Archival Paper Mixed Media

This painting features hues of green, yellow, pink and orange. It is a work on paper mounted to panel. The materials used are watercolors made with clay & weathering rind found in Georgia, copper oxide, watercolor & acrylic on paper mounted on panel, protected with beeswax. This piece is part of a recent show titled "love as large as grief demands." Heather ‘Bird’ Harris...

The Smokes consist of images that are created by capturing smoke on paper as evidence of a transformation and preservation of the ephemeral. During the process, credit cards, gift cards, photos, and even slides of the artists’ artwork are burned to remove their growing presence in daily life, and explore the idea of transformation. In 2014, Rob was awarded the John Ringling...

Paper paint magazine paper, charcoal, collage These collages were created first in the presence of a live model, working quickly, in charcoal and pastel, and again, later, alone in ...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

In this series, the artist takes Inspiration from ancient Italian frescos originally found at the Villa di Livia outside of Rome. The frescos are from the subterranean room used for dining. The lush gardens gave the dinner guests the illusion of dining alfresco. This exploration of the past and its connection to the present is a central theme running through Pylant's work. Here Pylant takes particular notice of the flora and fauna which was also present at her then North Carolina studio. This work is framed and measures 14.75h x 14w inches. Carol S. Pylant La Villa di Livia V oil on paper 6h x 6w in 15.24h x 15.24w cm CSP010 CAROL PYLANT Resume Title Artist / Emeritus Professor, University of Wisconsin-Madison Education 1979 M.F.A. Painting, Wayne State University, Detroit, MI 1977 B.F.A. Painting, Wayne State University, Detroit, MI Academic Appointments 1996 - 2011 Professor, University of Wisconsin-Madison 1991-96 Associate Professor, University of Wisconsin-Madison 1987-91 Assistant Professor, University of Wisconsin-Madison 1985 Instructor, Simmons College, Boston, MA 1984 Instructor, Art Institute of Boston, Boston, MA 1984 Instructor, DeCordova Museum and School, Lincoln, MA 1984 Instructor, Brookline Arts Center, Brookline, MA 1982-84 Assistant Professor, California State University, Long Beach, CA 1978-82 Instructor, Wayne State University, Detroit, MI International Teaching 2011 Professor, UW- Madison, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2006,7 Visiting Affiliate Professor, Santa Reparata International School of Art, Florence, Italy International Artist Residencies 2017 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2015 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2002 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 1990 The Tyrone Guthrie Center, Co. Monaghan, Ireland 1990 Oberpfalzer Kunstlerhaus,Schwandorf/Fromberg, West Germany 1987 Rockefeller Foundation Residency Fellowship, Bellagio, Italy 1987 The Karolyi Foundation, Vence, France International Research Awards 2010 Faculty Research Fellowship, UW-Madison, "Villa di Livia Frescos, Museo Nazionale, Rome, Italy" 2005 Faculty Research Fellowship, UW-Madison, "Romanesque Art in France" 2004 Faculty Research Fellowship, UW-Madison, "Paintings Inspired by Romanesque Art in France" 2002 Faculty Research Fellowship, UW-Madison, "Pagan or Christian, Romanesque Art in Spain" 1998 Faculty Research Fellowship, UW-Madison, "Paintings of Neolithic Monuments in Brittany" 1996-7 Vilas Associate Award, University of Wisconsin System, "Paintings of Prehistoric Stone Circles, Ireland and the British Isles 1995 Faculty Research Fellowship, UW-Madison, "Paintings