RMFA COllection
Our collection features exceptional examples of contemporary works made by regionally, nationally, and internationally recognized artists. Notable artists include Susan Kare, graphic designer responsible for many of the interface elements and typefaces for the original Apple Macintosh; Wayne White, painter, puppeteer, set designer for Pee Wee’s Playhouse; Bob Gruen, famous rock ’n roll photographer for John Lennon, Led Zeppelin, Sex Pistols, and many more; Sunday B. Morning, the screen printing company behind Andy Warhol’s second Marilyn Monroe series.
ABout RMFA
Christa Blackwood
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About RMFAThe Rochester Museum of Fine Arts is a community art initiative dedicated to the accessibility of contemporary works made by regionally, nationally, and internationally recognized artists. Founded in 2011, the museum works to enrich people’s lives through the presentation of fine art. The museum is located in the Rochester Community Center (Suite 135) and Rochester Public Library.
The historic Andrew Carnegie Gallery (at the Rochester Public Library) and Mayor Harvey E. Bernier Room (at the Rochester Community Center, Suite 135) feature temporary art exhibits by emerging and seasoned artists, on an alternating monthly basis. The galleries showcase a wide range of original work - from painting and sculpture to works on paper and photography. |
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Elena Petrova
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How to searchAll artists are listed in alphabetical order by last name. The biographies and statements were either provided by the artist or sourced online. None of the content was written or edited by the RMFA. The guide does not include borrowed or stored works.
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Michele Johnsen
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Amandine
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Ky Anderson
Ky Anderson’s geometric, abstract paintings are in fact referential of quotidian subjects. Anderson firmly believes that her “imagery is descriptive of the world around us,” particularly in that it conveys a sense of distance. Her compositions frequently feature flat forms, limited palettes, and abstract lines that allude to the horizon. Anderson usually works on a group of paintings incrementally at the same time, which is why suites of paintings often have similar colors. Other times, she begins a work and sets it aside, returning to and reworking it slowly over the course of years. Anderson does not think of a narrative before starting a work, but instead lets them appear as they are completed.
Jessica Bell
Jessica Bell lives and works in a house in Vancouver, British Columbia and the physical parameters of her daily life are a persistent point of inquiry in her materially-sensitive practice. Her recent solo exhibitions are Jessica Bell, curated by Tobin Gibson (Unit 17, 2017), Fits and Starts (Central Art Garage, 2017) and All things being equal. (Ottawa Art Gallery, 2015).
Paul Bennett
Paul Bennett is a committed British artist who has participated in exhibitions and residencies in the UK, Japan and China. Often venturing to nearby lakes and mountains for inspiration, he creates semi-abstract seascapes and landscapes marked by vivid cores of light, thoughtful composition and smooth combinations of colour and shadow.
Jessica Burko
This work brings together traditional photography, digital technology and mixed-media elements. Images are sewn and collaged with layers of beeswax and found papers and wood. The pieced, layered, and stitched techniques in Fragments and Alterations illustrate feelings of falling apart and holding together. Wax muddles the surface, and creates a translucent barrier of imaginary protection, while the body withdraws into line and shape. Sealed under wax the frenzy is calmed, and the static becomes quiet.
James Chase
James Chase is the Director of Community Education and Visual Arts Faculty at the New Hampshire Institute of Art, as well as a board member for Rochester Museum of Fine Arts. He’s a national and international exhibiting artist, merging painting, printmaking and photography with social engagement practices. Since 2009, he has been featured in over 50 art exhibitions. Recent exhibitions include Picked Six Contemporary Art Month in San Antonio 2015 and Memory Palace 2016 at Manifest Gallery in Cincinnati, OH. Recent solo exhibitions include Echoes at the RMFA and Kill The Lights at South Plains College in Levelland, TX.
Hollie Chastain
Hollie Chastain is an artist living and working in Chattanooga, Tennessee. Following studies in both fine art and business she spent several years in marketing and graphic design before returning to the studio to launch a career as an artist and illustrator. Hollie uses mainly paper, mixing found images with modern colors and compositions to create work full of originality and narrative. Influenced by her love for found ephemera, she has become best known for her works created on the covers from vintage, tossed-aside books letting the scribbles, stamps and history found there contribute to the composition. She works in her home studio as both a gallery artist and illustrator. Her first book, If You Can Cut You Can Collage was released in November 2017 through Quarto Publishing.
Ian DeCelli
Ian DeCelli is a contemporary artist currently living in the Seacoast area. He earned a degree in fine arts from the New Hampshire Institute of Art, in Manchester, New Hampshire.
Kristen Dolloff
No information provided.
Ruth Dudley-Carr
Ruth Dudley-Carr received her B.A. from Oakland University (2000) and her M.F.A. in Visual Arts from Vermont College of Fine Arts (2014). Recent solo exhibitions have been held at Wyatt Art Studios and the Rochester Museum of Fine Arts. Her work has been included in many group exhibits throughout the United States and she is held in collection at the Center for Fine Art Photography in Fort Collins, CO, Girls Club in Fort Lauderdale, FL, and Rochester Museum of Fine Arts in Rochester, NH, as well as many private collections. In 2011, Dudley-Carr was included in the Girls Club exhibition “Reframing the Feminine” alongside Nan Goldin, Cindy Sherman, Francesca Woodman, Lorna Simpson, and Carrie Mae Weems, to name a few. Dudley-Carr has opened her practice from photography to sculpture and video art. Her work discusses the human form, sexuality, illness, and the aging process. Dudley-Carr lives and works in Boston, MA.
Soosen Dunholter
"Like my daily practice of walking in nature, I find the process of creating art similarly meditative. By taking each activity one step at a time, with no concern – or plan – for my destination in either experience, I remain grounded in the moment. I love collecting materials and images, thinking and pondering, and then launching into the hands-on aspect of making art when the spirit moves me. I never rely on a preconceived idea or preliminary sketch in my collage and monoprint work. By utilizing a meditative or intuitive process, I orchestrate the array of chaos around me until all the diverse elements find their ideal fit and fall into place in perfect harmony."
Kenneth Eason
"I am passionate about nature and natural processes. When I experience nature, out in the woods, along a shore, or even in my backyard, I feel a connection with my surroundings and simultaneously experience a wondrous excitement and an inner peace. My paintings are an attempt to capture and explore that feeling.
I like working with texture and the contrasts found in nature and tend to paint impasto using brushes, paint knives, spatulas and other tools. I work in many layers and like to leave the impression that there is more to be seen just under the surface of the painting. My recent work is with Oil and/or Encaustic (beeswax, resin and pigment) and I often incorporate mixed media for added texture. Encaustic allows me to use natural beeswax and the element of fire to work the painted surface."
I like working with texture and the contrasts found in nature and tend to paint impasto using brushes, paint knives, spatulas and other tools. I work in many layers and like to leave the impression that there is more to be seen just under the surface of the painting. My recent work is with Oil and/or Encaustic (beeswax, resin and pigment) and I often incorporate mixed media for added texture. Encaustic allows me to use natural beeswax and the element of fire to work the painted surface."
Elizabeth Ellenwood
Elizabeth Ellenwood received a Bachelor of Fine Arts in Photography from The New Hampshire Institute of Art in 2010. Since beginning her graduate degree at The University of Connecticut, she has merged her passion for the ocean with her artistic practice. Ellenwood uses her knowledge in photography to visually explore and bring attention to critical environmental issues we are facing today. This year, her project Among the Tides has received The Connecticut Sea Grant Arts Support Award, The Zachs Award, and The Denis Roussel Merit Award. She recently exhibited her work at The Vermont Center of Photography and at The Alexey von Schlippe Gallery.
Bob Farrell
"My name is Bob Farrell and I’m an artist. I’m 52 years old and live in Berwick Maine. I’m a member of the Berwick Art Association, MODspoke, Wrong Brain and Blackbird Studio & Gallery. I’ve shown at Gallery at 100 Market St., Artstream, Berwick Library, Gafney Library, Rochester Library, DOO, Buoy, 2nd Landing, East Tower Gallery, and Gallery 280."
Daniel Fleming
Daniel Fleming currently works full-time as an illustrator and designer for The Shepherd Express and has been their main go-to designer and illustrator for a variety of outside clients, both for the paper and their internal design company, Express Creative, for over three years. He’s taken on a variety of tasks and projects throughout the years, getting hands-on experience designing everything from romance novels to trade-show booths.
Although his current full-time employment is design-based, he has simultaneously been building a career as an emerging fine artist and saw his best year yet in 2013 with multiple solo and group shows, increasing sales, and also became a finalist in the “Tournavation Pitch” alongside such big local names as Reginald Baylor and John Rippenoff. Despite continuing to work full-time, he’s steadily inching closer to his goal of becoming a “full-time artist” and hopes to progress even more in the coming year with new mural projects, show proposals, and new art/business ventures.
“I explore a variety of social and political issues, creating insight into perspectives and ideas that many would not otherwise encounter. I take pride in creating work that spans various religious, political and cultural boundaries, creating a discussion and narrative that informs the viewer of the vast world around them. With a combination of symbol, representation, mark-making and a unique approach to titling, I provide various aspects of a topic and ask the viewer, using their own experiences and perspectives, to discover their own narrative in the work. This leads to an ever-changing and ever-growing artwork that develops alongside the people who view it. Though I call myself a painter, I use a wide variety of media and am always exploring new tools and techniques. While I almost always include painting in my work, drawing and mark-making has become an equally important aspect of my recent collections, as exemplified in this series of ink-drawings and paintings.”
Although his current full-time employment is design-based, he has simultaneously been building a career as an emerging fine artist and saw his best year yet in 2013 with multiple solo and group shows, increasing sales, and also became a finalist in the “Tournavation Pitch” alongside such big local names as Reginald Baylor and John Rippenoff. Despite continuing to work full-time, he’s steadily inching closer to his goal of becoming a “full-time artist” and hopes to progress even more in the coming year with new mural projects, show proposals, and new art/business ventures.
“I explore a variety of social and political issues, creating insight into perspectives and ideas that many would not otherwise encounter. I take pride in creating work that spans various religious, political and cultural boundaries, creating a discussion and narrative that informs the viewer of the vast world around them. With a combination of symbol, representation, mark-making and a unique approach to titling, I provide various aspects of a topic and ask the viewer, using their own experiences and perspectives, to discover their own narrative in the work. This leads to an ever-changing and ever-growing artwork that develops alongside the people who view it. Though I call myself a painter, I use a wide variety of media and am always exploring new tools and techniques. While I almost always include painting in my work, drawing and mark-making has become an equally important aspect of my recent collections, as exemplified in this series of ink-drawings and paintings.”
James Gallagher
James Gallagher uses collage to investigate human form and personal identity. His work has been exhibited in galleries around the world and featured in publications such as The Lab Magazine, Elephant Magazine, unFlop Paper and NYArts. His images have appeared in numerous books from Die Gestalten Verlag, including the 2010 title Cutting Edges: Contemporary Collage which Gallagher co-edited. Over the past decade he has curated numerous international collage exhibition and is the publisher, editor and creative director of the contemporary art magazine Secret Behavior which launched to much acclaim in 2013. Gallagher earned a BFA from The School of Visual Arts in New York City. In addition to creating and curating art, Gallagher is the Creative Director for the Museum of Sex in NYC and an Instructor at Parsons the New School for Design. He lives in Brooklyn with his wife and three children.
