Stacie Speer Scott (Bucks County)

Stacie Speer Scott



"I like a rough surface. I do molding, printmaking, sewing, and embossing. I seek to mesh the disjointed into a smooth flow through color, theme and composition."

Stacie Speer Scott's is a painter, sculptor, and printmaker. Her main interest is paper and the endless possibilities of working in paper. Collage with painting is her primary medium, and she expresses herself both two- and three-dimensionally. Her techniques include molding, embossing, printmaking, and sewing. The primary themes that have interested her over the years are people- their feelings and relationships to others and to their objects as well as landscape and its organic symbols. Scott is an art educator and has taught at Bucks County Community College, Chandler Hall Health Services, and trained teachers in the area of the fine arts at George School. She is also active in theater set design at the Annenberg and Touchstone Theaters. Scott has exhibited widely in the area, from Phillips Mill to the Philadelphia Watercolor Club, and has earned significant awards.

Bradley Hendershot (Bucks)

Artist Bradley Hendershot is primarily a painter of coastal Maine and rural Pennsylvania--regions that he knows well, regions that have special meaning to him. "My Pennsylvania paintings depict the rural community and a way of life that is quickly fading into the past. Many of the timber and stone barns and mills, the houses and outbuildings, which are part of the Pennsylvania heritage, are rapidly disappearing. I'd like to feel, in a way, that I have preserved them in my paintings."

Suzanne Opton (Bucks)

Soldier
July 7 - October 21, 2007
Betz Gallery-James Michener Museum

New York based photographer Suzanne Opton presents an unusual, thought-provoking perspective on a complex and emotionally-charged subject. Beginning in 2005, Opton received permission to make portraits of military men and women shortly after each soldier's return from Iraq or Afghanistan. These soldiers were living at Fort Drum, New York, and had been overseas for at least a hundred days; they had come back for additional training and possible reassignment to Iraq or elsewhere. Using a 4 x 5 view camera, Opton devised several strategies for these portraits, including traditional views with face and upper torso as well as more unusual images in which she asks the soldiers to lay their heads down on a table. She also includes wives and sometimes other soldiers in the portraits, often focusing on close-ups of heads and hands. These unusual and moving images put a human face on the people who are literally on the front lines; as Opton says, "In making these portraits of soldiers, I simply wanted to look in the face of someone who'd seen something unforgettable." Suzanne Opton's work has been exhibited internationally, and has been featured in such publications as The New York Times and Newsweek. She has received grants from the National Endowment for the Arts and the New York Foundation for the Arts.

Francis di Fronzo (Philadelphia)

The Devil May Be Here (Part I)
Oil on panel, 32 x 48 in. (82 x 122 cm.)
March - April, 2006
Private Collection, Wilmington, DE



Don't Leave Me Now (Part II)
Oil on panel, 24 x 78 in. (61 x 198 cm.)
April - July, 2005
Private Collection, Wilmington, DE



Crows
Oil on panel, 48 x 96 in. (122 x 244 cm.)
July - November, 1998
Private Collection, Philadelphia, PA

Represented in Philadelphia, Pennsylvania by Rosenfeld Gallery. www.therosenfeldgallery.com

Represented in Greenville, Delaware by Somerville-Manning Gallery. www.somervillemanning.com

Edward McHugh (Philadelphia)

Battle Ship New Jersey
Wax Diffused Pigment Print

Well regarded for his minimalist paintings, drawings and sculpture, Edward McHugh has brought the same command of form, layering and arrangement to his recent body of photographs. The camera, however, has introduced a new level of spontaneity to McHugh's work. It has also launched McHugh into a startling exploration of light.

Jackie Tileston (Philadelphia)

Jackie Tileston

Tileston lives and works in Philadelphia, but she shows widely in Texas and has also shown in New York Delaware and Chicago.

Artist Statement
"My work feeds off of the history of abstraction, physics, traditional eastern imagery, Chinese and Tibetan landscape motifs, digital imaging, and other sources. There is a constant flux between empty and full, atmospheric and graphic, abstract and figurative, quiet and psychedelic.