of Celtic Ceremonial Sites in Ireland and the British Isles" 1993 Faculty Research Fellowship, UW-Madison, "Egg Tempera Paintings in Florence, Italy" 1992 Faculty Research Fellowship, UW-Madison, "Paintings of Ireland" 1990 Faculty Research Fellowship, UW-Madison, "Figure and Environment: Ireland" 1989 Faculty Research Fellowship, UW-Madison, "Figure and Environment Painting: Germany" 1988 Faculty Research Fellowship, UW-Madison, "Figure and Landscape Painting: Umbria, Italy" Other Awards 2008 Faculty Research Fellowship, UW-Madison 2007 Sabbatical, University of Wisconsin-Madison 2006 Faculty Research Fellowship, UW-Madison 2002-3 Emily Mead Baldwin-Bascom Named Professorship, University of Wisconsin 2000 Alumni Arts Achievement Award, Wayne State University Dept. of Art & Art History, Detroit, MI 2000 Faculty Research Fellowship, UW-Madison 1999 Faculty Research Fellowship, UW-Madison, "Past /Present: Paintings based on Celtic Imagery" 1999 Sabbatical, University of Wisconsin 1998 Wisconsin Arts Board Visual Arts Fellowship 1993 Faculty Development Grant, "Figurative Sculpture" University of Wisconsin System 1991,93 Visual Arts Development Grant, The Wisconsin Arts Board 1989 Visual Arts Fellowship for Painting, The Wisconsin Arts Board, Madison, WI 1988 National Endowment for the Arts Regional Visual Arts Fellowship, Arts Midwest 1986 Residency, Yaddo Corporation, Saratoga Springs, NY 1985 Residency, The Millay Colony for the Arts, Austerlitz, NY 1985 Residency, The Virginia Center for the Creative Arts, Sweet Briar, VA 1985 Milton and Sally Avery Award for Painting, The MacDowell Colony, Peterborough, NH 1984,5,6 Residency, The MacDowell Colony, Peterborough, NH International Exhibitions 2010 Handmade Artist's Journals, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2008 Oberpfalzer Kunstlerhaus, Schwandorf, Germany 1995-99 Jorgensen Fine Art, Dublin, Ireland 1994 "Exquisite Corpse" Transmission Gallery, Glasgow, Scotland 1992 "Faces and Places of Ireland" Ulster Bank, Ardara, Co. Donegal, Ireland 199l "Ardara Annual Show" Ardara, Co. Donegal, Ireland 1988 Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, West Germany 1988 "Art .... Made in USA" Stadische Galerie, Deutsch-Amerikanisches Institut, Regensberg, West Germany 1987 Rockefeller Foundation Bellagio Study and Conference Center, Bellagio, Italy One and Two Person Exhibitions 2005 Peltz Gallery, Milwaukee, WI 2001 Peltz Gallery, Milwaukee, WI 2000 Grace Chosy Gallery, Madison, WI 1999 Peltz Gallery, Milwaukee, WI (with John Sayers) 1998 Grace Chosy Gallery, Madison, WI 1997 Barbara Bunting Gallery, Royal Oak, MI 1993 Peltz Gallery, Milwaukee, WI 1993 Carey Gallery, Rochester, MI (with Jo Powers) 1993 J. Cacciola Galleries, New York, N.Y. 1990 Pennsylvania School of Art and Design Art Gallery, Lancaster, PA (with Dan Gihooley) 1990 Hobe Sound Gallery, Brunswick, ME 1990 Levinson Kane Gallery, Boston, MA 1989 Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME 1985 Trustman Gallery, Simmons College, Boston, MA 1982 Willis Gallery, Detroit, MI Selected Group Exhibitions 2015 "Exquisite Corpse" Printworks Gallery, Chicago, IL 2014 "Non-Stop" Invitational, Train Depot, Madison, WI 1989-2014 Peltz Gallery, Milwaukee, WI 2012 "Invitational Alumni Exhibition", Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2002-10 Grace Chosy Gallery, Madison, WI 2008 Chazen Museum of Art, University of Wisconsin-Madison 2008 Chapman Museum of Art, Myrtle Beach, NC 2007 Carthage College, Kenosha, WI 2007 Spartanburg Art Museum, Spartanburg, SC 2007 "Real and Imagined" Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2003-7 Ann Nathan Gallery, Chicago, IL 2003 "The Exquisite