John Paul Gardner
John Paul Gardner is an internationally exhibited award winning artist currently living and working in New York. His works range from immense installations to intimate works with paper. Gardner is currently the Director of Visual Arts and Exhibitions at View Arts.
Erin Gardner
"Using the mediums of drawing, painting, and collage, I incorporate imagery from memory and observation, in combination with more intuitive and primitive marks. Through filtering and processing experiences, perceptions, and memories, I develop a personal narrative that allows me to comprehend reality. We as humans depend heavily on our minds’ ability to construct and reconstruct events, and to connect the multitude of fragments that form a map of our lives.
My process is both additive and subtractive. Sometimes what I am looking for already exists underneath the layers of paint. In a similar manner to the way our minds work to find forgotten or missing pieces, sections within the artwork must be excavated in order to reveal truth. It is through the creation of art that I am able to bridge gaps and unearth further questions for investigation."
My process is both additive and subtractive. Sometimes what I am looking for already exists underneath the layers of paint. In a similar manner to the way our minds work to find forgotten or missing pieces, sections within the artwork must be excavated in order to reveal truth. It is through the creation of art that I am able to bridge gaps and unearth further questions for investigation."
Liese Gauthier
Liese Gauthier creates mixed-media abstract work in Tuftonboro, New Hampshire. Her work combines painting, collage and mark-making in energetic, joyful and expressive work. Liese was born in Lawrence, Massachusetts in 1974. She graduated from Colorado College in 1996, and the University of New Hampshire with a Masters of Teaching in 1998.
"I work to convey joy, energy, and freedom in my work. I paint abstract art because I like to find new ways of creating. I like to scribble with pencils and scrape into layers of wet paint with a screwdriver. Through painting, I need to constantly challenge myself and come up with new ideas and methods. It is a joy and challenge to create something that has never been made before.
Each painting is a series of decisions: what colors to use, how to vary the value, shape, and size of elements. I work in many layers to build interest and history in the work. Collage adds structure and then I paint over the paper to add interest. Decisions teach me what to keep and what to change -- and so I learn and grow as an artist."
"I believe that my work is best when I make the mental shift into exploration and play supported with a scaffolding of theory and technique. Letting go of expectations and creating layers enables surprises to happen in the piece. Then, on the next layer I begin by examining the elements in the piece- how the eye moves around the painting, where value shifts occur, what variety there is in shapes. Then I shift back into paint/play mode and the process continues.
I love how painting challenges me to think and create, and I hope that my work provides a glimpse into this process."
"I work to convey joy, energy, and freedom in my work. I paint abstract art because I like to find new ways of creating. I like to scribble with pencils and scrape into layers of wet paint with a screwdriver. Through painting, I need to constantly challenge myself and come up with new ideas and methods. It is a joy and challenge to create something that has never been made before.
Each painting is a series of decisions: what colors to use, how to vary the value, shape, and size of elements. I work in many layers to build interest and history in the work. Collage adds structure and then I paint over the paper to add interest. Decisions teach me what to keep and what to change -- and so I learn and grow as an artist."
"I believe that my work is best when I make the mental shift into exploration and play supported with a scaffolding of theory and technique. Letting go of expectations and creating layers enables surprises to happen in the piece. Then, on the next layer I begin by examining the elements in the piece- how the eye moves around the painting, where value shifts occur, what variety there is in shapes. Then I shift back into paint/play mode and the process continues.
I love how painting challenges me to think and create, and I hope that my work provides a glimpse into this process."
Marissa Girard
Marissa Girard, a native of Goffstown, NH, is a senior pursuing her Bachelor of Fine Arts in Painting degree from the New Hampshire Institute of Art in Manchester. Here, her professors have encouraged her to explore work further than the traditional landscape. While at NHIA, she has been introduced to the work of numerous philosophers, including Martin Heidegger and Immanuel Kant. These writings challenged her to work deeper, exploring the realm of what beauty is and why its existence holds meaning.
While searching for alternatives to pure oil paint, Marissa began experimenting with mixing paint with cold wax medium. The unpredictability and depth of this technique was one that gave Marissa the ability to achieve the surface texture that she had always strived for. Working this way allowed Marissa to layer sheets of color and create deep rifts in the surface of the paint. The combination of raw beeswax and oil paint takes well to the concepts of beauty and nature she conveys in her work. Marissa continues to explore the effects of human existence in landscape, particularly through combining nature’s organic beauty with the graphic, hard-edged qualities of infrastructure.
While searching for alternatives to pure oil paint, Marissa began experimenting with mixing paint with cold wax medium. The unpredictability and depth of this technique was one that gave Marissa the ability to achieve the surface texture that she had always strived for. Working this way allowed Marissa to layer sheets of color and create deep rifts in the surface of the paint. The combination of raw beeswax and oil paint takes well to the concepts of beauty and nature she conveys in her work. Marissa continues to explore the effects of human existence in landscape, particularly through combining nature’s organic beauty with the graphic, hard-edged qualities of infrastructure.
Paul Glorioso
Paul holds a degree in art education, with a Masters Degree in Humanities from Hofstra University in New York. He taught art for over thirty years on Long Island and exhibited extensively in the New York City metropolitan area before retiring to New Hampshire. He is represented in the permanent collections of the Islip Art Museum in New York, Nassau Community College in New York, as well as the Oklahoma Art Center in Oklahoma. Paul, primarily a printmaker-collagist, now specializes in mixed media reliefs.
Tom Glover
After studying with John Laurent, John Hatch, Sigmund Abeles and Conley Harris at the University of New Hampshire, Glover continued critiques with Laurent for a couple of decades. He followed Laurents advice to go see, "in the flesh", the Great Masters. Tom's older brother is an airline pilot, so he caught, from time to time, flights with his brother to Rome, Florence, Milan, Paris, Amsterdam and Madrid. He did artists retreats, found galleries to show in, and painted and painted and painted.
One of his first retreats was on White Island of the Isles of Shoals off the coast of New Hampshire. He was one of the last artists to spend a week on the island which at low tide adjoins Seavey Island. It had no phone, no electricity, no bathroom, no potable water. The old Coast Guard station building was described to him as, " a wooden tent". The gulls had broken into every room except one, which was an upstairs bedroom. But it afforded time to look, draw, paint, write, think all uninterrupted.
In 2000 Glover was one of eleven artists asked to Artsweek Retreat on Great Spruce Head Island, owned by the family of Fairfield Porter. Glover was able to use Fairfields easel and had free range to explore the entire island as well as access to kayaks and rowboats to explore the island from the water and surrounding islands.
Block Island is another place of interest to Glover and he has explored it on several occasions. It became a sort of fortunate formula for Glover to visit a place, explore it, do a series of paintings based on his explorations, and then to have a show at one of his galleries. Sales from the shows allowed him to venture off to other places. Pieced together with his ability to fly for very little almost anywhere, and the generosity of friends and collectors, he was able to visit Italy several times--the Cinque Terre, Ascoli Piceno, Siena, Todi, Montelpuciano, Cortona, and many other towns in Tuscany, Marche and surrounding regions. He has also traveled to England, Ireland, Costa Rica, New Mexico, Arizona, Prince Edward Island and Nova Scotia
Glover also has taught at the University of New Hampshire and teaches presently at Sanctuary Arts in Eliot, Maine. He has been an Artist in Residence on Appledore Island for the Shoals Marine Laboratory. He is a certified Weed Scuba Diver in the state of New Hampshire. He is also an oil painting restorer and works as picture framer and art restorer at Riverstones Custom Framing in Rochester, NH.
One of his first retreats was on White Island of the Isles of Shoals off the coast of New Hampshire. He was one of the last artists to spend a week on the island which at low tide adjoins Seavey Island. It had no phone, no electricity, no bathroom, no potable water. The old Coast Guard station building was described to him as, " a wooden tent". The gulls had broken into every room except one, which was an upstairs bedroom. But it afforded time to look, draw, paint, write, think all uninterrupted.
In 2000 Glover was one of eleven artists asked to Artsweek Retreat on Great Spruce Head Island, owned by the family of Fairfield Porter. Glover was able to use Fairfields easel and had free range to explore the entire island as well as access to kayaks and rowboats to explore the island from the water and surrounding islands.
Block Island is another place of interest to Glover and he has explored it on several occasions. It became a sort of fortunate formula for Glover to visit a place, explore it, do a series of paintings based on his explorations, and then to have a show at one of his galleries. Sales from the shows allowed him to venture off to other places. Pieced together with his ability to fly for very little almost anywhere, and the generosity of friends and collectors, he was able to visit Italy several times--the Cinque Terre, Ascoli Piceno, Siena, Todi, Montelpuciano, Cortona, and many other towns in Tuscany, Marche and surrounding regions. He has also traveled to England, Ireland, Costa Rica, New Mexico, Arizona, Prince Edward Island and Nova Scotia
Glover also has taught at the University of New Hampshire and teaches presently at Sanctuary Arts in Eliot, Maine. He has been an Artist in Residence on Appledore Island for the Shoals Marine Laboratory. He is a certified Weed Scuba Diver in the state of New Hampshire. He is also an oil painting restorer and works as picture framer and art restorer at Riverstones Custom Framing in Rochester, NH.
Catherine Graffam
I am an artist and educator based in Boston. I received my BFA from the New Hampshire Institute of Art in 2015, and since have shown work internationally both in museums and galleries. I was named one of 2017's "Remarkable Women" by NH Magazine, which is pretty cool. Most recently, I was profiled in The Jealous Curator’s new book A Big Important Art Book (Now With Women!), interviewed in TIME magazine on transgender issues, and had my work accepted into the permanent collection of the Library of Congress.
Currently, I manage exhibitions at Gallery 263 in Cambridge, MA and am a faculty member as Lasell University. I am an InterACT Youth Member as well as an executive committee member for the Boston LGBT+ Artist Alliance.
Self portraiture is a way of cathartically processing my emotions as well as an important means of reflecting on life experiences. I use myself as a vehicle for storytelling as well as regaining agency over my body as a trans woman. Abstraction is often used in a piece as a coping mechanism for confronting my own image, manifesting discomfort through the language of brushstrokes.
By continuing the tradition of oil painting, I am engaging with a medium that has voyeuristically objectified women since it’s conception. My work confronts the viewer as it engages with that history, and additionally humanizes and individualizes my existence through the process of painting.
Currently, I manage exhibitions at Gallery 263 in Cambridge, MA and am a faculty member as Lasell University. I am an InterACT Youth Member as well as an executive committee member for the Boston LGBT+ Artist Alliance.
Self portraiture is a way of cathartically processing my emotions as well as an important means of reflecting on life experiences. I use myself as a vehicle for storytelling as well as regaining agency over my body as a trans woman. Abstraction is often used in a piece as a coping mechanism for confronting my own image, manifesting discomfort through the language of brushstrokes.
By continuing the tradition of oil painting, I am engaging with a medium that has voyeuristically objectified women since it’s conception. My work confronts the viewer as it engages with that history, and additionally humanizes and individualizes my existence through the process of painting.
Bob Gruen
Bob Gruen is one of the most well-known and respected photographers in rock and roll. From John Lennon to Johnny Rotten; Muddy Waters to the Rolling Stones; Elvis to Madonna; Bob Dylan to Bob Marley; Tina Turner to Debbie Harry, he has captured the music scene for over forty years in photographs that have gained worldwide recognition.
Shortly after John Lennon moved to New York in 1971, Bob became John and Yoko’s personal photographer and friend, making photos of their working life as well as private moments. In 1974 he created the iconic images of John Lennon wearing a New York City t-shirt and standing in front of the Statue of Liberty making the peace sign – two of the most popular of Lennon’s images.
As chief photographer for Rock Scene Magazine in the ’70s, Bob specialized in candid, behind the scenes photo features. He toured extensively with the emerging punk and new wave bands including the New York Dolls, Sex Pistols, Clash, Ramones, Patti Smith Group and Blondie. Bob has also worked with major rock acts such as Led Zeppelin, The Who, David Bowie, Tina Turner, Elton John, Aerosmith, Kiss and Alice Cooper.
In 1989, he documented the epic trip to Russia of the “Moscow Music Peace Festival” featuring Ozzy Osbourne, Mötley Crüe and Bon Jovi. For many years Bob was the official photographer for the New Music Seminar held in New York City, covering dozens of aspiring new bands in the course of a summer week. This seminal body of work reflects a profound commitment and long-standing personal friendship with the artists. His wealth of personal experiences and uncanny memory provide the most illuminating and comprehensive histories of rock youth culture.
“All Dolled Up,” a DVD documentary made by Bob Gruen and Nadya Beck of their early ’70s video footage of the New York Dolls, was released in 2005 with a follow-up DVD, “Lookin’ Fine On Television” released in 2011.
In the spring of 2007 FAAP University in Sao Paulo, Brazil, presented an exhibition of Bob Gruen’s work. Titled ROCKERS, the exhibition attracted 40,000 visitors. The ROCKERS exhibition was also shown from April to July 2008 at Morrison Hotel Gallery on the Bowery in New York City.
Bob’s “Sid Vicious with Hot Dog” photo was acquired by The National Portrait Gallery, London, in 1999 for their permanent collection.
The Experience Music Project, Seattle, acquired his “Clash Live in Boston”, “Tina Turner Multiple Image”, and “Bloody Sid Vicious” photos for their permanent collection in March 2012.
In 2011 award winning director Don Letts made a feature length film titled ‘Rock & Roll Exposed – the Photography of Bob Gruen’ including interviews with Iggy Pop, Debbie Harry, Alice Cooper, Yoko Ono, Billie Joe Armstrong and many more.
Bob was presented in June 2004 with MOJO Magazine’s prestigious Honours List Award for Classic Image in London and in November 2010 he was inducted into the Long Island Music Hall of Fame. For his many charitable contributions, Bob received the first ever John Lennon Real Love Award in December 2014 at the 32nd Annual John Lennon Tribute Concert.
More recently he has also photographed Green Day’s tour of Europe, Yoko Ono/Plastic Ono Band, Iggy Pop, Ozzy Osbourne, AC/DC, Jesse Malin, Ryan Adams, Courtney Love, The Strypes and other new popular acts.
Shortly after John Lennon moved to New York in 1971, Bob became John and Yoko’s personal photographer and friend, making photos of their working life as well as private moments. In 1974 he created the iconic images of John Lennon wearing a New York City t-shirt and standing in front of the Statue of Liberty making the peace sign – two of the most popular of Lennon’s images.
As chief photographer for Rock Scene Magazine in the ’70s, Bob specialized in candid, behind the scenes photo features. He toured extensively with the emerging punk and new wave bands including the New York Dolls, Sex Pistols, Clash, Ramones, Patti Smith Group and Blondie. Bob has also worked with major rock acts such as Led Zeppelin, The Who, David Bowie, Tina Turner, Elton John, Aerosmith, Kiss and Alice Cooper.
In 1989, he documented the epic trip to Russia of the “Moscow Music Peace Festival” featuring Ozzy Osbourne, Mötley Crüe and Bon Jovi. For many years Bob was the official photographer for the New Music Seminar held in New York City, covering dozens of aspiring new bands in the course of a summer week. This seminal body of work reflects a profound commitment and long-standing personal friendship with the artists. His wealth of personal experiences and uncanny memory provide the most illuminating and comprehensive histories of rock youth culture.
“All Dolled Up,” a DVD documentary made by Bob Gruen and Nadya Beck of their early ’70s video footage of the New York Dolls, was released in 2005 with a follow-up DVD, “Lookin’ Fine On Television” released in 2011.
In the spring of 2007 FAAP University in Sao Paulo, Brazil, presented an exhibition of Bob Gruen’s work. Titled ROCKERS, the exhibition attracted 40,000 visitors. The ROCKERS exhibition was also shown from April to July 2008 at Morrison Hotel Gallery on the Bowery in New York City.
Bob’s “Sid Vicious with Hot Dog” photo was acquired by The National Portrait Gallery, London, in 1999 for their permanent collection.
The Experience Music Project, Seattle, acquired his “Clash Live in Boston”, “Tina Turner Multiple Image”, and “Bloody Sid Vicious” photos for their permanent collection in March 2012.
In 2011 award winning director Don Letts made a feature length film titled ‘Rock & Roll Exposed – the Photography of Bob Gruen’ including interviews with Iggy Pop, Debbie Harry, Alice Cooper, Yoko Ono, Billie Joe Armstrong and many more.
Bob was presented in June 2004 with MOJO Magazine’s prestigious Honours List Award for Classic Image in London and in November 2010 he was inducted into the Long Island Music Hall of Fame. For his many charitable contributions, Bob received the first ever John Lennon Real Love Award in December 2014 at the 32nd Annual John Lennon Tribute Concert.
More recently he has also photographed Green Day’s tour of Europe, Yoko Ono/Plastic Ono Band, Iggy Pop, Ozzy Osbourne, AC/DC, Jesse Malin, Ryan Adams, Courtney Love, The Strypes and other new popular acts.
Ian Hartsoe
"I’ve always been in love with photography, the way pictures can tell stories and capture some of the most unique moments in our lives and in our world. It’s why I chose to make photography my life. And why I want to help you create and share memories with your families and friends for generations to come.
After getting a degree in photography and working in the technical side of the industry, I moved to New York City from Boston to pursue a career in traditional photo printing.
I am still working in the darkroom – loving it, growing from it, and getting to peek into so many different moments and realities.
I am the rare son of Boston that has come to love New York in my few years here: I’ve made new friends, fallen in love, discovered the joys of good wine and realized that there are so many amazing moments happening at any given moment. I want to help provide everlasting images for the people of our great city."
After getting a degree in photography and working in the technical side of the industry, I moved to New York City from Boston to pursue a career in traditional photo printing.
I am still working in the darkroom – loving it, growing from it, and getting to peek into so many different moments and realities.
I am the rare son of Boston that has come to love New York in my few years here: I’ve made new friends, fallen in love, discovered the joys of good wine and realized that there are so many amazing moments happening at any given moment. I want to help provide everlasting images for the people of our great city."
Heather Hilton
"In the United States, suburban development is overtaking the natural landscape. Much of the art I have seen reflecting this idea is sort of negative in nature, viewing the movement of “suburbia” as a villain. My formative years were spent in the Midwestern U.S. and the exact spot where a suburban housing development meets an open field or the building of a shopping mall meets a century old farm is part of my visual memory as a child. I am interested in painting that spot, not as a morality lesson, but as a marked place in the landscape where something is lost and something is gained. I’m not sure what is lost or gained at this intersection, but the transition fascinates me."
Spring Hofeldt
Spring Hofeldt’s paintings immerse the viewer in a metaphor of the day-to-day making light of such trials and tribulations… highlighting the offbeat and offering a unique perspective on the familiar. Her works play with glass and portraiture, capturing the whimsical, the critical, and the beautiful in a simple setting. She received a B.A. in Illustration from Central Missouri State University in 2001, has exhibited in numerous galleries across the country, is a recipient of NYFA grants, and has been featured in on-line publications such as Hyperallergic. Her studio is located in the neighborhood of Red Hook in Brooklyn, NY.
Daryl-ann Dartt Hurst
Daryl-Ann Dartt Hurst was born in Palmdale, California, and spent her first 31 years in southern California. She received her BA in Art at California State University, Northridge, California and did a year of post-graduate work in Art there, as well. In 1986, she relocated to New England.
Dartt Hurst began showing in juried competitions and exhibitions in 1978. She has since been included in many group shows nationally and has had solo exhibits in Boston, Massachusetts; Portsmouth, NH; Lincoln, NH: Littleton, NH; Rochester, NH; Rollinsford, NH; Saint Johnsbury, VT, and Somersworth, NH. She is in the permanent collection of the Rochester Museum of Fine Art, Rochester, NH and was awarded the Artistic Achievement in the Visual Arts by the City of Rochester Commission for Arts and Culture. She has also been nominated for Ourstanding Painter, Non-Traditional in the Seacoast Spotlight Awards, 2015.
Dartt Hurst began showing in juried competitions and exhibitions in 1978. She has since been included in many group shows nationally and has had solo exhibits in Boston, Massachusetts; Portsmouth, NH; Lincoln, NH: Littleton, NH; Rochester, NH; Rollinsford, NH; Saint Johnsbury, VT, and Somersworth, NH. She is in the permanent collection of the Rochester Museum of Fine Art, Rochester, NH and was awarded the Artistic Achievement in the Visual Arts by the City of Rochester Commission for Arts and Culture. She has also been nominated for Ourstanding Painter, Non-Traditional in the Seacoast Spotlight Awards, 2015.
Michele Johnsen
"I’ve considered myself a landscape painter for more than a decade, but my Master’s work has prompted me to inquire into precisely where my work fits into the landscape tradition and why I choose this particular motif as my primary focus.
The description of intimate spaces and sublime vistas are my response to the way the landscape reflects the light and creates patterns on the forms of natural surfaces. Through the use of graduated hues, abstracted mark-making and highly saturated color I am able to articulate a range of emotional responses that speak to aesthetic rationales, and to psychological and spiritual concerns, allowing access into the magic of those special places."
The description of intimate spaces and sublime vistas are my response to the way the landscape reflects the light and creates patterns on the forms of natural surfaces. Through the use of graduated hues, abstracted mark-making and highly saturated color I am able to articulate a range of emotional responses that speak to aesthetic rationales, and to psychological and spiritual concerns, allowing access into the magic of those special places."
Susan Kare
Susan Kare graphic design, located in San Francisco, California, welcomes the opportunity to collaborate on icon sets, corporate identity, or other design projects.
According to the Museum of Modern Art in New York, Susan Kare is “a pioneering and influential computer iconographer. Since 1983, Kare has designed thousands of icons for the world’s leading companies. Utilizing a minimalist grid of pixels and constructed with mosaic-like precision, her icons communicate their function immediately and memorably, with wit and style.”
She began her career at Apple, Inc. as the screen graphics and digital font designer for the original Macintosh computer, initially advertised as “the computer for the rest of us.” Her studio’s work continues to optimize for clarity and simplicity–whether for icons, corporate identities, web design, or murals–and to present concepts in clear, concise, and memorable ways.
Kare believes that good icons should be more like traffic signs than illustrations; easily comprehensible and not laden with extraneous detail. She has observed that just because millions of colors are available, maximizing their use in an icon does not necessarily improve it. When symbols (icons or logos) are meaningful and well-crafted, they need not be frequently redesigned.
Susan received MA and Ph.D. degrees in fine art from New York University. In addition to her interest in art and design, she is an avid surfer, runner, and Australian shepherd fan.
She creates limited edition fine art prints, available at kareprints.com, and is available as a speaker.
According to the Museum of Modern Art in New York, Susan Kare is “a pioneering and influential computer iconographer. Since 1983, Kare has designed thousands of icons for the world’s leading companies. Utilizing a minimalist grid of pixels and constructed with mosaic-like precision, her icons communicate their function immediately and memorably, with wit and style.”
She began her career at Apple, Inc. as the screen graphics and digital font designer for the original Macintosh computer, initially advertised as “the computer for the rest of us.” Her studio’s work continues to optimize for clarity and simplicity–whether for icons, corporate identities, web design, or murals–and to present concepts in clear, concise, and memorable ways.
Kare believes that good icons should be more like traffic signs than illustrations; easily comprehensible and not laden with extraneous detail. She has observed that just because millions of colors are available, maximizing their use in an icon does not necessarily improve it. When symbols (icons or logos) are meaningful and well-crafted, they need not be frequently redesigned.
Susan received MA and Ph.D. degrees in fine art from New York University. In addition to her interest in art and design, she is an avid surfer, runner, and Australian shepherd fan.
She creates limited edition fine art prints, available at kareprints.com, and is available as a speaker.
Carolyn Kimball
Carolyn is a Kentucky girl, a printmaker, painter, knitter, gardener and kitchen mess-maker who lives in Austin, Texas. She creates both fine art prints and modern home decor. Her fine art work centers on dreamy, layered landscapes that evoke the history and memory of place, and bold, graphic, woodcuts inspired by rediscovering familiar foods during travel. Her home decor line, Kimball Prints, draws its inspiration from the beauty of the natural world.
Carolyn graduated with a BFA from the Maryland Institute College of Art in 2003 and a MA in printmaking from the University of Louisville in 2008. A professional artist, Carolyn is active in the Austin art community, exhibiting regularly during the East Austin Studio Tour and West Austin Studio Tour and helps run the studio of the Women Printmakers of Austin. In addition to her online store, you can find her work on Generous Art.org, the permanent collection of the Rochester Museum of Fine Arts and in private collections in the United States, England and Kuwait.
Carolyn graduated with a BFA from the Maryland Institute College of Art in 2003 and a MA in printmaking from the University of Louisville in 2008. A professional artist, Carolyn is active in the Austin art community, exhibiting regularly during the East Austin Studio Tour and West Austin Studio Tour and helps run the studio of the Women Printmakers of Austin. In addition to her online store, you can find her work on Generous Art.org, the permanent collection of the Rochester Museum of Fine Arts and in private collections in the United States, England and Kuwait.
Rebecca Klementovich
Rebecca Klementovich has been showing in galleries and charities in NYC, Brooklyn, Queens, and New England for eighteen years. Her education includes a BA at Fashion Inst. Of Technology, NYC, Copper Union NYC, and Art Student League NYC. She also teaches abstract painting and fashion illustration at the Jackson Art and Gallery. She is a curator at the Rochester Museum of Fine Arts, in New Hampshire. Her abstract landscapes are known for developing, “a new language and a fresh color palette” of the Mount Washington Valley. She is co-founder of the Femme Fatales of the North, which supports women and the arts.
Chad Kouri
Chad Kouri is an American artist from a small town north of Detroit, currently living and working in Chicago where he maintains a studio art and design practice while actively participating in the thriving art community on both a local and international level. His decade-long curatorial and collaborative efforts as part of The Post Family have played a large part in creating national and international dialog around Chicago and its world-class creative community. Previously, he has held the title of Art Director for the award-winning contemporary art magazine Proximity.
Notable upcoming and past exhibitions include displays at Northeastern Illinois University; The Hyde Park Art Center; The Museum of Contemporary Art Chicago; Johalla Projects, Chicago; The Rochester Museum of Fine Arts, New Hampshire; Toledo Museum of Art; Purdue University; Mission Cultural Center of Latino Arts, San Francisco; Apexart, New York and the International Poster and Graphic Design Festival in Chaumont, France. Notable past appearances include visiting artist engagements at The School of the Art Institute Chicago, Glasgow School of Art, Portland State University, Otis College of Art and Design, Pratt University, and The Bauhaus University in Weimar, Germany.
His projects range in diversity from one of a kind and editioned artwork to self-publishing, interactive displays, large-scale installations, design direction and consulting, book design and most recently, an exploration of painting.
Notable upcoming and past exhibitions include displays at Northeastern Illinois University; The Hyde Park Art Center; The Museum of Contemporary Art Chicago; Johalla Projects, Chicago; The Rochester Museum of Fine Arts, New Hampshire; Toledo Museum of Art; Purdue University; Mission Cultural Center of Latino Arts, San Francisco; Apexart, New York and the International Poster and Graphic Design Festival in Chaumont, France. Notable past appearances include visiting artist engagements at The School of the Art Institute Chicago, Glasgow School of Art, Portland State University, Otis College of Art and Design, Pratt University, and The Bauhaus University in Weimar, Germany.
His projects range in diversity from one of a kind and editioned artwork to self-publishing, interactive displays, large-scale installations, design direction and consulting, book design and most recently, an exploration of painting.
Laura Harper Lake
Laura Harper Lake is a modern era renaissance woman. When people ask her what she does, it overwhelms her because of how long the answer is.
Laura is passionate about being creative. To name a few focuses: painting (watercolor, acrylic, oil, gesso), drawing, mixed media, photography, printmaking, sculpture (stone and wood), graphic design, website building, making a short film, writing music, writing short stories, and constructing the world's longest voice messages.
This thirst for creativity has been with Laura since she was a little nugget of an artist and that grew into a viable future after attending and graduating from the charming Chester College of New England. Laura has displayed her work in various galleries throughout New England, and is a permanent artist represented at the Art Up Front Street Gallery in Exeter, NH. Laura works as a graphic designer for the Regional Economic Development Center, a driven non-profit that serves southern New Hampshire. Laura also serves multiple clients with freelance graphic design and website building services.
Laura reside in a quaint little town on the darling New Hampshire seacoast, filled to the brim with natural beauty. Her inspirations often come from a heroic author who doubles as her partner in crime, a plucky puppy with boundless energy, and an omniscient feline who truly runs the show.
Laura is passionate about being creative. To name a few focuses: painting (watercolor, acrylic, oil, gesso), drawing, mixed media, photography, printmaking, sculpture (stone and wood), graphic design, website building, making a short film, writing music, writing short stories, and constructing the world's longest voice messages.
This thirst for creativity has been with Laura since she was a little nugget of an artist and that grew into a viable future after attending and graduating from the charming Chester College of New England. Laura has displayed her work in various galleries throughout New England, and is a permanent artist represented at the Art Up Front Street Gallery in Exeter, NH. Laura works as a graphic designer for the Regional Economic Development Center, a driven non-profit that serves southern New Hampshire. Laura also serves multiple clients with freelance graphic design and website building services.
Laura reside in a quaint little town on the darling New Hampshire seacoast, filled to the brim with natural beauty. Her inspirations often come from a heroic author who doubles as her partner in crime, a plucky puppy with boundless energy, and an omniscient feline who truly runs the show.
Amber Lavalley
Amber Lavalley is a young emerging artist from Rochester, NH. In 2004, Amber graduated from Montserrat College of Art in Beverly, MA, where she received her BFA in painting. She spent two years living in Boston, working in a contemporary American craft gallery. Since moving back to Rochester, she has shown her work at Market 100 in Portsmouth, and artstream, and in 2008 won Portsmouth Herald’s Spotlight Award in visual art.
Amber’s one of a kind pen illustrations, are portraits of women with imaginative details. Unique jewelry embellishments, faces and hair styles make the drawings interesting and reflect Amber’s original style. Her portraits combine the confidence expected from the pen, with the capriciousness of a female artist. Each drawing expresses generic sensuality and linear narrative, creating playful and unique works of art.
Amber’s one of a kind pen illustrations, are portraits of women with imaginative details. Unique jewelry embellishments, faces and hair styles make the drawings interesting and reflect Amber’s original style. Her portraits combine the confidence expected from the pen, with the capriciousness of a female artist. Each drawing expresses generic sensuality and linear narrative, creating playful and unique works of art.
Ryan John Lefebvre
Lefebvre’s works touch upon poignant topics like politics and culture, while not shying away from topics as sacred as religion and New England folk art. The pieces offer intrigue and haunt the viewer like unsolved puzzles, just when you think you’ve got an understanding of a piece, a minute detail will pop out bringing with it, the realization that you’ve only scratched the surface.
Kira Leigh
"Using Dali’s paranoiac method of creation I engage my drawing and painting materials with an attempt to exorcize personal anxiety and demons. The end result is usually a female nude expressing contrary social norms, such as being highly sexual but not sexualized, possessing abundant body hair but still being attractive, being objectified in a sexual situation but being physically unattractive.
Sometimes my females have male sexual organs, sometimes they are conjoined twins, and sometimes they are corpses or mutilated in some way. My attempt to personalize the female form and make it an expression of anti-patriarchy, pro-feminist ideals is a direct result of my life as a female in the oppressive western cisgendered Christian white male society.
My works often have bright, anime-inspired symbolism and color palettes, drawing inspiration to my early life as an anime addict. Anime is highly misogynistic with very few strong, complete female characters within it that aren’t simply objectified bodies.
I draw, I paint, sometimes I collage, often times using anti-art materials such as highlighters, gel pens, glitter and sharpie markers. I often employ facial makeup to touch on the way females are expressly held up to an unrealistic physical standard and apply copious amounts of strange face paint in order to appear younger or more sexually enticing.
My version of the male gaze is how I honestly experience it as a gross invention created to strip women of their inherent female power and reduce them to objects for use by heteronormative males. I plan nothing, preferring to simply let it pour out of me, using anxiety and depression as a fuel for my distaste of current societal standards and culture."
Sometimes my females have male sexual organs, sometimes they are conjoined twins, and sometimes they are corpses or mutilated in some way. My attempt to personalize the female form and make it an expression of anti-patriarchy, pro-feminist ideals is a direct result of my life as a female in the oppressive western cisgendered Christian white male society.
My works often have bright, anime-inspired symbolism and color palettes, drawing inspiration to my early life as an anime addict. Anime is highly misogynistic with very few strong, complete female characters within it that aren’t simply objectified bodies.
I draw, I paint, sometimes I collage, often times using anti-art materials such as highlighters, gel pens, glitter and sharpie markers. I often employ facial makeup to touch on the way females are expressly held up to an unrealistic physical standard and apply copious amounts of strange face paint in order to appear younger or more sexually enticing.
My version of the male gaze is how I honestly experience it as a gross invention created to strip women of their inherent female power and reduce them to objects for use by heteronormative males. I plan nothing, preferring to simply let it pour out of me, using anxiety and depression as a fuel for my distaste of current societal standards and culture."
Calvin Libby
Calvin Jacob Libby, born June 22 1931, died 1998, was one of nine children growing up on a farm in Stowe, Vermont. He went on to the University of Vermont, The New England School of Art in Boston and later to the Museum of Modern Art in Trier, Germany, where he studied while serving in the armed forces.
After the military, he landed a job as Art Director with an advertising agency in New York City. His wife, Ann grew up in Nashua, NH with her parents and her sister. She was also very involved in the arts and theatre. Cal and Ann met while they were both attending The New England School of Art.
After the military, he landed a job as Art Director with an advertising agency in New York City. His wife, Ann grew up in Nashua, NH with her parents and her sister. She was also very involved in the arts and theatre. Cal and Ann met while they were both attending The New England School of Art.
Amy Longberry
"I’m a self-taught photographer. I love capturing images with a mix of whimsical realism a touch of abstract combined with a surreal vintage feel and all those moments in between. Through my work, I strive to incorporate a combination of color schemes that evoke emotion, ethereal light, intriguing patterns and creative imagination. With my photographs, I want the viewer to feel as though they accidentally stumbled upon a secret keyhole giving them a glimpse of my little visions of the world. Living in a world that can be so complex, it gives me immense comfort to contribute some calm simplicity."
Albert Longo III
No information provided.
Heather Macleod
"My art has a light and a dark side to it. I love to paint landscapes on silk. The vibrancy of the colours in the dyes are like nothing else I can create with other mediums. Inspired by the views of Arran, mountains, forest, seascape and machair, the inspiration is endless. My darker Steampunk Creations, which mostly involve musical instruments and clock pieces or engine parts, is a very 3D style with interesting shapes and textures. It’s exciting to interlace wood, copper, brass and slate into a collage of colours and density. To put it all together, I am also a Picture Framer and offer a bespoke service using quality wood mouldings and conservation mounts."
Joe Martell
Born in 1950, Joe has had numerous solo and group exhibits of painting and sculpture in the US and Europe. His work is in many public and private collections.
Lynn Miller
No information provided.
Kelly Moore
Santa fe Art Renegade Kelly Moore is one of the most original creators of Folk Art in the United States. His work has at times been referred to as outsider art, art brut and folk art. He is self taught and originally from the Ozarks of Arkansas. His colorful paintings are composed of a whole variety of strange figures and beasts often in a carnival procession across the surface or set within a distant landscape. Other compositions are more involved with lettering, swirling, colors, thick impasto and dark surrounding atmosphere, while others show different series of strange figures, including ghosts, or ornamental beasts lined up in rows before one's eyes. An attractive book which is an impressive documentation of Moores work.
Sunday B. Morning
In 1967, Andy Warhol produced what would become one of the most iconic and memorable representations of screen legend Marilyn Monroe. Warhol created a series of 10 variations in what is now referred to as the Marilyn series, each with virtually the same composition, but different color variations. These original prints are known as the “Factory Additions”.
These are by far the most expensive Marilyn screenprints, which auction anywhere from $100,000 for a single print, to over $1.5 million for the suite.
After Warhol published his famous Factory Additions of Marilyn, he began collaborating with two anonymous friends from Belgium on a second series of prints.
The original idea behind this partnership, for Warhol, was to play on the concept of mass production. He was essentially mocking the idea that the Factory Addition prints were somehow more important than the second series. Warhol provided the photo negatives and color codes needed to create silkscreens exactly like the ones he had used for the Factory Additions.
In 1970, Warhol’s original silkscreens were reproduced to create the second series of Marilyn screenprints. These were named “Sunday B. Morning” prints. Their dimensions are 36x36 and are printed with high quality archival inks, just like the originals.
These are by far the most expensive Marilyn screenprints, which auction anywhere from $100,000 for a single print, to over $1.5 million for the suite.
After Warhol published his famous Factory Additions of Marilyn, he began collaborating with two anonymous friends from Belgium on a second series of prints.
The original idea behind this partnership, for Warhol, was to play on the concept of mass production. He was essentially mocking the idea that the Factory Addition prints were somehow more important than the second series. Warhol provided the photo negatives and color codes needed to create silkscreens exactly like the ones he had used for the Factory Additions.
In 1970, Warhol’s original silkscreens were reproduced to create the second series of Marilyn screenprints. These were named “Sunday B. Morning” prints. Their dimensions are 36x36 and are printed with high quality archival inks, just like the originals.
Anita NH
Anita is a self-taught collage artist and former librarian who embraced mid-life crisis, dropped out of the corporate world, and moved to rural New Hampshire to become creatively self-employed. Owner of Anita’s Beads and Toad Hollow Minerals, Anita also designs jewelry, fabric, and digital art prints.
Sarah Nobels
No information provided.
James O’Brien
James M. O’Brien is an avid outdoorsman who has spent the majority of his time living among the rural New Hampshire and Hudson Valley scenery. O’Brien was inspired by the British and American romantic landscape painters of 18th and 19th centuries.
In 2007, he began his studies at the New Hampshire Institute of Art graduating four years later with summa cum laude. O’Brien soon began exhibiting his work across the New England Area and taking on commissioned projects across the United States focusing on landscape. An interest within academic draftsmanship and classical painting led him to briefly join the Ingbretson Atelier in Manchester, New Hampshire, where he studied for two years within the Boston School Tradition. In 2017 O’Brien earned his master degree in, Visual Arts, from the New Hampshire Institute of Art.
James O’Brien now lives on a large tract of land in Dunbarton, New Hampshire where his wife (an avid naturalist and artist) explore the diverse New England landscape and study the native wildlife.
In 2007, he began his studies at the New Hampshire Institute of Art graduating four years later with summa cum laude. O’Brien soon began exhibiting his work across the New England Area and taking on commissioned projects across the United States focusing on landscape. An interest within academic draftsmanship and classical painting led him to briefly join the Ingbretson Atelier in Manchester, New Hampshire, where he studied for two years within the Boston School Tradition. In 2017 O’Brien earned his master degree in, Visual Arts, from the New Hampshire Institute of Art.
James O’Brien now lives on a large tract of land in Dunbarton, New Hampshire where his wife (an avid naturalist and artist) explore the diverse New England landscape and study the native wildlife.
Uchenna Odukwe
Uchenna Odukwe draws on the eclectic imagery, color and mood of his African cultural heritage and by his sophisticated eye fro contemporary design, he creates a unique for of African Abstraction that is uniquely his own. Inspired by African drumming and dance, two of the continent's oldest surviving traditions, Odukwe plays with line, color, and movement to create vivid paintings that spring to life with vital energy. Swirling, curling, and dancing across the canvas, Odukwe's graceful lines take center stage his works of varying abstraction. Although many of the artist's works delve into total abstraction, many others depict elegantly simplified figured, but each work, conjured in dreams, expresses the artist's deep philosophical musing and inner psychological workings.
Lisa Paige
"So many people have returned to embroidery lately as an art form, you could talk about it being elevated from craft to art, with the comfort of why you do it as an artist as opposed to being able to paint, because it's handy and you can pick it up easily and keep returning to it. There is a turning away from slick commercial art, back to "evidence of hand" people want to know the art they are holding was made by someone that is accessible to them and not high brow. Our grandmothers embroidered so it connects us through time and place. The irreverent subject matter makes it even more accessible because it's humorous. "
Yangyang Pan
Yangyang Pan, born in 1976, studied at the Sichuan Fine Art Institute where she received her Honours Bachelor of Fine Arts in 1998 followed by her Master of Fine Art in 2002. She remained as a instructor in SFAI until 2006 when she immigrated to Canada. Now she is working as an artist in Toronto, ON, Canada.
Sam Paolini
Sam Paolini has been a professional artist since dropping out of Massachusetts College of Art in 2008. In March 2010 Paolini founded Wrong Brain, a zine featuring the art and writing of local creatives. Wrong Brain has since expanded to 9 zines, 3 audio compilations, annual alternative art fairs, gallery shows, poetry readings, and other multimedia art events.
From 2010-2013, Sam directed the curatorial committee of 30 Under 30, a locally renowned annual art exhibition featuring the Seacoast’s best emerging artists. Paolini has been teaching art at the non-profit art center Main Street Art in Newfields, NH since 2011. In 2012, the children’s book Dream Detectives: Something Funny About the Cake was published, featuring 30 pages of illustrations by Sam. In 2017, Sam travelled across the United States for 77 days, painting murals for free for community centers, nonprofits, communes and collectives.
From 2010-2013, Sam directed the curatorial committee of 30 Under 30, a locally renowned annual art exhibition featuring the Seacoast’s best emerging artists. Paolini has been teaching art at the non-profit art center Main Street Art in Newfields, NH since 2011. In 2012, the children’s book Dream Detectives: Something Funny About the Cake was published, featuring 30 pages of illustrations by Sam. In 2017, Sam travelled across the United States for 77 days, painting murals for free for community centers, nonprofits, communes and collectives.
Jeannie Griffin Peterka
"I suppose my art career began when I enrolled as a freshman art major at Southern Methodist University. I discovered early on that I wanted to be a painter and work abstractly but that wasn’t the focus of the teaching at SMU at that time. After college I continued to paint and take private classes but although I had some very good teachers I was unable to find one who could take me into pure abstraction. I continued to struggle on my own... until I met Zanne Hochberg. The first time I went into her home I was stunned by the gorgeous large abstract paintings that were hung floor to ceiling in every room. I asked her if she would take me as a student and when the time was right in her life she did. She became my mentor and teacher, my friend and always an inspiration. She believed in me as an artist and I will be forever grateful to her.
Besides Zanne, some of my art heroes are Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Joan Mitchell, Morris Louis, Per Kirkeby and Chuck Close.
I don’t have anything in mind when I start to work except for perhaps some colors I might like to use that day. Even that is subject to change, though, as the painting continues to progress. I start by putting color on the canvas, drawing with charcoal or paint, adding layers of paint and soon something will begin to emerge. I turn the canvas constantly so that it’s worked from all directions. I only decide at the end which way it should hang. I’m currently working with multiple panels and joining them together in the back. I like seeing the energy between the panels and the sharp line made from joining the panels. There is nothing more exciting to me than seeing one or more freshly stretched canvases hanging on my studio wall and wondering what the final painting will look like.
As my work has gotten larger and often requires some assembly, I’ve chosen to show mostly in the northeast. I also take students from time to time and enjoy passing on what I’ve learned through the years."
Besides Zanne, some of my art heroes are Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Joan Mitchell, Morris Louis, Per Kirkeby and Chuck Close.
I don’t have anything in mind when I start to work except for perhaps some colors I might like to use that day. Even that is subject to change, though, as the painting continues to progress. I start by putting color on the canvas, drawing with charcoal or paint, adding layers of paint and soon something will begin to emerge. I turn the canvas constantly so that it’s worked from all directions. I only decide at the end which way it should hang. I’m currently working with multiple panels and joining them together in the back. I like seeing the energy between the panels and the sharp line made from joining the panels. There is nothing more exciting to me than seeing one or more freshly stretched canvases hanging on my studio wall and wondering what the final painting will look like.
As my work has gotten larger and often requires some assembly, I’ve chosen to show mostly in the northeast. I also take students from time to time and enjoy passing on what I’ve learned through the years."
Michelle Peterson
No information provided.
Elena Peteva
"My work is an allegorical representation of our individual and human states. The image functions as a subtle but charged signifier that creates a delicate net of meaning. The outer representation becomes emblematic of the inner, whether it reveals my subject’s inner state or my subject acts as a personification of an idea. I often think what I try to do in my work is to present and illuminate things that are perhaps unrepresentable."
Elena Petrova
Petrova Elena was born on November, 19th, 1974 in Novosibirsk. Elena Petrova is a restorer and art critic. She studied at the Moscow Art School and St.-Petersburg State Academic Institute of Painting, Sculpture and Architecture. Elena admits that the restoration has given her a lot, helped to understand how to achieve a particular effect in painting.
”Painting for me is, first of all, the color. Color of pure, saturated, without “impurities”. I like bright life, and generally speaking, I simply love life. Therefore, creating my paintings, I wish that it carried joy, good mood. And to express that, above all, color.”
”Painting for me is, first of all, the color. Color of pure, saturated, without “impurities”. I like bright life, and generally speaking, I simply love life. Therefore, creating my paintings, I wish that it carried joy, good mood. And to express that, above all, color.”
Hannah Phelps
Sense of place is key to understanding Hannah Phelps. Born in Portsmouth, New Hampshire, and raised north of Portland, Maine, New England roots dig deep into her life and art. “I’m a classic New Englander,” she says. “I’m really attached to this geographic place.”
Phelps’ work represents, as she describes it, “the world outside her window and the forces at work there.” Her award-winning plein air oil paintings and relief prints often depict the crashing waves and jagged rocks of the northern New England coast, where she spent summers as a child combing the rugged shore and nearby woods. “I think that’s what really inspired me to become an artist,” she says.
Initially, Phelps explored the natural world through science, studying physics at Mount Holyoke College. But that felt incomplete. “Drawing and painting from nature are not just like scientific study,” she says. “In some fields, drawing is the primary method of recording scientific discoveries.” Her knowledge of physics—for example, understanding the dynamics of water movement—informs her kinetic depictions of the ocean and waves crashing against rocks. “I know how water has to move because of physical laws,” Phelps says. “I think about my subject matter—water, rocks, snow, sand, trees, clouds—in scientific terms.”
While living in Baltimore after college (and plotting a move back to New England), Phelps took painting classes at the Maryland Institute of Art. By the time she moved to New Boston, a small town in central New Hampshire, she was painting regularly.
Phelps considers herself a painter first, painting primarily in plein air. Printmaking evolved naturally. She employs different techniques, including jigsaw woodcuts and white-line woodcuts, a technique popularized by Provincetown artists in the early 20th century and characterized by a white outline surrounding each shape of color. “I love printmaking,” Phelps says. “You have to think about how to apply color and layer your work. You can work on an oil painting for years, but in printmaking there’s a finality to the process that I enjoy.”
Aspiring printmakers can take classes from Phelps, including a summer workshop on Appledore Island, off the coast of Portsmouth. Her work is also available through League of New Hampshire Craftsmen stores in Nashua, Meredith, and Littleton, New Hampshire, and she also has booths at the League’s annual fair and the December Button Factory Open Studios in Portsmouth.
Phelps’ work represents, as she describes it, “the world outside her window and the forces at work there.” Her award-winning plein air oil paintings and relief prints often depict the crashing waves and jagged rocks of the northern New England coast, where she spent summers as a child combing the rugged shore and nearby woods. “I think that’s what really inspired me to become an artist,” she says.
Initially, Phelps explored the natural world through science, studying physics at Mount Holyoke College. But that felt incomplete. “Drawing and painting from nature are not just like scientific study,” she says. “In some fields, drawing is the primary method of recording scientific discoveries.” Her knowledge of physics—for example, understanding the dynamics of water movement—informs her kinetic depictions of the ocean and waves crashing against rocks. “I know how water has to move because of physical laws,” Phelps says. “I think about my subject matter—water, rocks, snow, sand, trees, clouds—in scientific terms.”
While living in Baltimore after college (and plotting a move back to New England), Phelps took painting classes at the Maryland Institute of Art. By the time she moved to New Boston, a small town in central New Hampshire, she was painting regularly.
Phelps considers herself a painter first, painting primarily in plein air. Printmaking evolved naturally. She employs different techniques, including jigsaw woodcuts and white-line woodcuts, a technique popularized by Provincetown artists in the early 20th century and characterized by a white outline surrounding each shape of color. “I love printmaking,” Phelps says. “You have to think about how to apply color and layer your work. You can work on an oil painting for years, but in printmaking there’s a finality to the process that I enjoy.”
Aspiring printmakers can take classes from Phelps, including a summer workshop on Appledore Island, off the coast of Portsmouth. Her work is also available through League of New Hampshire Craftsmen stores in Nashua, Meredith, and Littleton, New Hampshire, and she also has booths at the League’s annual fair and the December Button Factory Open Studios in Portsmouth.
Michael Philips
Michael Phillips is a United States postal worker and self taught artist from Litchfield, New Hampshire, now based in Concord. His work brings together various antithetical and contradictory sentiments, as well as a wide range of influences, techniques, and mediums, into a cohesive body of work that puts more stock in an oeuvre than singular pictures. He attempts to elevate and highlight the accidental, overlooked, and non-art we pass every day: cracked city buildings, rusty metal, dirty walls, runny paint.
Phillips draws from his time as a musician and brings the ideas and ethos of DIY music scenes to his art. He is relatively new the art scene but has shown in galleries in New Hampshire and is in private collections in Europe, Canada and across the USA.
Phillips draws from his time as a musician and brings the ideas and ethos of DIY music scenes to his art. He is relatively new the art scene but has shown in galleries in New Hampshire and is in private collections in Europe, Canada and across the USA.
Justin Potts
"I was born in 1972 and raised in Bucks County, PA. My father painted in oils and made mixed media works and my mother sketched flowers and practiced calligraphy. They both influenced me growing up, as did an occurrence involving my older sister when I was 11 or 12. I vividly remember her coming home from school one day and showing me a design she had made in art class. The wavy ink lines were extremely close together but did not touch. The intricacy and fluidity appealed to me and I began to make my own evermore detailed ink drawings. It turned into something of an obsession.
By age 13 I had committed myself to art with a fervor. I’d finish a 30 hour drawing made over the course of a few days and immediately start on the next. I found a meditative bliss in the work and have now spent the intervening 30 years consistently making things and experimenting with materials. I am self taught and have learned by doing and being unafraid to fail. Treating my work like jazz, I’d improvise; believing there is no wrong way to do it- everything is a part of a process. If you are making you are progressing, in my view. Keeping a beginners mind helps me maintain a sense of wonder, which for me is essential. I am humbled and enchanted by the grandeur, complexity and enduring mystery of life. This is at the heart of my work. Art has been my foundation in life. A great therapist and a way to honor my family and what I feel is my extended family - the whole of the universe, including you.
I value peace, kindness, consideration, humor, egalitarianism, conservation of resources, the DIY ethic, awareness, and as a lifelong Utopian, problem solving.
I live and work in Portland, Oregon with my wife, two kids and an underutilized Border Collie. I enjoy writing and recording solo music and play guitar and sing in an experimental rock band called Terwilliger Curves."
By age 13 I had committed myself to art with a fervor. I’d finish a 30 hour drawing made over the course of a few days and immediately start on the next. I found a meditative bliss in the work and have now spent the intervening 30 years consistently making things and experimenting with materials. I am self taught and have learned by doing and being unafraid to fail. Treating my work like jazz, I’d improvise; believing there is no wrong way to do it- everything is a part of a process. If you are making you are progressing, in my view. Keeping a beginners mind helps me maintain a sense of wonder, which for me is essential. I am humbled and enchanted by the grandeur, complexity and enduring mystery of life. This is at the heart of my work. Art has been my foundation in life. A great therapist and a way to honor my family and what I feel is my extended family - the whole of the universe, including you.
I value peace, kindness, consideration, humor, egalitarianism, conservation of resources, the DIY ethic, awareness, and as a lifelong Utopian, problem solving.
I live and work in Portland, Oregon with my wife, two kids and an underutilized Border Collie. I enjoy writing and recording solo music and play guitar and sing in an experimental rock band called Terwilliger Curves."
Shannon Rankin
Shannon Rankin was born in California in 1971 and currently lives and works in Rangeley, Maine. She received a Bachelor of Fine Arts from the Maine College of Art in Portland, Maine (1997).
Her recent solo exhibitions include Fathom, Center for Maine Contemporary Art, Rockport, Maine (2011) and Disperse / Displace, Gallery Voss, Düsseldorf, Germany (2010). Her work is included in private and public collections both nationally and internationally. Select group exhibitions include Crux, June Fitzpatrick Gallery, Portland, Maine; Moving Maps, EPFL Rolex Learning Center, Lausanne, Switzerland; Maps, June Fitzpatrick Gallery, Portland, Maine, and Constructed Territory, Wright State University, Ohio. Her work has been featured in Geo Graphic, Elephant, Maine Home and Design, Maine Magazine, Papercraft 2, Data Flow 2, and Perfect Paper.
Recent awards include the 2010 Center for Maine Contemporary Art Biennial Juror’s Prize, and residencies at the Bemis Center for Contemporary Art in Omaha, Nebraska, and the Vermont Studio Center in Johnson, Vermont.
“I create installations, collages and sculptures that use the language of maps to explore the connections among geological and biological processes, patterns in nature, geometry and anatomy. Using a variety of distinct styles I intricately cut, score, wrinkle, layer, fold, paint and pin maps to produce revised versions that often become more like the terrains they represent. These new geographies explore notions of place, perception and experience, suggesting the potential for a broader landscape and inviting viewers to examine their relationships with each other and the world we share.”
Her recent solo exhibitions include Fathom, Center for Maine Contemporary Art, Rockport, Maine (2011) and Disperse / Displace, Gallery Voss, Düsseldorf, Germany (2010). Her work is included in private and public collections both nationally and internationally. Select group exhibitions include Crux, June Fitzpatrick Gallery, Portland, Maine; Moving Maps, EPFL Rolex Learning Center, Lausanne, Switzerland; Maps, June Fitzpatrick Gallery, Portland, Maine, and Constructed Territory, Wright State University, Ohio. Her work has been featured in Geo Graphic, Elephant, Maine Home and Design, Maine Magazine, Papercraft 2, Data Flow 2, and Perfect Paper.
Recent awards include the 2010 Center for Maine Contemporary Art Biennial Juror’s Prize, and residencies at the Bemis Center for Contemporary Art in Omaha, Nebraska, and the Vermont Studio Center in Johnson, Vermont.
“I create installations, collages and sculptures that use the language of maps to explore the connections among geological and biological processes, patterns in nature, geometry and anatomy. Using a variety of distinct styles I intricately cut, score, wrinkle, layer, fold, paint and pin maps to produce revised versions that often become more like the terrains they represent. These new geographies explore notions of place, perception and experience, suggesting the potential for a broader landscape and inviting viewers to examine their relationships with each other and the world we share.”
Wen Redmond
Wen Redmond is a mixed media artist who delights in creating dialogue, changing your perspectives and perceptions of fiber. She works intuitively, encouraging ‘flow’, experimentation and the inner muse both in herself and her workshop participants.
Amy Marie Regan
Amy Marie Regan is an artist and photographer from Windham, NH. Amy studied photography at the New Hampshire Institute of Art, in Manchester, NH, and graduated with a BFA in 2008. Her work has been featured in a variety of venues such as Art Current in Provincetown, MA and Wyatt Art Studios in Rochester, NH. She co-founded the Rochester Museum of Fine Arts in 2011 and serves as the co-chair. She also serves as a member of the Commission for Arts & Culture for the City of Rochester, NH. Amy received the President’s Volunteer Service Award in 2018.
"My work is about moments that create a scene. A second before hand or a second after and the image would mean nothing; they themselves are almost pure luck. There are no grandiose landscapes or the ravages of war. There are people on their way to work or three elegant lines. It is these moments within the mundane that excite me. They are all around."
"My work is about moments that create a scene. A second before hand or a second after and the image would mean nothing; they themselves are almost pure luck. There are no grandiose landscapes or the ravages of war. There are people on their way to work or three elegant lines. It is these moments within the mundane that excite me. They are all around."
Claudia Rippee
No information provided.
Cindy Rizza
Native to Maine, Cindy Rizza is a classically trained, representational oil painter with her BFA from the New Hampshire Institute of Art. Her nostalgic, iconic representations of ordinary subjects summon conflicting feelings of comfort and loneliness, hope and foreboding, and of life and loss. She has won numerous art awards, including the NH Spotlight Award for Outstanding Representational Artist, The Vermont Studio Center Artist Grant, and more. Her work is collected internationally. Cindy lives and works in Southern New Hampshire.
"My work quietly examines familiar domestic comforts and the objects that we use to feel secure. In examining the unique identities of heirloom textiles and childhood nostalgia my work summons conflicting feelings of comfort and loneliness, hope and foreboding, and of life and loss. I aim to expose the contradictions within the subjects- to honor the comfort and love they bore, but unfold the truths of what we are fearful of in the darkness."
"My work quietly examines familiar domestic comforts and the objects that we use to feel secure. In examining the unique identities of heirloom textiles and childhood nostalgia my work summons conflicting feelings of comfort and loneliness, hope and foreboding, and of life and loss. I aim to expose the contradictions within the subjects- to honor the comfort and love they bore, but unfold the truths of what we are fearful of in the darkness."
Laura Ruth
“I love art in all its various forms, especially photography. My camera is truly an extension of myself and captures the way I choose to see the world. I hope to share and spread my vision, which is often described as being calming, peaceful, inspiring, uplifting, warm, meditative, dreamy, ethereal, and whimsical.”
Pradip Kumar Sau
No information provided.
Glen Scheffer
Glen Scheffer enjoys using photography to create images that play between realistic representation and the imagined. Scheffer uses large and medium format cameras to construct his interpretations and cultivate his vision. Scheffer’s work is finished through the darkroom, as large archival pigment prints, as well as handmade books. Scheffer has exhibited his work regularly in the Boston area and nationally. He received his BFA in photography from NHIA in 2002 and completed his MFA in 2016.
Susan Schwake
Susan Schwake is an artist, art educator, and best selling author. In her artwork, she is inspired most by the natural world and the changes it goes through – both inherent and external forces. She often abstracts these interactions through simplification, distortion, heightened or changed color and viewpoint. She works with ink, acrylic, watercolor, gouache and paper on paper, panel and canvas. Her work has been exhibited on the East Coast of the US, Mexico and Europe.
Susan is also an owner and art teacher at Artstream Studios in Rollinsford NH. Her students, both children and adult have inspired her endlessly for the past 25 years. She has written six books about making art with children to date, with a seventh one being published early next year. She paints and draws most every day. Learn more at www.susanschwake.com.
Susan is also an owner and art teacher at Artstream Studios in Rollinsford NH. Her students, both children and adult have inspired her endlessly for the past 25 years. She has written six books about making art with children to date, with a seventh one being published early next year. She paints and draws most every day. Learn more at www.susanschwake.com.
Julia Schwartz
Julia Schwartz is an artist living and working in Santa Monica. Her paintings, straddling figuration and abstraction, are deeply influenced by years of psychoanalytic study and practice. She has exhibited extensively nationally and internationally, including Los Angeles, New York, Dallas, Amsterdam, London, and Cyprus.
Recent exhibitions include “The Only Way Out Is In” at Citrus College, “Dig For Fire” at Eastside International in Los Angeles, and “Insomnia” in Pelham, New York where more than 100 works on paper were installed. Curatorial projects include “Place Made Visible” in Bushwick, NY (2014) and “States of Being” at the Torrance Art Museum in 2015 and “Black Mirror” at Charlie James Gallery in 2017.
Schwartz received the Foundation Prize for Painting from Peripheral Vision Arts in 2016. She has been the focus of numerous interviews and reviews, including Studiocritical, Ithaca MOMA, Fabrik, and Huffpost, Whitehot Magazine, and Artweek LA, and was interviewed in the February 2017 Coagula Art Journal. She has been included in New American Paintings and listed on 1000 Living Painters. As the Arts Editor for Figure/Ground Communication, Schwartz has interviewed visual and other artists about their creative process. She is currently on the Advisory Board of Fine Arts Complex 1101, a Contemporary Arts Museum in Tempe, AZ.
Recent exhibitions include “The Only Way Out Is In” at Citrus College, “Dig For Fire” at Eastside International in Los Angeles, and “Insomnia” in Pelham, New York where more than 100 works on paper were installed. Curatorial projects include “Place Made Visible” in Bushwick, NY (2014) and “States of Being” at the Torrance Art Museum in 2015 and “Black Mirror” at Charlie James Gallery in 2017.
Schwartz received the Foundation Prize for Painting from Peripheral Vision Arts in 2016. She has been the focus of numerous interviews and reviews, including Studiocritical, Ithaca MOMA, Fabrik, and Huffpost, Whitehot Magazine, and Artweek LA, and was interviewed in the February 2017 Coagula Art Journal. She has been included in New American Paintings and listed on 1000 Living Painters. As the Arts Editor for Figure/Ground Communication, Schwartz has interviewed visual and other artists about their creative process. She is currently on the Advisory Board of Fine Arts Complex 1101, a Contemporary Arts Museum in Tempe, AZ.
Anne O. Smith
No information provided.
Sali Swalla
Born in Hawaii to a Japanese mother and a military aviator father, Sali's early years were spent living in various US States, Japan and Korea. After attending University in Tokyo she moved to Los Angeles where roots where finally grown. Having moved often in her youth and spending so much time "in between"...in between states, countries, houses, schools and cultures... she has developed a rich and unique inner life. She has created an inner space cultivated by all the differences she has seen. A space suspended between here and there. A space which is the foundation for all of her work.
Sali's full time painting practice began after years as a small business owner. She followed the dream of opening her own little coffee shop and successfully ran two of them before the need for the meditative quiet of a regular studio practice demanded to be heard. There was no refusing the call to create. It has become her meditation, her vehicle and her voice on this spiritual journey. It has made her complete on a deeply soulful level. Her deepest wish for her work is for it to touch the viewer in some way on just such a level…to make the viewer pause, even for the briefest of moments, to reflect on or connect with their deeper selves. To make visible to them something that has only ever been a feeling or a dream.
Sali has found collectors for her work across the US and Internationally.
Sali's full time painting practice began after years as a small business owner. She followed the dream of opening her own little coffee shop and successfully ran two of them before the need for the meditative quiet of a regular studio practice demanded to be heard. There was no refusing the call to create. It has become her meditation, her vehicle and her voice on this spiritual journey. It has made her complete on a deeply soulful level. Her deepest wish for her work is for it to touch the viewer in some way on just such a level…to make the viewer pause, even for the briefest of moments, to reflect on or connect with their deeper selves. To make visible to them something that has only ever been a feeling or a dream.
Sali has found collectors for her work across the US and Internationally.
Devin Swett
Devin Swett is an artist, web developer, designer, and photographer working in Portsmouth, NH. Devin studied photography at the New Hampshire Institute of Art, in Manchester, NH. He graduated with a BFA in 2008. As a photographer, he has worked in many mediums including film, 8x10 large format, and Polaroid. His work has been featured in a variety of venues such as Art Current in Provincetown, MA and Wyatt Art Studios in Rochester, NH. He co-founded the Rochester Museum of Fine Arts in 2011 and received the President’s Volunteer Service Award in 2018. In his free time Devin enjoy being outdoors, camping, and traveling.
Ryan Tempro
My work is in reference to screens and flatness. Growing up surrounded by technology with a father who works with computers, I am fascinated in pixelated fragmentation and repetition. Technology’s fast paced pursuit of higher definition screen resolutions leave me interested in abstraction and generalization. I find ones ability to recognize and interpret information given to them in abstract forms astounding. Through the act of painting and printmaking, I physically pixelate and abstract photographs by applying and subsequently manipulating a grid. Each square is painted individually and often colors vary slightly from square to square, similar to the visual effect of enlarged pixelated images. Rows and columns form the structure for my paintings; the orientation of each square is altered depending on the one that precedes it. Through the use of paint I am able to distance myself from, and play off of, the transitory nature of electronic technology by working with a tactual and permanent medium. The interaction of how the viewer tries to interpret the information given to them in my work drives me to abstract forms. I find inspiration in artists such as Chuck Close and Nick Leopard, whose work explores abstracting human forms through simplified generalizations. My concentration on the figure stems from the pervasiveness of social media; everyone has a digital identity. Through my large self-portraits I am able to explore the limitations on how abstract a portrait of myself can become, while still being recognizable as a familiar face.
Sam Trioli
Sam Trioli is a contemporary artist, curator, and musician currently living and working in New York City and New Hampshire. Trioli’s work plays with the concepts of abstraction, pop and traditional painting methods. His work explores the simplicity of social abstraction and cognitive association within minimal form, color and structure. The hand of the artist remains hidden behind the concept and foreground of each piece, making process secondary to structured form.
Trioli has participated in numerous group exhibitions including Farm Project Space + Gallery, Wellfleet, Massachusetts (2012); “Some Girls,” Launch F18, New York, New York (2011); “Can’t Hear The Revolution,” Kunsthalle Galapagos, Brooklyn, New York (2011); “Team Work,” Allan Nederpelt, New York (2010) and “Duck and Recover,” The F.U.E.L. Collection, Philadelphia (2009). Solo exhibitions include “Sagebrush Gulch,” Site95, Miami, FL (2012) and “Brumaire,” Howard Yezerski Gallery, Boston, MA (2012).
Trioli has participated in numerous group exhibitions including Farm Project Space + Gallery, Wellfleet, Massachusetts (2012); “Some Girls,” Launch F18, New York, New York (2011); “Can’t Hear The Revolution,” Kunsthalle Galapagos, Brooklyn, New York (2011); “Team Work,” Allan Nederpelt, New York (2010) and “Duck and Recover,” The F.U.E.L. Collection, Philadelphia (2009). Solo exhibitions include “Sagebrush Gulch,” Site95, Miami, FL (2012) and “Brumaire,” Howard Yezerski Gallery, Boston, MA (2012).
Nate Twombly
Nate Twombly is a freelance illustrator and artist. Nate earned his BFA in Illustration from New Hampshire Institute Of Art 2009. He also studied Drawing/Painting at Firenze Arti Visive in Florence, Italy in 2008. His work is represented locally and internationally.
"At some point in history someone has done at least one of the activities I portray; whether they collected firewood, shot an gun, stole money, flew a bi-plane, explored the African jungle, fought in a World War or played in the 1919 World Series. Life is too short for one person to experience it all. For what I cannot do I choose depict here."