The dialogue about beauty, a passion for color, and a belief in the relevance of tactility and transcendence also informs the work. This medley of sources is orchestrated to create or reconstruct a world within the paintings in which a new kind of sense is made - one in which the beautiful and the absurd, the sacred and the mundane cooperate. I want monks and magpies both to love the work. I am interested in the challenges of trying to forge a pictorial landscape in which anything might possibly be included, but that seems to possess its own internal logic.

I want to create paintings in which several different locations or spaces are made to coexist within one space - a "heteropia." My work as a painter is knitting the world together in a kind of visual globalism."

Jackie Tileston currently teaches at the University of Pennsylvania.

Daniel Oliva (Philadelphia)

Artist Bio

San Francisco Bay, oil on panel, 18" x 24", 2004.

Atlantic Coast, acrylic on paper, 23” x 24 1/2”, 2003.

The tension between culture and nature had informed Daniel Oliva’s work for years. Growing up just north of Manhattan allowed him to study both the natural world of the Hudson River Valley and the city’s influential museums and galleries. At 28, he now calls Philadelphia home.

He received his BFA from the Maryland Institute College of Art in Baltimore, Maryland and has studied in Florence, Italy through Syracuse University. He recently exhibited a selection of work from his series “Nightscapes” at Gallery Siano in Old City. He was included in the Philadelphia Open Studio Tour’s juried exhibition, “From the Studio III” as well as the Main Line Art Center’s “Landscape Revisited” exhibition. He is a proud participant in CFEVA’s Regional Community Arts Program.

Artist Statement
The streets, homes, cities and towns of our world can be seen from space; it is clear that a network of interdependent human habitats have evolved around the globe. Visual evidence of this network reaches us through satellite images that display our civilization from a distant point of view. My work is in response to the current tension between our environment and our culture.

I am singularly focused on nighttime as the time during which we face our souls through dreams and the depth of the Universe. These nighttime images of the Earth contain artificial lights that reveal all facets of human construction. The lights present a dynamic in which humans gain an advantage over nature and simultaneously lose nature’s gift. City lights have replaced our need for a night sky. Identifying symbols of night, such as the moon, stars, and darkness are eroding and, concurrently, our identity in the Cosmos is changing. With fewer stars in sight many viewers of art are more familiar with terrestrial and in particular, cultural, avenues for spiritual insight. My goal is to evoke the richness of night and give the viewer an avenue for intimate contemplation of his/her place in the Universe.

I believe this topic is readily accessible to all people, regardless of philosophical concerns or artistic education. Everyone lives in this world and takes part in the rapidly altering nature of stargazing.

Contact Information
6618 Greene Street, #1
Philadelphia, PA 19119
tel: 215-848-3421
e-mail: danoliva@earthlink.net
www.danieloliva.com

Kathryn Frund (Philadelphia)

Forces of Balance
mixed media
6 x 6 inches
$800

Pieced History III
mixed media
20 x 20 inches
$3,200

My paintings and assemblages address the relationship between man and the environment through the use of symbolic landscapes. I explore the concepts of stewardship, consumption and control within the landscape framework. Society’s "marks" on the landscape and the manipulation of the environment are ongoing issues I seek to discuss.

The landscape explorations began during my studies at the Cleveland Institute of Art. The paintings have continuously evolved, nitially influenced by Romanticism, Modernism, Surrealism, and by turn-of-the-century poets such as T.S. Eliot.

In 1988, after a fifteen-year preoccupation with the Southwest, I started travelling to northern New Mexico. Inspired by the vastness and spiritual character of the landscape, and the rich presence of ancient cultures, my work began to reflect the region’s respect for the stewardship of the land and its resources.

This ongoing theme remains present in my recent work. The paintings address the conjunction of nature, industry, and science. They examine and define these fragile bonds through the juxtaposition of found objects, landscape imagery and the written word.

Represented by the Pentimenti Gallery

John Moore (Philadelphia)

John Moore
Near Lincoln Highway, Coatesville, 1988-92
oil on canvas
30 x 33 inches

Smoke
2005
oil on canvas
50 x 54 inches

Upper Bridge
2005
oil on canvas
50 x 50 inches

Represented by the Locks Gallery.

Neysa Grassi (Philadelphia)

Neysa Grassi
Red Current, 2005
oil on linen
18 1/2 x 20 1/8 inches

Neysa Grassi
The Return, 2006
oil on linen
16 x 16 inches

Neysa Grassi
Fever or Heat, 2005
oil on canvas
12 1/4 x 12 1/4 inches

Knots of paint which reveal little contrast criss-cross Neysa Grassi's paintings. These conduits are highways, nerve bundles, twisted knots of tissue, clotted vessels, or clogged freeways. They might be carrying messages -- perhaps urgent ones -- but their paths are complicated by contradiction and confusion. One imagines a sensation trying to travel through the gnarled miasma of paint which Grassi has woven in a typical picture. The sensation of a burn travels from finger tip to brain, shooting back a message of danger at light-speed over an impossibly complex network. But these hints of speed and complexity are contrasted against the primitive bluntness of Ms. Grassi's paintings. The antithesis of action painting, Ms. Grassi's pictures might almost constitute stasis painting; preferring the deliberate and slow to the gestural suggestion of kinesthesis.

Ms. Grassi received a certificate from the Pennsylvania Academy of the Fine Arts. She has been included in several group and solo exhibitions locally and regionally, including a Challenge Exhibition at the Samuel S. Fleisher Art Memorial, and the Biennial '93 at the Delaware Art Museum, and exhibitions at Paul Cava Gallery, Momenta Art Alternatives, Levy Gallery at Moore College of Art and Design, and the Beaver College Art Gallery. Her work is included in the collections of the Philadelphia Museum of Art, Telefax, Bell of Pennsylvania, and Blue Cross of Pennsylvania. She is represented in Philadelphia by Locks Gallery.

Kate Bright

Plane
2004
acrylic and resin on linen
72 x 94 inches


Maguk Falls
2004
acrylic and resin on canvas
60 x 59 3/4 inches

Born in Suffolk, UK
Lives and works in London, UK

Represented by the Locks Gallery

Linda Dubin Garfield (MC)

Edge of the World, mixed media, 8" x 10"

Leaves of Autumn, mixed media, 12” x 15”

"Nature nurtures and inspires me. I combine elements of nature, texture and design along with the magic of the press, creating original pieces of art. When I like a subject, it stays in my mind. I am intrigued by memory and what remains in our mind’s eye. My work reflects scenes from previous travel. More than a report on how it was exactly, I am interested in my expressive and passionate response to the color and pattern of the landscape. My work is informed by an accumulation of such scenes and the pleasure I get from the printing process. Rather than representing every detail, I am interested in evoking the hidden and revealing the atmosphere. I am creating personal memoirs.

My focus on the process, not the outcome, frees me to be experimental. Following my passion and living my dream energize me to be productive and alive. I feel like I am now living out loud. I want to share that passion and joie de vivre with those seeing my work, triggering a memory or experience for the viewer."

Contact Information
621 Fariston Drive
Wynnewood, PA 19096
tel: 610-649-3174
e-mail: garf621@aol.com
www.lindadubingarfield.com

Vincent Romaniello (MC)

Untitled 640, 2006, mixed media on canvas,12" x 24"

Untitled 632, 2006, mixed media on canvas,12" x 12"

"This new work continues my exploration into how nature and humankind coexist and clash.

Like many artists today I work in a number of different media. For the last few years I have been making videos as well as paintings. Video is created using high tech digital hardware and software and I find it very stimulating and satisfying. But, I feel that the more advanced our technology gets, the stronger the case for making non-objective paintings that exploit paints natural, low tech qualities.

The surfaces I am making are growing increasingly thick and crusty. I have developed a method of using gesso as an important painting medium, not simply as a primer. I apply it using tools that I make and avoid direct mark making by letting fluid colors move and mix and behave the way that paint does naturally.

Most of the work is horizontal in format. Many are similar to the 16:9 aspect ratio used in movies and new wide format televisions. The space is both deep and flat. Color plays a major role, but each individual painting usually consists of a limited number of colors from the same family.

Technology does play a hand in the paintings. The inspiration to do this work comes from seeing the earth from high above, seated on jets and looking at pictures that I have seen from spacecraft and satellite maps."

Addie Hocynec (B)

Known for her vibrant, richly colored landscapes and her abstracts that evoke the moods of nature, Addie’ s style is both free flowing and imaginative, charged with spontaneity and energy. Her landscapes are meditations on the subtler aspects of nature and the seductive power of light, color and texture. She works in a variety of media including dyes on silk, pastels, oils , acrylics and photography. Her fascination with color and all its nuances is a driving force for her work.

Born and raised in the suburbs of Philadelphia, Addie graduated from Chestnut Hill College with a B.A. in Psychology and a minor in Art. She had all intentions of pursuing a career in art therapy but took a slight detour and ended up in the field of photography. She attended the Antonelli School of Photography for two years specializing in commercial photography and then worked for several different studios including the Seymour Mednick Studio in Philadelphia and a printing house in Amsterdam, The Netherlands.

She has been painting on silk for the last 14 years. In 1992, she exhibited for the first time with the Bucks County Guild of Craftsmen concentrating mainly on wearable silks. The following year she was juried into the Pennsylvania Guild of Craftsmen. Since that time she has focused mainly on fine art shows, such as Rittenhouse Square Fine Art Show, Immaculata University Art Show, and Phillips Mill Art Show. She exhibits regularly at many of the area’s juried and non-juried shows. Her work has been selected at over 59 open juried shows and she has won more than 38 awards for her work including the American Artist Magazine Award for the Northeast Watercolor Society and the American Framing Award for the Philadelphia Watercolor Society’s 102nd Anniversary Show.

Addie enjoys the challenge of working in a variety of media. For her, painting is a process of discovery-a willingness to take chances and explore what each medium has to offer.

Garth Herrick (MC, ML)

Garth Herrick has been acclaimed with several prestigious awards as a portrait and figurative fine artist. In 2006 he placed as a semifinalist in the Smithsonian Institution’s Outwin Boochever Portrait Competition, and in their annual International Portrait Competition, the Portrait Society of America awarded him a second year with a certificate of excellence, following a finalist honors award in 2005. In 1991 he completed the well publicized master sculpture of the colossal Horse for Leonardo da Vinci, leading to the bronze monument installed in Milan, Italy. Having studied at the Pennsylvania Academy of the Fine Arts, with instructors Arthur DeCosta, Sydney Goodman, and Will Barnett, he received the William Emlen Cresson Memorial Traveling Scholarship in 1984, the Stewardson Prize, and first Thouron Prize, graduating with honors the following year. Herrick’s portrait commissions include five notable federal judges, a governor, mayor, a number of cultural, educational, and business leaders, along with everyday people and children, and hang in a number of public, corporate, and private collections. Herrick has several portraiture and landscape painting classes scheduled, and is available for commissions and workshops.

Amy Williams (MC, ML)

An Ardmore resident and recent graduate of the Pratt Institute. The colors, the form, the use of acrylic and pastel all make her paintings eye catching and thought provoking.

This piece in particular is an abstract illustration about how over 75% of the females in Africa bleach their skin.

Contact:
awill938@gmail.com
610-209-2975

Donald E. Camp (ML, MC, B, P)

"...Donald Camp’s intimate portraits resemble great American landscapes. The weathered plains and deep ravines are the terrain of men and woman who have been tested and challenged throughout their lives. Camp’s recent work builds upon his earlier portraits, which confronted negative stereotypes of African American men. Appropriating the basic form of the crime-related headshot — a frequent representation of African American men in the media — Camp countered stereotypes with portraits of African American men who have, without acknowledgement, enriched our country and our culture. In his work, Camp has presented musicians, writers, artists, judges, and many others. Each tightly constrained portrait exhibits the emotional and, in some cases, physical scarring from the struggle to succeed in a marginalizing world."

The Historian/ Dr. John Hope Franklin (from Dust Shaped Hearts series), 2006
Photographic Casein Monoprint
30 x 40 inches

$12,500
Casein and raw earth pigment on archival rag paper

Donald E. Camp
Man Who Sings Blues/ Willie King (from Dust Shaped Hearts series), 2006
Photographic Casein Monoprint
30 x 40 inches

$10,000
Casein and raw earth pigment on archival rag paper

See more of his work at:
http://www.gallery339.com/html/artistresults.asp?artist=25&testing=true&offset=6

Miriam Singer (Philadephia)

Miriam Singer:

"My works on paper are intuitive maps, rather than practical maps. They are collages where imagery and shapes are stacked and pressed on top of each other.
They start as pieces of printmaking paper folded in my bag. I draw on them obsessively for a period of time (week to a month). I draw while traveling on the subway, waiting for take- out, while doing my laundry, and all the places in between.
My works on paper grow with time. Lines, marks, and colors are collaged into a paper used and taken around. In the majority of my works on paper, I bring in imagery from paper lithography, silkscreen, wood block, and monotype. I use an etching press to further flatten, add, or reduce each drawing."

Imaginary Map I, 2005, pencil, ink, marker on paper, 17-1/2" x 12’’

Moving Map, 2006, pencil on paper, 15’’ x 17’’

Red Death Map, 2006, pencil, marker, monotype on paper, 9’’ x 7-1/2‘’

319 N. 11th Street
Philadelphia, PA 19107
tel: 617-501-7379
e-mail:miriam@miriamsinger.net
www.miriamsinger.net

Gallery Siano
309 Arch Street
Philadelphia, PA 19106
215-629-2940
www.gallerysiano.com

Gina Triplett and Matt Curtius (MC, ML)

Gina Triplett and Matt Curtius have shared a studio for over 10 years. At some point, talking paintings while sharing coffee led to talking marriage while sharing paintings. Now they make art, sometimes together, sometimes singularly, in a studio that Matt converted from a shell in Chestnut Hill, PA. They have shown in galleries across the country and been commissioned by clients that have included: RCA Records, Lamar Snowboards, and Rheingold Beer.

Other Clients Include:
The New York Times
Rolling Stone
Entertainment Weekly
Outside
IBM
Converse
Little, Brown & Co.
Random House
Domtar Paper

Recognitions:
American Illustration
Print Magazine
Society of Illustrators
Communication Arts

Michelle Marcuse (Philadelphia)

Michelle Marcuse

Artist Bio

Michelle Marcuse was raised in South Africa during the apartheid era. At the age of 18, she moved to the Middle East for seven years. In 1984, she arrived in Philadelphia to finish a BFA in painting at Tyler School of Art. The diversity of culture, ethnicity, climate and politics that she experienced in her youth continue to influence her work. Currently a resident of Philadelphia, Michelle has shown her work regionally, nationally, and internationally. Michelle teaches a series of workshops and classes in encaustic techniques.

Artist Statement
I have an instinctual fear of catastrophe. Even though I don't approach my studio practice with this in mind, this apprehension is present and effects the way that I interpret my painting from midway to the conclusion. Although my influences are landscapes, (meaning, any environment that I live in), I characterize my work as abstract in that it departs from a realistic interpretation of physical appearances.

For the most part, I use encaustic wax as my medium with its potential for mystery and poeticism. It possesses great flexibility and a range of dualities such as rough-smooth, translucence-opacity, addition and subtraction. All of these attributes provide me with enormous descriptive possibilities. I apply my waxes mostly with bristle brushes, and sometime by dipping or pouring encaustic.
The formal elements of beauty and harmony provide a system of rules which underlie my work. This is the way I have learnt to see since early childhood. It is this very structure plus the limits of my materials which triggers my frustration, stimulating me to be resourceful and to find ways to resolve my work. Beginning a work is often excruciating, but once entrenched, it absorbs me like a puzzle or game.


Remnant of Land, 2006, encaustic, image transfer, board, 7-3/4” x 3-1/2”


Wetland, 2006, encaustic, mixed media, board, 16” x 16”


Universe, 2004, encaustic and oil on masonite, 48" x 32"