Snake" Printworks Gallery, Chicago, IL 2003 Robert Kidd Gallery, Birmingham, MI 2002 Sonyia Zaks Gallery, Chicago, IL 1995 Butler Institute of American Art, Youngstown, OH 1994 Milwaukee Institute of Art & Design, Milwaukee, WI 1993 Madison Art Center, Madison, WI 1993 New York Arts Club, New York, N.Y. 1993 "Previews of l993" J. Cacciola Galleries, NY 1992 "Small Painting Exhibition" J. Cacciola Galleries, NY 1992 "Women in the Bowdoin Collection" Bowdoin College Museum of Art, Brunswick, MA 1992 Steibel Modern, New York, NY 1984-91 Levinson Kane Gallery, Boston, MA 1986-7 Portraits Inc., New York, NY 1985-6 Kathryn Markel Gallery, New York, NY 1981-4 Frumkin and Struve Gallery, Chicago, IL 1984 "All California '84" Laguna Beach Museum of Art, Laguna Beach, CA 1983 "Western States Figurative Realism" Cypress College Art Gallery, Cypress, CA 1982 "Atlas Building Artists" Detroit Artists Market, Detroit, MI 1981 "Michigan Artists 80-81" Flint Institute of Art, Flint, MI 1981 Detroit Focus Gallery, Detroit, MI 1970 Detroit Art Institute, Detroit, MI Public Collections Heidelberg University, Tiffin, Ohio Fundacio J. Llorens Artigas, Gallifa/Barcelona, Spain American Express Corporation, New York, New York Ulster Bank, Ardara, Co. Donegal, Ireland Chazen Museum of Art, Madison, Wisconsin The Block Museum of Northwestern University Malden Public Library, Malden, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, Germany Beach Museum of Art, Manhattan, Kansas Virginia Center for the Creative Arts, Sweet Briar, Virginia University of Wisconsin, The Graduate School, Madison, Wisconsin Carol Pylant Bibliography 2017 M is for Math, Museum and Manhattan Kansas, by Natasha Rozhkovskaya, Publisher: Tamara Rozhkovskaya Novosibrisk 2015 Exquisite Corpse, Printworks Gallery, Chicago, IL. (Exhibition catalogue) 2013 "Remarkable Women Exhibit" by Mary Louise Schumacher, Journal Sentinel, online, Milwaukee, WI, June 25 2012 "Peltz Gallery Celebrates Remarkable Women" by Peggy Sue Dunigan, The Sheperd Express, Milwaukee, WI, July 7 2008 "Teachers Who Can, UW Faculty..." by Jacob Stockinger, The Capital Times, Madison, WI, February 2007 "Art in Nature" by Bill Robbins, Kenosha News, Kenosha, WI, September 14 2004 "Ambition clothes 'Remarkable Women'" by James Auer, The Milwaukee Journal Sentinel, April 7 2004 "Waxing enthusiastic over 'Colors'" by James Auer, The Milwaukee Journal Sentinel, February 18 2003 "Remarkable Women Celebrated" by James Auer, The Milwaukee Journal Sentinel, March 2003 "Art Lesson" by Jennifer Smith, Isthmus, Madison, WI, February 21 2003 "Installation Appreciation" by Kevin Lynch, The Capital Times, February 7 2001 "Pylant unites sketches with classical style" by James Auer, The Milwaukee Journal Sentinel, September 12 2001 "WSU Exhibit shows figurative painting" by Keri Guten Cohen, The Detroit Free Press, February 18 1999 "On Art" by James Auer, The Milwaukee Journal/Sentinel October 12 1999 "School of Art quadrennial exhibition" by John Aehl, The Wisconsin State Journal, January 24 1999 "Something old, something new" by C.R. Gabriel, Isthmus, February 5 1999 "Honoring our Own" Madison Magazine, January 1998 "The Madison Fifty" Madison Magazine, November 1997 "Back in the Game" by James Auer, The Milwaukee Journal/Sentinel, Nov. 26 1997 "Three artists will charm at local shows" by Joy Hakanson Colby, The Detroit News, May 8 1997 "At the Galleries" by Keri Guten Cohen, The Detroit Free Press, April 27 1997 "Talent not gender, is focus at show", by James Auer, Milwaukee Journal/Sentinel, December 11 1996 "Remarkable Women Exhibition" by James Auer, The Milwaukee Journal/Sentinel, Jan 14 1994 "In Art, these 20 made an impression