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Northwest Area Arts Council
Real People - 2020 Â Group Exhibition
ONLINE EXHIBITION CATALOGUE 2020
Real People - 2020 G r o u p
E x h i b i t i o n
85 Artworks from 67 artists September - 2020
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Real People - 2020 Group Exhibition
Code:
EXH783846178
Link:
https://www.biafarin.com/realpeople2020
Artists:
Ivonne Acero, Aodan Aodan, Marisa Andropolis, Marjorie Atwood, Martin Beck, Marti Belcher, Matthew Bellefeuille, Heidi Brueckner, Peter Bucks, T. Owens Union, Razvan Burnete, Anthony Cairo, Carla Ciu o, Bob Coates, Mary Conrad, Susan Crehan-Hostetler, Ann Marie Curley, Peggy Dee, Bux Dhyne, Leslie DuPratt, Elhan Ergin, Ann Feldman, Tracy Frein, Jack Girard, Yana Golikova, Colleen Grandrath, Timothy Gri th, Gary Henzler Allen, Matt Hepworth, Denise Hoover, Betsy Hughes, Carson Kapp, Melissa Katz, Krystal Koop, Dean Kugler, Pat Kumicich, Ladka Kurzrock, Susan Lane, Jee Eun Lee, Yue Li, James Maioho, Kay Masini, Kaitlynn Maslen, Catherine McClung, George J. Miller, Gary Mitchell, David Pawl, Mark Pearson, Judith Peck, Janet Pedersen, Michael Peterson, Rosy Petri, Judith Repke, Rebecca Rothey, Mark Schatz, Gypsy Schindler, Arena Shawn, Katherine Sirvio, Bob Soltys, Gabriella Stahl, John Troy, David Vetal, Cassidy Westjohn, Sierra White, Ellen Winkler, Max-Karl Winkler, Andrew Wohl
Duration:
From 03-Sep-2020 to 31-Dec-2020
Organizer:
Northwest Area Arts Council
Venue:
The Old Courthouse Arts Center 101 North Johnson Street Woodstock, IL, 60098
Real People; an international juried ne art exhibition celebrating the arts through faces and gures is an annual exhibition in its 20th anniversary conducted by The Northwest Area Arts Council (NAAC) in 2020. We are very excited by our pick for judge this year, local Chicago artist Joyce Owens. Joyce has an MFA from Yale and a BFA from Howard University. She creates 2D and 3D objects, paintings, and drawings.Her award-winning art has been shown in countries in Europe, Africa, the Middle East, and North America. Her art has been featured on the covers of books,textbooks, and scholarly magazines. Joyce taught at Chicago State University and became their Curator of their Galleries program before retiring in 2015 to pursue art full time. Please check out her work at www.JoyceOwens.com and her blog at: http://joyceowenscreativejuice.blogspot.com/ John Heng Board Member, Northwest Area Arts Council The Northwest Area Arts Council (NAAC) runs the Old Court House Arts Center in Woodstock, IL. NAAC is a 501C3 Non-For-Pro t dedicated to the arts. The Old Courthouse was constructed in 1857, a classic brick structure designed by one of the country’s most prominent architects, John Mills Van Osdel. Its entire three oors, totaling more than 30,000 square feet, are occupied by galleries, studios, and unique restaurants. Biafarin is one of the partners of this opportunity.
Real People - 2020 Group E x hi b i ti on 85 artworks by 67 artists 03-Sep-2020 to 31-Dec-2020
biafarin.com/realpeople2020 C o d e: EXH783846178
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A Discectomy of Motherhood Fiber Art on Fabric, Nylon, Stocking, Thread W:24 H:48 D:12 in 2015 Ivonne Ac ero
My work is in uenced by my formative years at my parents’ clothing factory. I draw on idiosyncrasies from my place of origin, Colombia, which hold notions of home, cultural identity and belonging. My themes address cross-cultural parallels and contrasts, symbolizing “the other.” “The other” refers to gender, age, race, and religion among other social constructs, that are not equal as me/you/us. I create my own language combining skills I learned in my former career as a fashion designer (Sewing, draping etc.) and art techniques such as painting, mold making, and ber art. Conceptually, my work is bold and intuitive yet soft and feminine aesthetically.
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My Baby Has Your Eyes Ceramic Art W:6.50 H:2.50 D:4 in 2020 Aoda n Aoda n
As an artist working mainly with porcelain and embroidery, I strive to explore, rede ne and externalize femininity and “femaleness�. With highly detailed and intricate techniques, I endeavor to show the complicated tableaux with aggressiveness, gentleness, fragility, softness, toughness, struggles, emotions and pain within femininity and female gender in delicate and cryptic looks. I stay loyal to the creed that art should be an organic combination abundant with personal metaphors and symbols; art is about experience rather than conversation. If there is a story with an open ending, there should be art totally open to interpretations and feelings.
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Constructing of the Self Painting, Oil Color on Canvas, Wood W:7.25 H:9.50 D:7.25 in 2018 Ma risa Andropolis
Portraiture has the ability to create connections with viewers through their familiarity. However, often times they only portray themselves the way they want to be seen. My paintings challenge that idea by representing both the subject’s ideal alongside their inner realities they often hide away. My work involves viewers to delve deeper into the subject’s life and mind to unveil their hidden, inner realities. With the multi-sided canvas, I created multiple worlds for my subjects that reside beyond the world that I know and understand, in order to ask viewers to look past appearances and to discover hidden facets of the subjects.
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Under the Social Mask Painting, Oil Color on Canvas, Wood W:8.85 H:6.85 D:6.25 in 2018 Ma risa Andropolis
Portraiture has the ability to create connections with viewers through their familiarity. However, often times they only portray themselves the way they want to be seen. My paintings challenge that idea by representing both the subject’s ideal alongside their inner realities they often hide away. My work involves viewers to delve deeper into the subject’s life and mind to unveil their hidden, inner realities. With the multi-sided canvas, I created multiple worlds for my subjects that reside beyond the world that I know and understand, in order to ask viewers to look past appearances and to discover hidden facets of the subjects.
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Never Step Into the Same River Twice 5 Painting, Oil Color on Panel W:16 H:20 in 2018 Ma rjorie At wood
My most powerful themes come to me in groups and patterns. I create work in series, each series based on a guiding, informing concept. Doing research eshes out a body of work and pulls together diverse visual images. I take photographs and study events and stories that are compelling and relevant. My paintings are about story telling and beauty. The themes in my work often explore the power of feminine energies and their impact on the world around them by incorporating the female gure in various forms that represent the mythical and contemporary woman in various states of existence.
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Bad or Good Man Painting, Mixed Media on Paper W:30 H:44 in 2019 Ma rt in B ec k
Capturing the immediacy of the model’s presence maintains a connection to reality at a time when media intrusion is overwhelming. In this way, working from life is about the artist preserving an episode of human interaction. In presenting themselves to the world, the model collaborates in this process. The collaboration between model and artist now occurs at a troubling and turbulent time when fact, if not truth itself, is under siege. By working from life, the model and artist reveal the truth of a speci c action, time and place, that cannot be faked. The nished work is a direct artifact of past activity.
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Armed Painting, Mixed Media on Paper W:76.20 H:111.80 in 2019 Ma rt in B ec k
Capturing the immediacy of the model’s presence maintains a connection to reality at a time when media intrusion is overwhelming. In this way, working from life is about the artist preserving an episode of human interaction. In presenting themselves to the world, the model collaborates in this process. The collaboration between model and artist now occurs at a troubling and turbulent time when fact, if not truth itself, is under siege. By working from life, the model and artist reveal the truth of a speci c action, time and place, that cannot be faked. The nished work is a direct artifact of past activity.
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Aged Man Photography, Color Photography on Photo Paper W:14 H:18 in 2019 Ma rt i B elc her
Environmental Portraiture has developed into a large portion of my work. I discover people and their essence through the camera’s lens. The camera creates a passageway, a conduit, to a person’s soul via his eyes. For that reason, portraits have a sense of intimacy, vulnerability and trust that invites us in. Each portrait is a moment in time and special unto itself, never to be duplicated.
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Andrea Sculpture on Powdercoat, Welded Steel W:13.50 H:15 D:3.75 in 2020 Ma t t hew B ellefeuille
Matt Bellefeuille is a metal sculptor from Gurnee, Illinois. Although he has always had an artistic eye and creative spirit, it was not until he learned how to weld at his public works job that he found the medium he was meant to use. Using both recycled metal parts and new metal, he attempts to give the cold, hard components a soft and elegant look.
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Lillian Sculpture on Powdercoat, Welded Steel W:34 H:47 D:9.50 in 2020 Ma t t hew B ellefeuille
Matt Bellefeuille is a metal sculptor from Gurnee, Illinois. Although he has always had an artistic eye and creative spirit, it was not until he learned how to weld at his public works job that he found the medium he was meant to use. Using both recycled metal parts and new metal, he attempts to give the cold, hard components a soft and elegant look.
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Seeing Is Believing Painting, Oil Color, Foil on Canvas, Paper Bag W:58 H:60 in 2020 Heidi B ruec kner
My work focuses mostly on cultural allegories and norms conveyed through a collage-like juxtaposition of gurative imagery, symbolism, and elaborate patterning. Often the gures personify the precarious, dark, grotesque, and sleazy side of human nature, subjects by which I am continually fascinated. These topics seem to require, and in fact dictate, frontal, discomforting, and intrusive compositions. I revel in playing with bright color and pattern, tilted and attened space, and distorted form to achieve this needed psychological expression and visual activity, but also to create an element of humor and fun.
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Midnight Station Clerk Painting, Oil Color on Canvas W:18 H:24 in 2018 Pet er B uc ks
Creating an oil painting is like sculpting an illusion of light on a two dimensional surface. I am identifying light that captures the honest feel of nature and how the light a ects its form and color. I capture the essence, personality, and nature within it. I work partially from life and then utilize photographs that I take if necessary. The composition begins with piecing together larger shapes and re ning them until they have a natural ow and a pleasing feeling to the viewer. My artistic vision includes capturing the attributes of life and revealing the experience of those moments in portraiture and gurative art, thereby representing the emotions and feelings of a person.
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Quilt Series Barry Photography, Digital Photography, Collage on Photo Paper W:14 H:17 in 2019 T. O wens Union
I am a career scientist in a visually oriented eld (pathology). I also attended The New School (Parsons), and was drawn to the creative courses such as computer assisted design (CAD), digital layout, graphic design, and drawing, which inspired me to experiment in creating visual art. Through art I explore aspects of African American cultural identity and experience, in uenced by my own personal history and current and past events that have a ected communities of color. I use photography to build digital photomontage portraits of primarily African American subjects, with antique dolls, textiles and/or found objects as the foundation.
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Enough Painting, Oil Color on Canvas W:24 H:24 in 2020 Ra zva n B urnet e
While there are many ways to “look” at an artwork, I rely on a more technical eye, so I see my work as an examination of the human being’s vanity. Chances are, our values and traces are nothing but a mask, glowing in the darkness of our thoughts. I am in particularly very strict with the techniques I use, layering the paint on the mask as if I was to create “life” to an empty glare. Usually, my work process starts with an inspiration from philosophy, the condition of the human as a “thinker”, an introvert who observes the world around him and internalize every emotion.
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Contortionist Painting, Oil Color on Canvas W:24 H:24 in 2020 Ra zva n B urnet e
While there are many ways to “look” at an artwork, I rely on a more technical eye, so I see my work as an examination of the human being’s vanity. Chances are, our values and traces are nothing but a mask, glowing in the darkness of our thoughts. I am in particularly very strict with the techniques I use, layering the paint on the mask as if I was to create “life” to an empty glare. Usually, my work process starts with an inspiration from philosophy, the condition of the human as a “thinker”, an introvert who observes the world around him and internalize every emotion.
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Dylan Drawing, Charcoal on Cardboard W:20 H:16 in 2019 Ant hony Ca iro
I am a Fine and Decorative Painter located in Lansing, Michigan. Using a blend of traditional and contemporary artistic practices, I draw inspiration from the simple beauties of reality. As an artist, I am constantly applying this philosophy of perception through complex subjects such as the human gure, portraiture, and plein air study.
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Eric Painting, