Our Purpose.
through the promotion of high standards of beauty, integrity and craftsmanship in painting, sculpture and the graphic arts.
To emphasize the importance of order and coherent communication as
Letter from the President The
from Aki Kano
And the Winners Are...
Winners of AAPL's 2025 Young Artist and Associate Artist Members Online Show: Emergence
A journey through art and healing
A heartfelt interview with master colored pencil artist Galal Ramadan
The Story behind the Artwork
A Father's Face with Young Artist Member Leshan Li
In the Eye of the Beholder with coastal wildlife painter Christopher Forrest It's Never Just About the Game with baseball and bourbon artist Max Saviako
Grapevine N ewsle er
Summer 2025
Le er from the President
Happy Summer!
We hope you're enjoying an inspiring and productive summer in your studios!
The Board of Directors and I have been hard at work this Summer season, organizing exciting member benets and planning our upcoming Fall exhibitions.
Our rst Fall show, “Timeless,” will be held at the Lyme Art Association in Old Lyme, CT, from September 19 to November 6. This marks our inaugural exhibition at this beautiful venue. The with a submission deadline of August 21. We extend
Call for Entries is now open on ShowSubmit.com our sincere thanks to Signature Member , an accomplished acrylic and watercolor Del-Bourree Bach painter, for chairing this exhibition. He will also serve as an awards judge alongside , a realist Antonio Lones painter and instructor at the Academy of Realist Art Boston.
We're grateful to our magazine sponsors for supporting “Timeless.” In addition to cash prizes— 1st Place: $600, 2nd Place: $400, 3rd Place: $200, and two Honorable Mentions of $50 each—the judges will select winners for a Fine Art Connoisseur half-page ad award and an International Artist Publishing full-page Award of Excellence.
The is also open for our agship exhibition, the 97th Grand National Exhibition, which is open Call for Entries to both members and non-members. This highly anticipated show will run from November 18 to December 5 at the Salmagundi Club. The submission deadline is August 13.
We are pleased to welcome Signature Member , Scott Nickerson an accomplished oil portraitist, who will present an evening demonstration on Friday, December 5 at the Salmagundi Club. For details, please visit . We also thank , this link Rick Brosen renowned master watercolorist, who will serve as our awards judge, and , ARC Co-Founder & COO, along with Kara Ross Signature Member , who will act as our guest jurors Joel Edwards of selection for this important show.
In this issue's Member Artist Highlight, we feature , Galal Ramadan an Elected Artist Member and colored pencil master. Our “Story Behind the Painting” segment spotlights , Max Savaiko Christopher Forrest, who are both Elected Artist Members and Leshan Li, a Young Artist Member.
July 14 - September 7, 2025
Meanwhile, the Associate Artist and Young Artist online exhibition, “Emergence,” is currently live and runs through September 7 on the . AAPL website under the Exhibitions tab Congratulations to all participating artists and to the three outstanding award recipients!
We thank Signature Member , a pastel artist, Jim Hallenbeck for judging awards, and Fellow Member , for Judi Gilden serving as a juror of selection.
Finally, a heartfelt thank you to the Grapevine team. We're grateful to Nancy Allen, colored pencil artist and AAPL Board Director, for designing this newsletter and curating the Artist Highlight and Story Behind the Painting sections. Special thanks also to Fran Wood, former Recording Secretary and longtime Board member, for her expert editing of the issue. We are also grateful to a new member of our GV editing team, Grand National Exhibition Director Deborah Gersony, who has graciously agreed to assist with submission editing for future Grapevine issues.
As always… Keep painting and creating…
Sincerely,
Aki Kano, President of the AAPL
Let’s Stay Connected!
Connect to AAPL on LinkedIn: https://www.linkedin.com/company/aaplinc/ Friend AAPL on Facebook: https://www.facebook.com/AmericanArtistsProfessionalLeague Follow @aapl_nyc on Instagram and we’ll follow you back! https://www.instagram.com/aapl_nyc/ View all of AAPL’s videos on our YouTube channel: @americanartistsprofessiona8630
2025
July 14 - September 7, 2025
Winners
Shauna Shane Hidden History First Place
Annie Murphy-Robinson Wedding Dress Second Place
Margie Florini
Queen Anne's Reign Third Place
Member Artist Highlight
www.GRamadanArt.com
A JOURNEY THROUGH ART AND HEALING
An interview with master
colored pencil artist
Galal Ramadan
Galal Ramadan is an award-winning, self-taught master of colored pencil art and instructor based in Fort Lauderdale, FL. His career spans graphic design, marketing, and business, but it is his passion for colored pencil that denes his artistic journey. He is a signature member of the Colored Pencil Society of America (CPSA, CPX), the UK Colored Pencil Society (UKCPS Silver, UKCPSO), and a member of several prestigious international art organizations. His work has been featured in several international art magazines, and he has participated in numerous national and international exhibitions.
You were born and raised in Alexandria, Egypt, did you pursue art there or in the US?
In Egypt, I grew up loving art, but it wasn’t an option to learn or practice it at school or at home. I was the eighth of eleven siblings. We lived with our parents in a small three-room apartment in a poor community and struggled to meet basic needs. Schools offered no art activities—just basic academic curricula. Because of a series of physical and mental health issues, I never nished school in Egypt. I moved to the United States at the age of 35, and life continued to be a series of odd jobs. I
went through a broken marriage and raised two daughters on my own as a single parent, facing many day-to-day challenges. Much later in life, I discovered that my difculties were not only due to physical and mental health issues, but also due to being misdiagnosed and wrongly treated for bipolar disorder.
When did you rst pick up a colored pencil and begin your art journey?
In 2017, during one of the lowest points in my life, I decided to pursue art. I didn’t know which medium
RetrospectionIV,by Galal Ramadan, EAM
or style I would use, but I started by buying a small set of Prismacolor colored pencils. That was the beginning of both my art career and my healing journey.
With no prior art training, I began teaching myself by drawing from magazine pictures on copy paper — experimenting with techniques, matching colors, observing textures, and paying close attention to detail. This process began to train my brain to focus. When drawing, for the rst time in my life, the world made sense. I was hooked—and I never stopped.
As a self-taught colored pencil artist, what helped you improve your skills?
Interestingly, many skills I learned from my previous odd jobs inuenced my art. My light training in graphic design helped me with composition and layout. Working in a silk screen company taught me color theory, layering, and how to mix and understand colors. At a newspaper job, I learned the importance of detail. My marketing experience helped me understand the business side of being an artist.
Not only did I learn quickly, but my mental state drastically improved. Drawing allowed me to focus for longer periods—something I’d struggled with all my life. This creative time became a meditative state of peacefulness and calm.
To say that art saved my life is not an overstatement —art truly rescued me from the depths of despair.
How would you describe your experience of “ow state” in art?
The increased focus and reduced anxiety improved not only my artwork, but every other area of my life. I’d even say that colored pencil art rewired my brain.
Artists often speak of “the ow,” that ideal state where creativity seems to move effortlessly through them. I found myself entering that state more frequently and could access it especially during the nishing stages of my pieces. Flow has been lifechanging.
Can art make a real difference in the world?
Absolutely. Art nurtures both mind and soul. I truly believe it can make a meaningful difference in addressing today’s mental health crisis. I’m grateful and proud to continue my healing journey through
art, and I look forward to sharing that healing with others—especially through teaching art therapy.
Creative expression promotes adaptability, connection, a positive mind set, and a strong sense of self. It also combats anxiety and depression. Art can be a powerful healer.
Were you taking medications and therapy for your disorder? Do you still do that?
I began psychiatric medications and therapy at 16 years old. Five years ago, I was able to stop all medications and outside treatments. Instead, I started addressing my emotional and mental health through art and mindful practices. That said, I am not advocating for anyone to stop their own treatments—I’m simply sharing my personal journey.
Your drawings always seem to tell a story. Which are your favorites and why?
Once I mastered colored pencil techniques, I began asking myself what I truly wanted to express. I moved beyond single subjects to create original content that tells a story and encourages people to see the world differently.
Artists are storytellers. Narrative art evokes emotion, sparks imagination, and reveals universal cultural truths.
Telling stories through art helped me win prizes, grow creatively, and capture the attention of juries. This storytelling journey truly took off after my visit to Egypt in 2022, when I created a series of Egyptian -themed artworks.
Do you use your travel photos to create cohesive images?
Yes. My creative process begins with cultural exploration—walking through marketplaces, neighborhoods, festivals, and events, photographing moments that catch my eye. Often, the subjects are ordinary people doing everyday tasks.
I use a computer to combine several photos with artistic and graphic elements, enhancing colors and applying special effects. I make nal adjustments during the painting process. When satised, I print the composition and begin painting.
Do you consider your work to be painting or drawing?
I consider my work to be paintings. Although I use colored pencils, I apply them in a painterly style, with many layers to create depth, texture, and vibrant color. I mount my nished work on board and spray it with UV varnish for protection, then frame it with a oating frame to give it a contemporary look.
Your subject matter is very diverse. Is this part of what keeps you productive?
Absolutely. As a self-taught artist, I worked with diverse subjects to develop my skills. Whether it’s a portrait, architectural scene, or still life, I focus on values, design principles, color harmony, and emotional expression— especially in portraits. Detail is everything in my realistic style.
Do you draw every day? What is your schedule like?
In my rst couple of years, I drew for several hours a day, most days of the week. Now I focus more on quality and developing my unique style.
I actively participate in solo and juried exhibitions —over 65 in the past 30 months, with more than 20 awards. Drawing allows me to focus deeply, creating a meditative state. For me, art is not just about the nal product—it’s about my daily healing process.
You teach colored pencil techniques. How do you teach students to create so many colors from so few pencils?
I teach workshops at several museums and art schools in South Florida.
Unlike wet mediums, where colors are mixed on a palette, colored pencils are mixed directly on the paper. Artists build up colors in light, even layers— overlapping and experimenting with the sequence to achieve the desired result.