in '93" by James Auer, The Milwaukee Journal, Jan 9 1994 "Window to the World" by Michelle Grabner, Milwaukee Magazine, Guide to the Arts, February 1994 "Art of Love: ..." by Elby Frieda Abbe, Milwaukee Sentinel, Let's Go. February issue 1993 "Variations on a theme", by Paul Pace, Rochester Clarion, Rochester, Mi, December 9 1993 "Work of women holds surprises in summer show", by Janice T. Paine, Milwaukee Sentinel, June 4 1993 "Remarkable Women has merit with or without it's gender theme", by James Auer, The Milwaukee Journal, June 13 1993 "Irish Landscape" Cross Country, Country Living Magazine, March (feature article) 1993 "Ireland's Wild West" On the Road, Country Living Magazine, March 1993 "Short List SoHo Gallery Exhibitions, The New Yorker, February 14 & 22 1993 "SoHo Exhibitions", Gallery Listings, New York Magazine, February 7 1993 Gallery Listings, The New York Times, January 31 1993 Tandem Press: Five years of Collaboration by Drew Stevens, University of Wisconsin Press 1992 "From the World's Hot Spots to Ardara", by Michael McHugh, The Donegal Democrat, Co. Donegal, Ireland, August 6 1992 "Exhibits spotlight women", by Janice T. Paine, Milwaukee Sentinel, June 5 1992 " Women's show proves a strong one", by James Auer, The Milwaukee Journal, May 24 199l "Tandem Press foster diverse printmaking styles", by John Carlos Cantu, Ann Arbor News, December 1 1991 "Quadrennially yours...U W art faculty exhibit show vital, vibrant", by Katherine Rogers, Wisconsin State Journal, January 6 1991 Who's Who in the Midwest 23rd Edition, A.N. Marquis, MacMillian Directory Division, Wilmette, Illinois 1990 "Impressive Art on a Small Scale", by Nancy Stapen, The Boston Globe, December 20 1990 "View from the Tower", by James Rhem, The Isthmus, December 21 1990 "NEA Survives but Artists Shiver", by Bill Moore, Wisconsin State Journal, Madison, Wisconsin, November 18 1990 "Artists Bring New Visions", by Ina Pasch, Wisconsin State Journal, Madison, Wisconsin, October 7 1990 "Madison's Wisconsin Triennial Makes a Statement in Many Ways", by James Auer, The Milwaukee Journal, October 7 1990 "Wisconsin Artists Represented at Triennial", by Kirsten Simonsen, The Daily Cardinal, University of Wisconsin, Madison, September 28 1990 "Wisconsin Triennial Art Show", by Kevin Lynch, The Capital Times, Madison, Wisconsin, September 22 1990 "School of Art & Design opens photo exhibit" The Intelligencer Journal, Lancaster, Penn., September 1990 "Art courts drama at PSA&D" Lancaster, Pennsylvania, September 1990 "Windows on an Artist", by Larry Mallak, Research Sampler ,The Graduate School, University of Wisconsin, Madison 1989 "Upward Mobility and Disposable Imagery", by Edgar Allen Beem, Maine Times, September 24 1989 "Award Winning Pylant Displays Realism", The Bowdoin Orient, Brunswick, Maine, September 8 1989 "Art Exhibit Opens at University Art Gallery", The Daily Star Journal, Warrensburg, Missouri, September l 1989 "Arts Calendar has Variety /Pylant Paintings in Bowdoin Show", The Times Record, Brunswick, Maine, August 1989 "Amerikanerinnen im Oberpfalzer Kuntslerhaus, Gegenseitiges Lernen", by Harold Raab, Die Woche, West Germany, July l3 1989 "American Spirits im Oberpfalzer Kunstlerhaus, Mittelbayerische Zeitung, West Germany, July 6 1989 "Zum Abscheid eine Ausstellung Arrangiert", Mittlebayerische Zeitung, West Germany, July 5 1989 "Amerikanerinnen in der Kebbel Villa", Mittelbayerische Zeitung, West Germany June 9 1989 "A Day With Carol Pylant", by Jackie Michard, On Wisconsin, University of Wisconsin- Madison, July 1989 "VCCA Artists in Germany", The News and Daily Advance, Lynchburg, Virginia, May 28 1989 "City Notes-Dear Diaries", by Paul Gerard...

Aida experiences resilience: she paints, she breaks and she rebuilds. Watercolor, subtle and delicate, turns into great sculpture. The beauty of scars in her work — imperfect and fra...

"Surrender" is a one of a kind collage by Pop artist Michael Albert. It is inspired by the Cheap Trick Song of the same name. It was meticulously cr...

James Francis Gill’s Marilyn Leaving (2024) is a captivating acrylic and mixed media composition on canvas, measuring 25.50 x 19.50 inches, that bri...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years old, he began painting as a hobbyist using 'pure' abstraction. However, he believed his work lacked a solid foundation upon which to grow. ​He discovered a book on the origins of the Chinese alphabet, which origins are essentially signs, in 2008 while taking a calligraphy class. The 26 letters of our Latin alphabet are less pictorial than the Chinese characters as we know them now. He discovered that pictorial representation is more prevalent when examining the origins of alphabets—all alphabets, in fact—because there is frequently a similarity between the sign's true meaning and what it is meant to represent. For instance, the symbol for a turtle in the original Chinese script resembles a turtle. Wittmann loves signs as they leave room for interpretation. For instance, if one writes “the sky is blue”, one will make for themself a mental representation of a blue sky, even if each one-off us will probably have some nuance in our own mental representation of that blue sky. On the other hand, a sign can...

This is a painting and collage on a circular panel. "By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice a...

James Francis Gill’s Three Faces of Marilyn (2025) is a dynamic and vibrant original graphic on wove paper measuring 27.50 x 43 inches, celebrating ...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

(85 x 61 inches framed + $2,400) New York-based, Armenian-born artist, Tigran Tsitoghdzyan, is especially interested in how people interact in this new era of technology and social ...

This painting features hues of pink and orange. Made of clay found in a tributary of the Mississippi River, red ochre, gouache & water on Saunders 640 gsm measuring 60 by 40 inches unframed. This piece is part of a recent show titled "love as large as grief demands." Heather ‘Bird’ Harris...

Midnight Blooms No. 6 is a botanical collage artwork created with Hand Cut dyed and painted paper and a page from a vintage book by Deborah Weiss. The artwork is 28x22. It is frame...

Collage: Hand cut color-aid paper on gessoed heavyweight watercolor paper framed in a flat gray painted wood frame with plexi. Philomena is a daughter of Brooklyn. She holds a BFA fr...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

Paper paint charcoal collage Whether the subject matter is figuration or nature, Audrey Anastasi approaches all her subjects directly and unabashedly. In this work on paper, she co...

More a Lover than a Fighter II - smoke on paper, framed on a contemporary box frame - all archival materials. Artwork size: 30x22 inches Frame size: 35x27x2.5 inches Frame style: black wood box frame, UV glass, archival matboard The Smokes consist of images that are created by capturing smoke on paper as evidence of a transformation and preservation of the ephemeral. During the process, credit cards, gift cards, photos, and even slides of the artists’ artwork are burned to remove their growing presence in daily life, and explore the idea of transformation. In 2014, Rob was awarded the John Ringling...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...

"L2-3D Louis Vuitton" Photography 36"D Edition 3/8 by Giuliano Bekor Title of artwork: Lips L2 Louis Vuitton 3D Year created 2018 Print size 36 Inch...

Venus E, smoke on paper, framed on a contemporary box frame - all archival materials. Artwork size: 40x30 inches Frame size: 48x37x2.5 inches Frame s...

More A Lover than a Fighter - 2013 - smoke on paper, framed on a contemporary box frame - all archival materials. Artwork size: 30x22 inches Frame size: 35x27x2.5 inches Frame style: black wood box frame, UV glass, archival matboard The Smokes consist of images that are created by capturing smoke on paper as evidence of a transformation and preservation of the ephemeral. During the process, credit cards, gift cards, photos, and even slides of the artists’ artwork are burned to remove their growing presence in daily life, and explore the idea of transformation. In 2014, Rob was awarded the John Ringling...

Aquatint and watercolor collage by Jenny Toth, mixed media artist, professor, graduate of Yale School of Art

Venus May 2, Finalist at RA Summer Show 2014 smoke on paper, framed on a contemporary box frame - all archival materials. Artwork size: 30x22 inches Frame size: 35x27x2.5 inches Frame style: black wood box frame, UV glass, archival matboard The Smokes consist of images that are created by capturing smoke on paper as evidence of a transformation and preservation of the ephemeral. During the process, credit cards, gift cards, photos, and even slides of the artists’ artwork are burned to remove their growing presence in daily life, and explore the idea of transformation. In 2014, Rob was awarded the John...

Paper on 2 ply archival board Ms. Marano says, "Using salvaged pieces of color aid paper from my "Flat Fix" series I create compositions that are at once mechanical and whimsical." Artist Philomena Marano is a daughter of Brooklyn. She holds a BFA from Pratt Institute, is an intimate of the visual poetry of Coney Island, created the winning poster for the first Spirit of Brooklyn poster...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts and fiber arts...

Lyndi Sales is an artist based in Cape Town, South Africa. Lyndi Sales’ artistic process is guided by her desire to explore the limits of human perception. She draws her inspiration ...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts and fiber arts...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, tearing and pasting images from magazines, various lan...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts a...

Lisa’s organic shapes and textures rotate and recombine deftly, jumping easily between prints. But the serendipitous quality of Lisa’s work belies the controlled, methodical nature o...

A native of Kansas City, Josh George completed his BFA at the Kansas City Art Institute (1997), followed by an influential session at The Illustration Academy. His exhibitions and pu...

Aida experiences resilience: she paints, she breaks and she rebuilds. Watercolor, subtle and delicate, turns into great sculpture. The beauty of scars in her work — imperfect and fra...

'Undercurrents: Struggle' is a black and white figurative work made of cut paper. Jerushia Graham is inspired by the works of Elizabeth Catlett, Kerry James Marshall, John Biggers, Leo & Diane Dillon...

ames Gill’s Little Bastard (2016) captures the exhilarating spirit of mid-century racing with his signature pop art vibrancy. This limited-edition original graphic on wove paper depi...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

Marie Laforey is a self-taught artist based in New York, US who maintains a sustainable art practice using primarily organic material. Laforey enjoys the tactility of working with or...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts and fiber arts...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts and fiber arts...

This piece is a black and white figurative work made of cut paper. Jerushia Graham is an Atlanta-based artist whose work straddles various media, including printmaking, book arts and fiber arts...

Elizabeth Gregory-Gruen’s Cut Work series is a free hand paper cutting process that charts the contours of our ever-changing emotional experience through the movement of form, line, ...

Elizabeth Gregory-Gruen’s Cut Work series is a free hand paper cutting process that charts the contours of our ever-changing emotional experience through the movement of form, line, ...

Elizabeth Gregory-Gruen’s Cut Work series is a free hand paper cutting process that charts the contours of our ever-changing emotional experience through the movement of form, line, ...

Elizabeth Gregory-Gruen’s Cut Work series is a free hand paper cutting process that charts the contours of our ever-changing emotional experience through the movement of form, line, ...

This is a painting and collage on a circular panel. "By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice a...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

James Henderson’s work explores the concept of memory and nostalgia. Utilizing found imagery as a starting point, he collages and layers his mixed media paintings. The inclusion of imagery from vintage photographs becomes Henderson’s visual language through which to depict the notion of how one’s past experiences, emotions and personal archeology greatly shape one’s identity. Henderson’s new works on paper use plaster and roofing tar to secure the fading images printed on vellum. Henderson has exhibited at the Ogden Museum, LA and Northwestern State University, Natchitoches, LA, and his works have been included in film and television programs such as Bad Girls Club, The Twilight Saga...

This is a painting and collage on a panel. "By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me ...

This is a painting and collage on a panel. "By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me ...

This is a painting and collage on a circular panel. "By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice a...

Aida experiences resilience: she paints, she breaks and she rebuilds. Watercolor, subtle and delicate, turns into great sculpture. The beauty of scars in her work — imperfect and fra...

Memento is the root of Angelica's odyssey, it is both a pilgrimage and its migration. These mixed media pieces vividly reflect on what is both past and present. Angelica’s multi-l...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes of exposure, absence, and memor...

Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered fabric, photographs and paper to explore the themes o...

The art of Philip Wittmann is founded on signals. For him, signs serve as a bridge between abstraction, reality and writing, too. When he was 26 years old, he began painting as a hobbyist using 'pure' abstraction. However, he believed his work lacked a solid foundation upon which to grow. ​He discovered a book on the origins of the Chinese alphabet, which origins are essentially signs, in 2008 while taking a calligraphy class. The 26 letters of our Latin alphabet are less pictorial than the Chinese characters as we know them now. He discovered that pictorial representation is more prevalent when examining the origins of alphabets—all alphabets, in fact—because there is frequently a similarity between the sign's true meaning and what it is meant to represent. For instance, the symbol for a turtle in the original Chinese script resembles a turtle. Wittmann loves signs as they leave room for interpretation. For instance, if one writes “the sky is blue”, one will make for themself a mental representation of a blue sky, even if each one-off us will probably have some nuance in our own mental representation of that blue sky. On the other hand, a sign can...

James Francis Gill’s Micky (2018) is a bold and playful original graphic on wove paper, measuring 24 x 24 inches. The composition is a cropped, clos...