intrigued by the way design and structure can delight and pull an image out of the ordinary, giving it new and multiple meanings. Composite work allows me to explore visual ironies. Through light and shadow play and layering, I search for a feeling of presence in my images. I’m fascinated by the transformations of nature and artist manipulation, hiding and revealing structure. These changes ask the viewer to ponder, “What is important?” “What is real?”

http://www.redbubble.com/people/lisacook1

Ehindero’s art comes from immersion in the natural world, translating its lines and forms, seen and unseen, past and present, onto canvas and board.  The paintings quite often move between dimensional space and the flat surface of abstraction. Layers are revealed using charcoal, acrylics with gel mediums, and recently using the encaustic process. Her works also interplay between the literal landscape and our more primal connection to the natural world. Most of her body of work has been painted from the landscape around Lake Ontario and the Finger Lakes Region in New York State.

www.connieehindero.com

I am currently working on a series of figure abstractions combining several overlapping images. I use color, light and the patterns created by the overlapping images to create a sense of mystery.

www.dfabrizioarts.com

When I stare at a blank canvas I have one of several emotions. One is excitement for I am looking at a perfectly blank canvas that holds infinite possibilities and I can’t wait to begin. Another is fear because I am looking at a perfectly blank canvas that holds infinite possibilities and I have no idea of what I want to do. I have a saying on the door in my studio: “Painting is easy. All you have to do is stare at a blank canvas  until drops of blood appear on your forehead”

Unless I am working on a commission, I rarely have an idea of where a work is going to take me.  I will see a wonderful shape, like a pear or an unusual something on the street, that intrigues me, and  that will become the basis for an entire painting. Once I have begun to make some markings on my canvas, I enter into a kind of a conversation with it. The work truly tells me what it needs. I think of each work as a puzzle that has never been solved before. The puzzle is the composition, a unique grouping of shapes. The puzzle is also finding the perfect color. My task is to find the best way to put them together.

www.lynnefeldman.com

The more I paint, the more I become enamored with the paint itself. Emphasizing overlapping brushstrokes, thickness and textures of the paint itself gives me enormous pleasure. While my images are mostly recognizable, I am enjoying this developing interest in other aspects of painting. This work is about my love of paint and painting.

www.barbarafox.org  

I live and work in Rochester, New York. My process is one of addition and subtraction. I start with random marks, drawing, collage, paint. Then it is time to sand, lift paint, obscure with more collage, and create veiled layers. I add and subtract until something in the painting speaks to me or gives me direction. The process reminds me of a dig; shapes materialize and scraps of images and color emerge. I carefully work around the ruins to find something precious, imperfect, and meaningful. I am learning not to force this; I need to be patient and wait for the painting to tell me what comes next. I invite the viewer to lean in. 

Webpage: www.karenwfrutiger.com

Email: karenwfrutiger@gmail.com

Instagram: karenfrutigerart

My work reflects my love of the Canadian landscape where I spend summers. I am also influenced by the artwork of First Nations and indigenous peoples. I often work in a non-objective, abstract style; exploring texture, shape and line. Color is a prominent characteristic of my work. 

www.judygohringer.com

The energy and spirit of living things has always been at the core of my work. Inspired by the temperament of East Asian cultural aesthetics, lyrical abstractions of nature come to life. It is my intention to bring the human spirit and nature together to create a sense of balance in our everyday lives. Mainly a commission artist, my independent work is guided solely by heart and soul without commission parameters. These works of art are impressions of a given period of time that allow me to explore the nuances of form, color, technique, texture, and dimension within the medium of glass. My independent works often inform my commissioned art work.

http://www.nancygong.com

I’m a painter/mixed media artist and have been teaching art for 20 years in the Webster Central School district. I have a bachelor’s in art education from Buffalo State College and a master’s in fine art studio (painting) from Rochester Institute of Technology. 

Inspiration for my work comes from both nature and the human figure. I enjoy experimenting with a wide variety of art materials and techniques and love to explore endless possibilities. The process of making art is very important to me. I navigate through multiple steps before finalizing a piece. I rely on my senses and intuition while making artistic decisions. Movement, rhythm, and speed are an integral factor for me while I’m creating.

I’ve been working in Studio 402 in the Anderson Arts Building since August 2019. I’ve also maintained a studio at Hungerford Smith for 12 years in addition to working in my home studios. 