"At some point in history someone has done at least one of the activities I portray; whether they collected firewood, shot an gun, stole money, flew a bi-plane, explored the African jungle, fought in a World War or played in the 1919 World Series. Life is too short for one person to experience it all. For what I cannot do I choose depict here."
Mishel Valenton
No information provided.
Justicia Vargas
An accomplished mixed-media painter, Justicia Vargas has always looked at the world around her with an artful eye. Growing up in Colorado, she always enjoyed sketching, but discovered painting in her 20s as a way to help her overcome a challenging time in her life.
While she created art for herself, Justicia grew a successful cleaning company. It was while cleaning that she began to help people redecorate their homes and realized she had a passion for this different kind of art and design. Not only could she be creative and help bring that same creativity out in her clients, but she understood that, just like the emotional connections she had to her paintings, people would be emotionally connected to their homes, possessions, and how they were arranged.
This led Justicia to pursue a master’s certificate in Home Staging and Redesign in 2014, after several years in the field of home redesign. All of Justicia’s artistic endeavors culminated in the creation of MiMod as a way to share and explore the varied styles of art and design she is drawn to.
Justicia’s art has been seen in the Rochester Museum of Fine Arts in New Hampshire, and an article in 303 Magazine shined a light on her part in a RAW: natural born artists show. Justicia won Best in Show in Denver’s Modernism Show in 2015 and continues to be a dynamic contributor to Denver’s fine arts community.
While she created art for herself, Justicia grew a successful cleaning company. It was while cleaning that she began to help people redecorate their homes and realized she had a passion for this different kind of art and design. Not only could she be creative and help bring that same creativity out in her clients, but she understood that, just like the emotional connections she had to her paintings, people would be emotionally connected to their homes, possessions, and how they were arranged.
This led Justicia to pursue a master’s certificate in Home Staging and Redesign in 2014, after several years in the field of home redesign. All of Justicia’s artistic endeavors culminated in the creation of MiMod as a way to share and explore the varied styles of art and design she is drawn to.
Justicia’s art has been seen in the Rochester Museum of Fine Arts in New Hampshire, and an article in 303 Magazine shined a light on her part in a RAW: natural born artists show. Justicia won Best in Show in Denver’s Modernism Show in 2015 and continues to be a dynamic contributor to Denver’s fine arts community.
Jeff Vinciguerra
No Information Provided.
Andy Warhol
In 1967, Andy Warhol produced what would become one of the most iconic and memorable representations of screen legend Marilyn Monroe. Warhol created a series of 10 variations in what is now referred to as the Marilyn series, each with virtually the same composition, but different color variations. These original prints are known as the “Factory Additions”.
These are by far the most expensive Marilyn screenprints, which auction anywhere from $100,000 for a single print, to over $1.5 million for the suite.
After Warhol published his famous Factory Additions of Marilyn, he began collaborating with two anonymous friends from Belgium on a second series of prints.
The original idea behind this partnership, for Warhol, was to play on the concept of mass production. He was essentially mocking the idea that the Factory Addition prints were somehow more important than the second series. Warhol provided the photo negatives and color codes needed to create silkscreens exactly like the ones he had used for the Factory Additions.
In 1970, Warhol’s original silkscreens were reproduced to create the second series of Marilyn screenprints. These were named “Sunday B. Morning” prints. Their dimensions are 36x36 and are printed with high quality archival inks, just like the originals.
These are by far the most expensive Marilyn screenprints, which auction anywhere from $100,000 for a single print, to over $1.5 million for the suite.
After Warhol published his famous Factory Additions of Marilyn, he began collaborating with two anonymous friends from Belgium on a second series of prints.
The original idea behind this partnership, for Warhol, was to play on the concept of mass production. He was essentially mocking the idea that the Factory Addition prints were somehow more important than the second series. Warhol provided the photo negatives and color codes needed to create silkscreens exactly like the ones he had used for the Factory Additions.
In 1970, Warhol’s original silkscreens were reproduced to create the second series of Marilyn screenprints. These were named “Sunday B. Morning” prints. Their dimensions are 36x36 and are printed with high quality archival inks, just like the originals.
Wayne White
Wayne White is an American artist, art director, illustrator, puppeteer, and much, much more. Born and raised in Chattanooga, Wayne has used his memories of the South to create inspired works for film, television, and the fine art world.
After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice. In 1986, Wayne became a designer for the hit television show Pee-wee’s Playhouse, and his work was awarded with three Emmys. After traveling to Los Angeles with his wife, Mimi Pond, Wayne continued to work in television and designed sets and characters for shows such as Shining Time Station, Beakman’s World, Riders In The Sky, and Bill & Willis. He also worked in the music video industry, winning Billboard and MTV Music Video Awards as an art director for seminal music videos including The Smashing Pumpkins’ ‘Tonight, Tonight’ and Peter Gabriel’s ‘Big Time.’
More recently, Wayne has had great success as a fine artist and has created paintings and public works that have been shown all over the world. His most successful works have been the world paintings featuring oversized, three-dimensional text painstakingly integrated into vintage landscape reproductions. The message of the paintings is often thought-provoking and almost always humorous, with Wayne pointing a finger at vanity, ego, and his memories of the South. Wayne has also received great praise for several public works he has created recently, including a successful show at Rice University where he built the world’s largest George Jones puppet head for a piece called ‘Big Lectric Fan To Keep Me Cool While I Sleep.’
In 2009, Wayne’s life and career were chronicled in an incredible 382-page monograph, edited by Todd Oldham. The book features hundreds of images from Wayne’s earliest work as an illustrator all the way to his most recent fine art sculptures. Since the book’s release, Wayne has been traveling the country delivering an incredibly entertaining hour long talk where he discusses his life and work, while making time for a little banjo and harmonica playing.
After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice. In 1986, Wayne became a designer for the hit television show Pee-wee’s Playhouse, and his work was awarded with three Emmys. After traveling to Los Angeles with his wife, Mimi Pond, Wayne continued to work in television and designed sets and characters for shows such as Shining Time Station, Beakman’s World, Riders In The Sky, and Bill & Willis. He also worked in the music video industry, winning Billboard and MTV Music Video Awards as an art director for seminal music videos including The Smashing Pumpkins’ ‘Tonight, Tonight’ and Peter Gabriel’s ‘Big Time.’
More recently, Wayne has had great success as a fine artist and has created paintings and public works that have been shown all over the world. His most successful works have been the world paintings featuring oversized, three-dimensional text painstakingly integrated into vintage landscape reproductions. The message of the paintings is often thought-provoking and almost always humorous, with Wayne pointing a finger at vanity, ego, and his memories of the South. Wayne has also received great praise for several public works he has created recently, including a successful show at Rice University where he built the world’s largest George Jones puppet head for a piece called ‘Big Lectric Fan To Keep Me Cool While I Sleep.’
In 2009, Wayne’s life and career were chronicled in an incredible 382-page monograph, edited by Todd Oldham. The book features hundreds of images from Wayne’s earliest work as an illustrator all the way to his most recent fine art sculptures. Since the book’s release, Wayne has been traveling the country delivering an incredibly entertaining hour long talk where he discusses his life and work, while making time for a little banjo and harmonica playing.
Morli Wilcox
Molecular and organic formations inspire this painter whose abstract works are made up of a metaphysical and psychokinetic connection to the all energy encompassing life force. The results are beautifully woven shapes, movement and patterns that layer together boldly in a macro-organic explosion of expression, structurally intuitive in capacity.
"I've become focused on abstract expressionism. I call it “chaos theory expressionism.” I can do portraits. I can do landscapes. But I can’t let myself completely go when I’m trying to copy something that’s in front of me. Abstract work is the only work I’ve discovered that you’re able to let yourself go. The rules create themselves as the piece develops. I’ve been compared to Jackson Pollock before. When I compared his work to mine it wasn't that they looked the same, but it was more of once I started researching more of a mathematical process of his work that I had to admit to myself that we were similar as far as our application. Andy Warhol, Jean-Michel Basquiat and Cindy Sherman are influences of mine. Not necessarily because of their style but more of their perspective."
"I've become focused on abstract expressionism. I call it “chaos theory expressionism.” I can do portraits. I can do landscapes. But I can’t let myself completely go when I’m trying to copy something that’s in front of me. Abstract work is the only work I’ve discovered that you’re able to let yourself go. The rules create themselves as the piece develops. I’ve been compared to Jackson Pollock before. When I compared his work to mine it wasn't that they looked the same, but it was more of once I started researching more of a mathematical process of his work that I had to admit to myself that we were similar as far as our application. Andy Warhol, Jean-Michel Basquiat and Cindy Sherman are influences of mine. Not necessarily because of their style but more of their perspective."
Liz Wilson
"My canvas is a board I bounce my thoughts off, without knowing what will come back. The act of painting itself affects me, throws things my way that I cannot predict. In the act of painting I am able to walk through my mind and travel avenues I have not yet traveled. I return to paths walked before and revisit them, rewriting them. The way in which I react to the spontaneity of the paint itself reveals new and old points of view and parts of myself. The creation is something outside of myself, a product of my process, of my play.
These paintings are impressions of my experience in the world at a specific moment. When I am able to focus inward, I see in my mind’s eye my sensory experience translated into shape and color. This experience is part of my reality; it is the author, creator of my painting language. In the process of making the images I simplify and to a degree caricaturize my experiences. The source of the images is specific. However, what I am depicting is the sensation that I took from a moment.
There are three sources of inspiration from which I work. These include: memory, visualization and improvisation. When I am in the studio, all of these sources of inspiration are present. However, at one time one of these sources is always more prominent than the other."
These paintings are impressions of my experience in the world at a specific moment. When I am able to focus inward, I see in my mind’s eye my sensory experience translated into shape and color. This experience is part of my reality; it is the author, creator of my painting language. In the process of making the images I simplify and to a degree caricaturize my experiences. The source of the images is specific. However, what I am depicting is the sensation that I took from a moment.
There are three sources of inspiration from which I work. These include: memory, visualization and improvisation. When I am in the studio, all of these sources of inspiration are present. However, at one time one of these sources is always more prominent than the other."
Beth Wittenberg
Beth Wittenberg is a contemporary artist currently living in the Seacoast area. She earned a degree in Philosophy and a Master of Fine Arts from Maryland Institute College of Art. She is currently in the midst of her latest series Beasts, Buildings, & Storms which has amassed over 200 individual works on paper. Wittenberg is inspired by outsider art and children’s art. Her work can be found at Blackbird Studio & Gallery in N. Berwick, ME. She is a member of the Berwick Art Association and the Wrong Brain Collective. Currently she is self-publishing a ten volume graphzine called “INNERSCAPES” based on her drawings.
Matt Wyatt
Matt Wyatt studied at the New Hampshire Institute of Art (Manchester, NH) while pursuing his BFA. His work includes abstract expressionism, collage, mixed media, and photography. He has received regional and national attention and has been featured in a variety of venues such as: Corcoran Gallery of Art in Washington, DC; Art Current in Provincetown, MA; and The Gatehouse Gallery in Tamworth, NH. Matt is the founder of the Rochester Museum of Fine Arts and served as a member of the Commission for Arts & Culture (City of Rochester, NH) for several years.