I love color. One of my early jobs in the U.S. was mixing inks for a silk screen company, which taught me how to mix colors accurately.
Color theory is an essential tool. It allows artists to tell powerful visual stories by choosing colors intentionally for emotional impact.
RosariesSalesgirl
What are your favorite colored pencil brands and papers?
There are many professional-quality brands today. The best ones should offer excellent blendability, sharpness, pigment intensity, color variety, and lightfastness. Quality control is also critical—no broken or off-centered cores. Colored pencils can be used on surfaces such as paper, wood, drafting lm, sanded paper, board, canvas, metal, leather, and more.
I love working on double-sided drafting lm—it offers the best of both drawing and painting. It’s perfect for vibrant color and intricate detail. Ultimately, paper and pencil choices are personal preferences.
If you could use only one colored pencil brand, which would it be?
Faber-Castell Polychromos. These oil-based pencils are durable, maintain a sharp point, and resist breakage. They’re smudge-proof, water-resistant, and highly lightfast. The pigment adheres rmly to surfaces and doesn’t require xative.
Do you use solvents for blending?
Yes, I use solvents for certain blending and texture techniques.
How long does it take you to complete a piece?
It depends on the size, subject, complexity, and level of detail of my artwork. On average, a piece takes about 35 hours.
What advice do you have for colored pencil artists today?
• strokes.
Master technique and materials: Use high-quality pencils and surfaces. Learn to layer, blend, and control
• Understand color theory.
Train your artistic eye: Use high-resolution reference photos. Study lighting, values, and composition.
• tency, and protect your nished work.
Follow a professional workow: Plan your composition, create a strong base drawing, maintain consis-
• professionally. Network, brand yourself, teach, create a portfolio website, and build a strong online presence.
Build a professional practice: Develop a unique style. Invest in quality reproductions. Present your work
• niques.
Keep growing: Never stop learning. Accept critique. Practice often. Experiment and explore new tech-
To see Galal Ramadan's other works: www.instagram.com/galalramadan1 Any other questions: gramadanart@gmail.com or 786-587-3990
Many thanks to Galal for his generosity and kindness in putting this interview together.
The Story Behind the Drawings
A Father’s Face
A Personal Milestone
Over the past few years, I’ve created a series of deeply personal pencil portraits portraying my father at different stages of his life. These works reveal more than just changes in his appearance—they reect his emotional and spiritual evolution. This body of work has become a signicant milestone in my artistic journey: a visual narrative about time, resilience, and healing.
The First Portrait: Stillness in the Everyday
As a young artist devoted to realism, I’ve always believed that drawing is not just a technical skill, but a form of emotional communication. The rst portrait of my father, completed in early 2023, was done using traditional techniques and focused on understanding structure through light. I chose to leave the background blank, directing full attention to his face—his glasses, his calm and focused expression. It captured him in a quiet moment of daily life. This portrait was
www.leshanliart.com
not only a study of technique but a silent tribute to our relationship. It became the foundation of the series and the moment I realized that portraiture doesn’t just record the present—it carries memory into the future.
The Second Portrait: Resilience in Vulnerability
Not long after, my father went through a difcult period. I noticed a heaviness in his expression, a deeper emotion in his eyes. His hair looked whiter than I remembered, and his gaze held fatigue—yet it remained gentle and steady. At that moment, I felt compelled to draw him again. Not because he had posed a certain way, or because I intended to create a polished artwork, but because I wanted to preserve that moment—his eyes, his expression, the quiet strength he carried. This drawing conveyed a deeper emotional weight and
stronger contrasts. His gaze revealed thoughtfulness that was impossible to ignore. Many viewers were moved by the feeling in this piece. It remains one of my most expressive works to date and has been praised by fellow artists.
The Story Behind the Sculpture
The Third Portrait: Calm After the Storm
When I drew the third portrait, my father had emerged from his difcult chapter. In the moment he turned his face slightly toward me, I saw peace and strength return to his eyes. The corners of his mouth turned down slightly, but his gaze was gentle and steady — a quiet stillness that comes after hardship, no longer eager to speak, yet full of weight.
On Time and Memory
Together, these portraits form a visual triptych, each marking an important chapter in my father’s life. Through the process of creating them, I came to
understand the power of observation and the responsibility of expression. I believe that art is not only a form of self-expression, but also a way to connect with others and evoke shared emotion. Looking back on the creative process, I realized that I didn’t just grow as an artist — I deepened my bond with my father. Through each sheet of drawing paper, I wasn’t merely drawing him—I was saying something through my art: “I remember you. I understand you.”
“My role as an artist was not to idealize or alter what I saw, but to honor it by recording it truthfully.”
Showing
Touch is how we rst come to understand the world—immediate, instinctive, a way of saying I'm here without words. In , I wanted to linger in that idea: how touch speaks not only of presence, but of care, of vulnerability, of the intricate ways we relate
The sculpture features two arms emerging from a sharply faceted wooden form. Their hands are interlocked—ngers gently pressed together, suspended in the quiet
suggestion of motion. The gesture, drawn from sign language, means “relationship.” It's not
rhythm—like the start of a conversation or the echo of one long past. That ambiguity—of time,
Before I carve, I draw. I spend hours sketching
architecture of the form—how bone, tendon, and skin conspire to create expression. Each Leshan with the tools of is trade.
www.leshanliart.com
The Story Behind the Painting
The Ugliest Bird in North America
Upon returning to art in 2019 following a 30 year hiatus, my focus has been painting coastal themes with wildlife. It’s an understandable concentration since my background included some 10+ years as a wildlife artist (etchings, multicolor lithography, and painting) along with currently living on a New Jersey barrier island bounded by the ocean and wetlands. Whenever I travel a camera is always part of my kit; I try to be prepared for subject matter opportunities.
My wife and I were returning from a visit to Annapolis Marine Art Gallery and stopped off at a state park on the Chesapeake Bay. There was an active osprey nest on a pole in the middle of the parking lot of all places. The osprey is one of my absolute favorite birds. Well
I’m snapping away on my camera like there’s no tomorrow and glanced at the dock area. It’s loaded with black vultures, arguably the ugliest bird in North America. It dawned on me that this was a magnicent raptor that I’d never paid attention to. My wife and I wandered down to the waterfront and the buzzards were ubiquitous and not concerned with people. I started photographing them and asked my ever supportive wife to walk down the dock by one of the birds. The buzzard took off, and I was able to capture a complete takeoff and landing sequence.
Why Would Anyone Paint That?
As we’re driving home I’m musing about painting a vulture. I frequently turn to my wife for
painting advice as I have a very high regard for her counsel. I asked her what she thought of a vulture painting and the response was “crazy” and “why would anyone paint that”?
Painting the buzzard was a lot of fun. I noticed on the subject one primary feather was broken and another was growing back on the other wing, so these were interesting details to incorporate into the painting.
Would This Painting of A Particularly Ugly Bird Have Some Level of Acceptance?
Showing his hand
The idea of a vulture painting kept percolating, and so I got serious. The research and planning process typically takes a week or two. I always review my bird anatomy books, reference photo review, and a bird mount study. Note on the mounts, I have accumulated a collection of some four dozen or so mounts and skins of game birds from hunters and taxidermy shops from decades ago. While I have no raptor skins/mounts (what is available are tightly regulated) I nd it helpful for a detailed feather review with a game bird, in preparation for the detailed drawing of the subject. I envisioned a colorful painting to offset the vulture’s uniform Van Dyke brown hue, and so included the pink rose mallow owers which are very much a part of their wetlands habitat along with a weathered piling. I nd weathered wood with rusty metal and algae to be a most enjoyable thing to paint.
While very aware this was a painting of a particularly ugly bird, I wondered if the painting as a whole would have some level of acceptance. The painting was juried into the International Guild of Realism Salon, and American Art Collector Magazine chose it for the lead painting for the show article. The cherry on the sundae was when my oldest son asked for the painting as his wedding present. This was after two years of being offered paintings of cute uffy egrets and golden hour skies. I was stunned to say the least, but had the presence of mind to request he check with his wife that they really wanted a buzzard for a wedding present. I was condent she would decline. It now hangs in their home for all to see.
I chose acrylic for the medium due to the extensive feather rendering requirement. The substrate is Raymar Arches Oil paper panel. I nd it a most enjoyable painting surface. I prime it with a coat or two of very thin acrylic gesso. While the majority of my paintings are oil, occasionally I’ll switch to acrylic.
Before I carve, I draw. I spend hours sketching hands in countless positions, studying the architecture of the form—how bone, tendon, and skin conspire to create expression. Each
Chris’wifeCamille,helpingtosetuptheperfectshot.
The Story Behind the Paintings
MAX Savaiko
Elected Artist Member
The Rhythm of the Game
My inspiration for painting baseball art didn't come all at once, it came gradually, like the rhythm of the game itself. Back in 2016, I was mainly focused on traditional tabletop still life. Around that time, my brother-in-law, who happened to be the commissioner of the local Little League, asked if I'd consider painting something baseball-related for a fundraiser auction.
I had never painted a baseball before. Honestly, it was more challenging than I expected — but also incredibly fun. Capturing the texture, the stitching, and the scuffs gave me a new appreciation for the subtle beauty of everyday objects. The painting came out great and ended up being successfully auctioned off.
I continued painting still life and in the back of my mind, I kept thinking — I want to paint something more personal, something unique. The next year, that same Little League team, which my nephew
PlayBall!PhiladelphiaPhillies
was on, won the Little League World Series. Once again, I was asked to contribute to a fundraiser. This time, the request was to paint the team's hat. I did, and it was auctioned off — but something different happened. A parent asked if I could paint a hat and put their child's name in it somewhere.
This was exciting, I love secrets, so I painted his hat and put their names on the wall behind it. It didn't dawn on me that this may be a good subject matter to paint, since I was a baseball fan and played back in the day, no clue.