I consider myself a maker of many things with an emphasis on painting. My other passions are cooking, listening to music, being in nature, and hanging out with my two cats Frida and Frankie Beau.

www.instagram.com/cutkneearts/

I like to photograph old things that have survived the ages and present them in a unique way.  Ancient ruins, petroglyphs, outdated transportation, trees and flowers that have endured the ravages of nature and mankind, weathered landscapes and ever changing waters are a few of my favorite subjects.  I present my images in a variety of medium including Silver Gelatin, C-Prints and digital.  I often create texture and interest by choosing a variety of print media such as used coffee filters.

www.railsandtrailsimaging.com
 

While leaving the door open to the expressive possibilities of abstraction, my current work seeks to reintroduce imagery into painting. Found images and an attraction to less than conscious ideas begin the process which is also informed by past experience with printmaking, a love of the paper surface, and working methods.

Throughout my years as a contemporary figurative artist, process experimentation with a variety of media has been a prominent feature of my work. In painting, printmaking and sculpture, my focus has consistently been on the emotional potential of the human face. Over time, allergies to certain art products brought me to digital art-making, where I now pursue my interest in process with software applications, combining original scanned drawings, digital photographs, and other materials to create prints. Some prints later become monoprints, variants of the original, partially enhanced with traditional materials such as encaustic wax, pastels, and colored pencils. 

I have lived most of my life in western New York state. I have seen this part of the United States move from a thriving industrial economy to struggling to define itself economically. Like much of United States the area has shifted from industrial to post-industrial with attendant detritus. I am moved by the melancholic beauty of the post-industrial landscape of my home and seek not to reproduce it in my work, but to capture of the feeling of it and bring some authenticity to the work. I strive for my work to be authentically me, with a nod toward how I feel about my home which has shaped me.

Dalekleinart.com

My passion as a photographer is rooted in my ability to reveal and transform. Although I certainly enjoy shooting obviously beautiful persons, places, and things, the images that excite me the most begin life as photographs of humdrum, overlooked, unsettling, or unlovely things. I have a vision in my mind’s eye of what they could become. My objective for the final image lies in the realm of unexpected beauty, a compelling unusualness, or a sense of mystery.

www.lauraeknecht.com

https://www.emotionallandscapes.net/

The grandson and great-grand son of professional photographers, Steve has had a lifetime focus on photography, starting as a child and doing serious B&W Darkroom photography in college. His focus can be summed up by the following quotation:“There is no such thing as reality. There is only perception.” Flaubert

Steve’s photographic images are in several areas: non-iconic travel photography, graphic imagery and theatre photography.  His current work is employing composites to combine several images to produce a photography which is greater than the sum of the parts and provides an alternate reality to the viewer. 

He is represented in collections in the United States and Europe as well as being published in two national magazines. In addition his work has appeared frequently in the local press as the principal photographer for the JCC Center Stage Theatre as well as being a past photographer for GEVA Theater.

His web site is levinsonphotography.com

My artwork has evolved to be interdisciplinary with a current focus on video, photography and installation art. I work with the raw material of life. My creative process has intelligence and my strength is the capacity to express with integrity, human experiences such as survival, love, death, and the sacred space. Trusting the process is based on my belief that something valuable will emerge when I step into the unknown, move into uncharted territory and let my ego relinquish its plans and expectations in order to receive an unanticipated result. My intent is to share my perspective of primal emotions of individuals through an evocative process that will impact the public.

www.beyondcreativeboundaries.com

www.survivorsofsexualassault.com

www.vimeo.com/sharonlocke

What inspires me to paint?

Color……….lots of color.

What is my painting process?

In my newest work, I create “objective” and “non-objective” contemporary art using bold color schemes and high-contrast compositions. I don’t enjoy planning for a piece. I love the happy accidents that occur as I push paint. Ever-changing, evolving, alive, dynamic! It’s finished when I see it, and when I feel it! I use mainly acrylics as my preferred medium to express, explore and experiment. I love layering paint to achieve the depth of color and texture that best describes my style.

brendalynessart.blogspot.com

Born in Redwood City, California on 10 December 1951. I was the first from our family to be born west of the Mississippi, a fact my mother insisted explained so much about me. I moved to New York at the age of ten and eventually studied art at SUNY College at Buffalo, graduating in 1974 with a BS in Education.

I then moved to Clearwater then St. Petersburg, Florida and taught art in the Pinellas County School system for 28 years. During this time I studied Computer Design at the University of South Florida in Tampa and worked as a freelance designer. In this capacity I worked with local and national clients and expanded into web design and print production. My business, Graphic Artworks, is still active today. In 2009 I relocated to Rochester, NY, where I have continued design work with some long-time clients and a few new ones.

I have made art throughout my life and can finally devote my full attention to it. My work borrows strongly from traditional graphic design, pastiche, and other 20th Century artistic sensibilities–only my tools have changed.

I have always been interested in numbers, letters, and symbols, and use these elements alongside popular imagery. Some have political and social leanings, though many are truly just representative of my experiences, and my observation of the collective experiences of my generation.

http://www.tbshstudio.com/

American Way Collection is a "life's work", developed over the years and currently ongoing. Sometimes it's about providing the viewer with a glimpse at the passing of time. However, at a time when fewer of the images we see are an honest representation of real life, street photography provides a window on the world that actually surrounds us here and now.  My casual street portrait images portray character and soul of the individual, transcending cultural and language barriers. Many of my photographs are individually hand colored.  My commitment to photography is imbedded.

www.cherylamatimartinphoto.com

In recent years the primary focus of my work has returned to abstract imagery, examining aspects of liminal space and energy. Exploring dimensional qualities through the layering of materials expresses my inner world, seeing and revealing a deeper life. A nonverbal observation expressed in visual terms. A sense of light in the work lifts the spirit of the piece, like an optimism. Can the light reach a fullness and vibrance without an object to reflect it? Most of the pastel pieces retain the raw edge of the primed paper, inviting an honesty as seen by clear presence of the original surface material. I work primarily in pastel and occasionally in acrylics. 

https://www.robinmccondichie.com

As is the case for most artists, my work is intensely personal. Whether representational, abstract, or (as is usually the case) some combination of these two approaches, my art is heavily influenced by that “little voice” within me that tells me when something is right and when it is not. In making abstracts, I worry over color and its distribution on the canvas and while I like bright color I moderate the impulse to use it if it does not feel right. I am constantly drawing, and my more representational pieces usually result from my completing a drawing and realizing that it, alone or in combination with other drawings, has the potential for a good painting. When I am working primarily abstractly I generally begin with some idea, however hazy at the time, for a theme, usually in combination with some more specific ideas I have for color, composition, or for the addition of found objects. Occasionally I have even begun with a frame and curiosity as to how I might put something interesting in it.

Numbers are the main characters in my work.  They are objective, impersonal, reliable, exact and universal.  I break numbers down in order to create images that are personal, subjective, biased and emotional.

My technique can be used with every living or dead language in the world.

shamiranicolas@hotmail.com

I am intrigued by clouds, sunshine, rain, and wind that surround us. I give these elements of nature an abstract, surreal image by presenting them as sculptural wall reliefs in mixed media. Some works have multiple layers, painted and transparent, separated by colorful inclusions: particles appear to flow from mysterious spaces as reflections shimmer. Other reliefs are formed using a single sheet of painted, incised, and twisted paper: colors swirl and planes intermingle generating rhythms and vibrancy. Whatever form my art takes, as I work I wait for the surprise—then I know its finished.

Everyone has personal myths about their lives and I have honed mine coming from a long line of storytellers. My work is both abstract and narrative and would be best described as wall-mounted, resin inclusion cast, mixed media work. My practice evolved using knowledge gleaned from many diverse artistic disciplines. I build up multiple and substantial layers of resin into which I embed and incorporate materials and imagery. Inspiration is derived from dreams, music, personal experiences, and the natural world. In addition, I have been painting and collaging recently.

https://www.margerypearlgurnett.com

Elisa graduated from RIT's masters program in 1974. Wile working full time, she continued artful activities through the years until she became a full time artist in 2000.

"I love working in clay. I love painting. I love putting unrelated things together and making them work as one."  In other words, any artful energy is vital to her joy of life.

In clay, she believes her strongest works are hand-built large pots and sculpture, although she continues to throw and make functional pieces ...but by her own evaluation, she is an artful potter and not an artisan.

Her paintings are large oil on canvas works. She admits "I don't know how to do small."  Her style is loose and fluid. Her colors are bold and unabashed.

Elisa's clay work can be found at Craft Co. No.6,  and Mostly Clay. Her paintings are with the online gallery "Artful Home".

Ideas are infinite, color is awesome, design describes feelings. Putting all these together is the most joyous thing.

elisaroot.com

I have always been an artist, even when I wasn’t physically creating something. I remember as a child, breaking down objects and nature into shapes and color by squinting my eyes. It’s what artists do to simplify and clarify. We tend to look at the world around us differently. Art is not about copying nature, but more about expressing intangible ideas, experiences and emotions. I consider myself a 3-dimensional artist as well as a painter because I work in wood and metal. Recently, I have been working with the concept of infinite space creating shapes and forms on canvas without conscious reference to known objects. My current work is very “stream of conscious”, reacting in the moment, using vibrant color, rough texture and taking advantage of accidents as they happen.

 I can be somewhat literal or abstract in my interpretations, depending on the idea I’m trying to express. I often paint with tools other than brushes because it helps free me up. I like to leave the road open so one media can lead to another and one mark might suggest another

To state the obvious then, Art is experimental for me and very much about "risk taking”

I really love the creative process and use alternative materials and surfaces in my work.

Occasionally, I find myself looking at discarded objects and wondering what I can create from them. There always seems to be that “What If” question and it translates into a mix of surface and media. It is about applying and removing paint, pastel, ink, and pencil.  It is about working and reworking the surface and pushing the boundaries of the creative process. That’s what keeps it interesting and fresh for me.

 I like canvas because I can work the surface and build up layers.  I like paper because it absorbs. I like metal for it opaqueness and reflectivity. I like wood because I can shape and form it.  I’m really not satisfied unless I’ve discovered something new in each work I create. I see my work as an evolutionary process: Starting with an idea or concept, I tend to  “Compose as I Go”, applying media to the substrate, building up layers and manipulating the surface. Although my work tends to be abstract, I am very much in control of composition, color, and design.

Recently, I have begun to use digital media and image enhancement software as additional tools. Using a digital print process, I can combine the working image with other media or paint back into the work in progress. Current influences include the works of Hans Hofmann, Franz Kline, DeKooning, Kandinsky and Diebenkorn. My goal is always to simplify an idea, distill the visual facts and capture the emotional aspects or mood. Like a performance, a work of art does not live until it has been seen and experienced by an audience. "I believe that an artist needs to make a connection between his own imagination and that of the viewer to be truly successful. 

My personal studio work ranges broadly in its use of materials and technique, but I believe it is held together with a sense of reclaiming objects from our past which once had a specific use, but now are more like curiosities. An old industrial thermometer, drawings from a 1950s book about rocketry, a beat-up tool box, an antique bike light, the front grill of a Westinghouse oven…. I enjoy juxtaposing objects, patterns, and materials, and hoping for a surprising result. The majority of my work can hang like a painting, but often has an element of sculpture built out from the surface.

Recently, I have worked more in the vein of a sculptural assemblage, aiming to design and build objects which capture the viewer's attention quickly and also invite interaction. Most of my work is tactile and made for a person to touch or control. I collect objects of interest, from the side of the road, garage sales, thrift stores, etc. I never know what I am looking for, but I try to take a utilitarian object and give it a new life. One of my collectors, an old friend, remarked about “Let Me Check My Schedule” (2021) that everything in the sculpture is what it was originally meant to be. The pencil sharpener is still a sharpener, the pencils are still pencils, and the wood base still acts as a part of a tree. As I repurpose and rearrange items from the manufactured world, I try to maintain this ideal—that my work can take the recognizable and give it a new place, without removing its original function.

aaronschnittman.wixsite.com/aaronschnittman

My current body of work portrays figures and objects within barren, surreal landscapes.  The use of color and symbolism are utilized to bring forth that which resides in the unconscious mind onto a two-dimensional plane.  There is a deliberate relationship between the figures and objects within these scenes; a juxtaposition which references the physical and metaphysical attributes of the human experience.

www.robertseebachart.com

g.a. Sheller is recognized as one of the country's leading artists in the synthesis of watercolor and photography, and is a renowned colorist whose paintings highlight landscapes and plant forms. Her work is featured in Watercolor Magazine with an article written by M. Stephen Doherty, former editor of American Artist Magazine. She is a member of Who's Who in American Art, Strathmore's Who's Who and holds a Bachelor of Fine Art degree from the College of New Rochelle with additional graduate study at Pennsylvania State University and with Robert Reed at Yale University. g.a. is profiled in the Who's Who of the International Biographical Centre, Cambridge, England and has been named to the 2000 Outstanding Artists and Designers of the 20th Century by the I.B.C. g.a. is an associate member of the American Watercolor Society.

www.gasheller.com

The challenge of using color, composition, line and texture are the principles I often use in my paintings. I start with a sketch and as I work the painting changes and evolves. Seeking depth and layers of color is what I want to achieve. The movement and freedom of a brush stroke help to accomplish the liberation of my painting.

terisilsbystudio.com

I am especially interested in the hidden forces that influence what we see, and how everything is connected. Gravity, Supply and Demand, emotional ties between people, quantum forces—all these things are intriguing and they continuously challenge me to find ways of expressing their interrelated powers.

I consider myself a science and math tourist, always interested in seeing what is happening on the edge of the known and confronting the mysteries of the yet to be known. Quantum science is especially resonant—the idea that the universe is relationships rather than substances calls me to try to express that in emotional ways.

I am most drawn to collage and mixed media, and the blurry line. As I don’t currently have access to a etching press, I am challenging myself to find alternative ways of expressing myself using some of the vocabulary of printmaking. I keep coming back to the imagery of maps and network diagrams, as well as ruins of the built environment.

I looked to technology as my means to create. Arthritis, from an early age, made writing and drawing painful. When I received a Super 8mm camera for Christmas, my sophomore year, I finally found an outlet for my expression, animation in particular. It was around this same time period that the first personal computers were released. I saw great potential for this new tool, especially because of the mouse. Finally a drawing instrument I could hold all day without pain.

There was only MacPaint in the beginning, but a rudimentary B&W scanner allowed me to begin to edit my photos. This was a new revelation at the time and gave me a glimpse at the future of photography and computing. I imagined what digital computing would mean for photography, graphics, animation, music, video, publishing, 3D and so much more. The computer has enabled me to explore many of these mediums as the software has evolved..

I’m a digital explorer, I like pushing the limits of what I can conjure. i can only explain the process as, somewhat magical, and many times it surprises me with an outcome I didn’t plan. 

Currently, i’m exploring transforming my virtual creations into real life objects with a 3D printer. That truly is magical!

My new 3D Anaglyph Virtual Gallery is now complete. Grab a pair of red/cyan 3D glasses and head to this link https://ths.li/Iin3Ph

I’ve converted most of my “Virtual Visions” series to 3D anaglyphs in preparation for an ebook I’m working on. In the meantime, I’ve put many of them and a few from other series into a new virtual gallery. This gallery is my glass themed gallery. Be sure to check out my other galleries posted by the entryway to each gallery. The small concentric circles by the doorway to the gallery will link to the others. Hover your mouse over one to see the name. Or use one of the links below.

3D Anaglyph Gallery https://ths.li/Iin3Ph

3D Abstracts https://ths.li/PORhdJ

3D Printed https://ths.li/knXzET

Virtual Visions https://ths.li/IJmp4v

Alaska https://ths.li/N21j2P

Maine https://ths.li/bACueb

Petragraphs https://ths.li/mlYBjj

Utah & Grand Canyon https://ths.li/Edewuq

I am interested in the exploration of images founded in a studied vocabulary of the human form and forms found in nature.  The resultant abstract images have their origins in observed reality and may suggest a hidden inner connection between our human spirit and the natural world that surrounds us.

cgjethomas@rochester.rr.com

Since beginning work in ceramic sculpture, a broad theme has been central to my work: the relationship between the physical cycles of the natural world and past and present culture. The clay forms are hand-built. Some are counter -balanced and reveal internal tensions and energy. Others communicate harmony and balance. These forms mirror the birth and transformations that are inherent in the process of becoming; either in the search for self-identity or in the organic nature of our relationships with others. The clay surface marks and glaze colors are intended to integrate the form and are added throughout my entire process, correlating to dynamics that unfold through time. The final kiln firing further transforms the clay and freezes an epiphany informed by observations and ideas about who we are as individuals and how we define ourselves within nature, community, and culture. Throughout the entire ceramic process, I honor the integrity and natural properties of clay: it’s plasticity, texture, and strength.

www.nancyvalle.com

I am captivated by the act of mark-making, a process that bridges my inner dialogue with the external world. My preferred mediums—encaustic painting and collage, silverpoint, pen and ink, and brush-applied ink—allow me to explore the layered nature of human experience. I often incorporate prints of my previous works into new encaustic compositions, blending fragments of my artistic past with wax-friendly mediums to create complex, textured layers. This cyclical process of reworking and integrating echoes the ever-shifting interplay between memory and the present moment.

At the heart of my practice lies a fascination with people and the relationships they form—both with one another and with the environments, natural or constructed, that surround them. I find inspiration in the poignant expressionism of European art between the World Wars, the raw emotion of abstract expressionism, and the precision of early Renaissance portraiture. Like those influences, my work seeks to capture the tension between the individual and the collective, the personal and the universal.