Deep Amber Tones
Not long after, I was at the local liquor store picking up a bottle of wine. As I walked through the whiskey aisle, sunlight streamed through the window and hit the bottles just right. They all glowed — deep amber tones, raised lettering, bold labels, unique silhouettes. I felt like each
bottle was saying, paint me! That was my spark. I started painting whiskey and cocktail scenes, and to my surprise, people really responded to them.
Later that year, my father-in-law Gene passed away. He was a huge Philadelphia Phillies fan— unlike the rest of the family. Whenever we visited and the Phillies were on TV, he'd leave the room because no one wanted to watch with him. Baseball wasn't a big thing in the house.
Gene Must Have Been Inspiring Me
That next spring, we were going through his things and found his Phillies hat. It was in perfect condition — bright red, with a crisp white "P" on the front. Not creased, not crumpled, no sweat stains. It was like it had been waiting. Something inside me said, “You should paint this.” I told myself, “That's a great idea.” Then, my wife said the same thing out loud: “You should paint it like the Little League hats. They came out so good.”
Gene must have been inspiring me, because I really didn't like the Phillies, but I thought I would give it a try. I placed the hat on a table, but it looked a little lonely. I added a baseball I had painted before, then a bat to lead the viewer's eye into the scene. The composition guided you from the bat to the ball and back up to the bold red hat — creating a loop you didn't want to leave. The painting sold right away, and more importantly, it sparked something in the family. That year, we all started watching Phillies games together and
the Phillies went to the World Series!
My Interest in Baseball Was Back
My interest in Baseball was back with a passion, that single painting opened the oodgates. Collectors started telling me that the work reminded them of their dads, or a game they watched with their son, or a moment when they felt like a kid again. That's when I realized: baseball isn't just nostalgic—it's universal. The details we overlook — the stitching on a baseball, worn gloves, broken bats — these are symbols. They represent something bigger and more personal.
The next Spring I started to really take to painting Baseball still life. I did another Phillies hat, but this time I wanted to change up the composition, and make it more engaging. I added my old worn baseball glove and played around with the placement. Then I remember when I was studying art at The Carlin Academy / Atelier, my teacher was showing us examples of different perspectives in classical paintings. One that was ingrained in my mind was The Supper at Emmaus by Caravaggio. The way he used foreshortening on Cleopas to make him reach into and out of the picture frame was absolutely amazing. I used this perspective technique with the glove holding the ball at the edge of the glove, pushing it even further out of the scene. That painting taught me how even a small shift in perspective can open a new creative avenue.
Around this time, I was posting both my Bourbon paintings and Baseball paintings on Instagram. Out of the blue, a show called 'Bourbon and Baseball' reached out. They love my work and invited me on as a guest to talk about my art. 'Bourbon and Baseball' are some of my favorite things brought together in a single conversation. That show made me realize just how many people connect with this kind of storytelling.
To Paint With a Narrative
Now I'm planning to combine my baseball art with elements that go beyond the eld. To paint with a narrative - A catcher's mitt holding a skull? That's a nod to Shakespeare, sure — but also a nod to holding on to our hero's legacy, and to how every player makes an impact on and off the eld. A new baseball and a rising sun remind us of the hope of a new season still to come. Even when I'm painting something as simple as a worn Yankees hat, it's never just about fabric and stitching. It's about the history that hat has to offer.
Blending baseball objects with other symbolic elements reects the way we live today: our identities aren't single-threaded. They're layered, textured, constantly in motion. A painting of a bottle of Wild Turkey next to a Yankees cap isn't just about the team or the drink — It's about you on your best summer day, your uncle's laugh, your own rituals. That junction where memory meets modern storytelling.
In the end, painting Baseball art is my way of keeping the game alive—not just as a sport, but as a feeling. It's giving people something familiar, but unexpected. Real, and reective. I want my work to hang in a room and stir something in you, because that's what baseball does.
So, when someone asks me, “Why baseball?” I say this: because it's never just about the game. It's about the moments around the game — the ones we didn't know we'd remember forever.
Showing s hand
Come Blow Your Horn MEMBER UPDATES
Nancy Allen, EAM
Nancy's colored pencil drawing, Outgrowing Polo II, was accepted into the Society of Animal Artists (SAA) The SAA Comes to the MACC at the Monument Arts and Cultural Center, Bennington, VT. The international exhibition extends from June 28 to October 26, 2025 and can be viewed at:
SAA Comes to the MACC Exhibition Gallery - The Society of Animal Artists
Nancy also has ve drawings included in the rst online show of the recently returned American Academy of Equine Art, All Things Drawn. The show can be viewed at:
American Academy of Equine Art - Portfolio of Works: All Things Drawn
The AAEA is recognized as one of the preeminent art membership organizations in the world dedicated to the advancement and excellence of equine art.
Tony Armendariz, SM
Tony has won numerous awards recently including Best Figure & Portrait in the April 2025 PleinAir Salon Art Competition. This qualies him as a semi-nalist in the 15th Annual PleinAir Salon Art Competition for 2025. He also received the First Place Award in the Missouri Watercolor Society's International Juried Exhibition in Frontenac, Missouri which ran through March 31 as well Third Place in the Best of Watercolor publication, Splash 26 which will hit the newsstands this July. Tony was also asked to serve as the Judge of Awards for the Art League of Hilton Head's 2025 Biennale, 29th National Juried Exhibition in Hilton Head, South Carolina. The show ran May 13-June 13, 2025.
Mary Chandler, EAM
The Artists Network Splash 26 Competition, has selected Mary Chandler's painting, “Glorious Sunlight After the Rain,” as one of the nalists in the Still Life & Floral category and is currently published in the Summer 2025 issue of The Best of Watercolor magazine.
Caryn Coville, EAM
Caryn had her colored pencil painting “Storytime” accepted into the Colored Pencil Society of America's, "33rd Annual International Exhibition,” June 14–August 2, 2025, at the Mansion at Strathmore Gallery in Rockville, Maryland. Caryn was also a “Showcase” featured artist with “Storytime” in the June 2025 issue of Ann Kullberg's Color Magazine. Her painting, “Farm Fresh” won First Place in Graphics and Mixed Media in the American Artists Professional League "Spring Members Online Show 2025."
“Waiting for Spring” received Junen Honorable Mention in the Colors of Humanity Art Gallery online exhibit, "Yellow 2025,” May 1-31, 2025, http://www.colorsofhumanity artgallery.com.
Caryn was one of ve artists featured in CP Magic! magazine's Special EditionLandscapes, May 2025 issue. https://www.carrie-lewis.com/store/
Margie Florini, AA
Margie Florini has had two acrylic paintings awarded this Spring. “Meadow Lace at the Shore” will be featured in the 2025 issue of AcrylicWorks 12: The Best of Acrylic. This Artists Magazine special issue will be on newsstands in September 2025. “Meadow Of Lace” was awarded a place in NOAPS 2025 Spring International Exhibition Online and this exhibition will be featured from May 2025 to May 2026 at NOAPS.org.
Christopher Forrest, EAM
Christopher's paintings and eld work process were the subject of a feature article regarding painting birds in International Artists Magazine February-March 2025 issue. If anyone would like a copy of the article, please email Chris at and he will email you a copy. cpforrest@gmail.com Chris was also elected a Signature Member of the American Society of Marine Artists.
Victor Gadino, EAM
Victor recently won an Award of Excellence which included a cash prize for his painting “Daphne and Apollo” in the current Spring 2025 Online International Exhibit of the National Oil & Acrylic Painters' Society. To view the art, go to: https://www.noaps.org/2025-spring-on-line
Linda Gillen, EAM
Linda took a break from painting the ower she grows and painted a 24x30 self-portrait in oil “Scrollercoaster…… I read the news today.” This painting was awarded the Elizabeth Stanton Blake Memorial Award Medal of Honor at the National Association of Women Artists (NAWA) 136th Annual Exhibition which was on view at the Leonovitch Gallery 520 West 24 Street in New York City until June 21, 2025.
Jim Hallenbeck, SM
Jim Hallenbeck's work has been accepted into two international juried exhibitions in the last six months. These include the Tucson Pastel Society Power of Pastel International Online Show. The accepted painting is "Nantahala Forest" which is a soft pastel. The same painting was also accepted into the Pastel Society of Alaska exhibition, “Show Us Your Finest: A Global Art Showcase.”
Jim received the Pastel Society of America Honorable Mention Award for "Nantahala Forest" in the Pastel Society of Maine 24th Annual Open Juried Virtual Exhibition featuring only pastels.
Jim was honored to be the Awards Judge for the American Artists Professional League Young Artists & Associate Artists Online Members Show.
Jim will be featured in the June Pratique des Arts French magazine in an eight-page interview / article titled "Arbres de Vie" (Trees of Life). The article will be released in print and digitally on June 18. Jim discusses his approach to painting trees in pastel, what draws him to painting trees, and a step-by-step process of his technique.
Heather J. Jones, EAM
Heather was recently featured in two prominent art magazines, highlighting her distinctive style of contemporary watercolor painting. Her piece “Triumph,” a watercolor and gouache work, appeared in the May/June issue of Fine Art Connoisseur magazine as part of the “Watercolors Now” section, which showcases exceptional artists working in the medium. Additionally, Jones was the subject of a two-page article titled “Planes, Trains and Automobiles” in the Spring 2025 issue of Art and Color 365 Magazine. The article includes an in-depth interview in which she discusses her unique technique of layering straight-from-the-tube watercolor pigments and gouache over a graphite underpainting. Both articles can be viewed on her recently launched website www.heatherjjones.com
Jodie Kain, SM
Jodie is honored to have her painting "In My Dreams I've Already Been There" selected for publication in the July/August issue Fine Art Connoisseur magazine. The article's theme is "Sun and Moon". In April "Two Scotches In" won a 3rd Place Award in the Salmagundi Club's Humans25 Figurative Exhibition. Peter Trippi's judgement is incredibly meaningful for both distinctions and is encouraging as Jodie continues her artistic journey.
Aki Kano, SM
Signature Member Aki Kano has been shortlisted for the 2025 Ruth Borchard Self-Portrait Prize, one of the UK's leading awards for contemporary self-portraiture. Her watercolor “Tête-à-Tête” will be exhibited at the Russell-Cotes Art Gallery & Museum in coastal Bournemouth from July 22 through September 7, 2025.
Aki is thrilled to be traveling to England for the reception. To nd out more information, go to: https://ruthborchard.org.uk
Her self-portrait “Illumination” was chosen for the editorial about watercolors, “Watercolors For All” in the May/June issue of Fine Art Connoisseur.
Carolyn Latanision, EAM
Carolyn received the June Johnson Memorial Award in the 13th Annual Green Mountain National Watercolor Exhibition which happened from June 15-July 20 in Waitseld, Vermont for “Glendalough, Ireland” and an Honorable Mention in the 2025 Southern Watercolor Society International Exhibition, May 7-28, Fort Worth, Texas, for “Remembering Degas”. “Rooftops, Bethlehem Steel” was accepted into the San Diego 45th International Exhibition happening from September 28-October 31, 2025.
Carolyn Latanision served as awards juror for the 44th Adirondacks National Exhibition of American Watercolors which will be on display from August 2-September 27 in Old Forge, New York. aapl summer grapevine 2025
Gayle Levée, EAM
Gayle won the Best Building Award with her submission "Handbuilt" in the Spring Online Showcase of the Oil Painters of America.
Marilyn Liedman, EAM
Marilyn received the Second Place Award at the Palm Beach Watercolor Society: The Pride of Africa, for her painting “My World in Color” this past February 2025 at the Coral Springs Museum. She also won an Award of Excellence at the Miami Watercolor Society: Reections of Bruges 'Annual Spring Exhibition' this past April 2025 at the Wirtz Gallery as well as the First Place Award at the Women In The Visual Arts: Fire & Water for “I Get Carried Away” this past May 2025 at the Boca Raton Innovation Campus.
Carol Loeb, SM
Carol was the awards judge for the Federation of Canadian Artists "Fresh Paint" exhibition. The exhibition runs from June 11-July 6 at the Alton Mills Art Centre in Alton, Ontario. Her painting "Meditation" an acrylic on canvas piece, completed in 2024, was a featured work in the exhibition.
Arline Mann, SM
Arline has a solo exhibition coming up at the Customs House Museum in Clarksville, Tennessee from August 7 through October 26. The show encompasses interiors, still lifes and landscapes with linked subject matter – the century-old mountain house in which Mann and her husband live in Tennessee.
Sherry Mason, EAM
Sherry has attained a ranking among the Top 100 Finalists in the April 2025 Plein Air Salon in the Western Category for her painting “The Ski Slopes of Buttermilk Mountain.” This marks the fth time this work has been selected in the top 100 of this prestigious salon.
Three of Sherry's latest works were awarded Honorable Mentions in TeraVarna's 12th Open International Juried Art Competition. The titles of the paintings are “Pier to Forever,” “Sunset over Ashley River,” and “Canyon's Edge.”
Andrea Placer, SM
Andrea's drawing, "Canyon Wall Abstractions" was juried into ViewPoints2025, an international competition, by Studio Montclair at the Leach Gallery in Montclair, New Jersey from April 26th - June 16th. Her drawing, "World on a Rock Face" was juried into the Colored Pencil Society of America 33rd Annual International Exhibition at the Mansion at Strathmore Gallery, North Bethesda, Maryland from June 14 - August 2, 2025. Also, "Umbria Village Fountain" was selected for publication in CP Hidden Treasures Volume 9 by Ann Kullberg, now available.
Cher Pruys, SM
Cher has been featured in the following magazines including Contemporary Art Curator Magazine Issue 3 Art Leaders of Tomorrow: Dening The Future Of Art, Novum Artis Magazine #009, Monochromic Magazine #003, Artistonish Magazine May & June, Art & Color 365, 2025 Vol.3 #2, Sfumato Magazine issue #2, Art Closeup Magazine #32 & #33, Women United Art Magazine XI, & Best Of Acrylic Acrylic Works 12. Numerous awards include the First Place Award in the AAPL Spring Online Members Show for her acrylic painting “Innocence,” NOAPS Best of America Small Works, Best Still Life for “”Sweet Oranges,” IGOR 19th Annual Exhibition, Art Collector's Editor's Choice Award for “Taxi Ride,” Honorable Mention for "Tea Time” at the FCA Open International Juried 2025 On The Edge Exhibition, Third Place Award for “The Bubble,” at the FCA Open International Calendar Competition, Third Place Award for “It's A Wrap,” at the Global Painting Conclave 2025 International Still Life, the Gold Award for “Game On,” Camelback Galleries Artist Invitational 11, Gold Award for “Bryce Canyon,” and the Bronze Award for “Bottled Light” at the OSA (Ontario Society of Artists) 2025 Open International Juried Exhibition, an Honorable Mention for “Grit Goddess” at Art Room Gallery International Grey Exhibition, the Best of Show for “Walk This Way” and “Tiny Dancer” and lastly Cher won Best of Show at the Greycube Galleries 2025 International Red Exhibition, for “Red Tail”, “Little Lady In Red”, & “Show Stopper.”
Galal Ramadan, EAM
Galal is having a solo exhibition: Beyond Boundaries I, Art Exhibition, at the Hollywood Arts & Culture Center in Hollywood, Florida from June – August 2025 www.artandculturecenterr.com
He was juried into the CPSA, 33rd Annual International Exhibition at the Mansion at Strathmore Gallery in Maryland from June - August 2025 www.cpsa.org
Galal also took part in the “Artist Invitational 11 Awards” which was an online exhibition hosted by the Comeback Gallery, Arizona this past April 2025 and he received the Juror's Choice Award. www.comebackgallery.com
He was featured in “CP Treasures 10 Book,” Colored Pencil Masterworks from Around the Globe! published by Ann Kullberg: www.annkullberg.com
He received a Certicate of Recognition at the Artful Minds Exhibition, NAMI Broward, National Alliance on Mental Illness, MAD Arts held in Dania Beach, Florida this past May www.namibroward.org
Temple Reece, AA
AAPL Member Temple Reece participated in a two person show at Johnson County Center for the Arts in Mountain City, Tennessee this past June.
The show 'Beyond the Edge' featured new works by Temple and esteemed artist John P. Jackson. Temple was featured on the cover and in the editorial 'Seeing Beauty Everywhere' by Voice Magazine for Women and had a featured artist's prole in the art edition of Charleston Style and Design Magazine.
aapl summer grapevine 2025
Jane Robbins, EAM
Jane has been elected to Full Juried Membership of the Catharine Lorillard Wolfe Art Club.
Jan Ross, EAM
Jan just completed illustrating a newly released book, available through Amazon.com, that includes 27 of her watercolor paintings. The book, “The Mystery of the Old Lighthouse, The Adventures of Sallie Anne and Jenny Lynn on Daufuskie Island,” is presented on the website: www.daufuskiemysteries.com
Max Savaiko, EAM
Max's oil “A Great Catch” won Best of Show in the Fusion Art International Still Life Exhibition.
Ted Shaine EAM
Ted's linoleum print of “Yellowstone Deep Winter” was accepted into an international exhibition called “Eyes”. Eyes - 2025 is presented by Exhibizone, an international smart exhibition organizer and the show can be viewed online here: Exhibizone: Eyes - 2025 | International Smart Group Exhibition The exhibition will be up from June 11 through August 11, 2025.
Chantal Sulkow, EAM
Chantal received two awards for her painting "In the Green Room". Chantal was awarded Best in Show in the Traditional Art category in the Fusion Art Figures & Faces 2025 Online Art Exhibition. The online exhibition can be viewed at: https://www.fusionartps.com/gures-faces-2025-art-exhibition-june-2025/ Additionally, “In the Green Room" was also awarded The Mamaroneck Artists Guild Award in the 92nd Annual Juried Exhibition of the Hudson Valley Art Association. The exhibition was on view at the Lyme Art Association in Old Lyme, Connecticut from June 6 - July 17, 2025, and is viewable online at: https://lymeartassociation.org/current-exhibition/
aapl summer grapevine 2025
Don Taylor, SM
Don had his painting "Locked In" win the M. Graham & Co. Award in the Watercolor Society of Alabama's 84th National Exhibition in Vestavia Hills, Alabama this past May-June.
Ann Brown Thomason, AA
Ann's painting of the mountains of East Tennessee was chosen as the book cover for "Hope When It's Heavy". She gave this painting to her brother during his last hospitalization for aggressive cancer. It was his last birthday and when he saw the painting he said, "Ahhh, it looks like home.” His daughter had been writing this book for a couple of years before his diagnosis and became a part of the story. This is Ann's rst book cover, and she was proud her niece chose this work to represent this inspirational book.
Deborah Tilby, SM
Deborah's painting “One of Those Glorious Days,” won the Gold Medal in the Masters Category at the Oil Painters of America National Exhibition this past May. Deborah Tilby's painting “Trees,” won 3rd Place Overall in the Plein Air Salon Annual Awards in May.
Diane Tomash, EAM
Diane has won rst prize in the 24th Annual National Small Print Show for her monotype titled "Dispersing.” The exhibition is hosted by the Creede Arts Council, located in Creede, Colorado. The exhibition took place from May 24-June 23. The Virtual show and online auction continue through July 31. creedeartscouncil.com
Thomas Torak, SM
Thomas' "Onions" won the Ridgewood Art Institute Award at the Hudson Valley Art Association 92nd Annual Juried Annual Exhibition at Lyme Art Association located in Old Lyme, Connecticut. His "Nude with Flying Drapery" won an Honorable Mention at the Salmagundi Club Invitational Summer Exhibition at the Salmagundi Club in NYC.
Many thanks to Aki Kano for her kind editing assistance of the submissions section of this Grapevine issue.
summer grapevine 2025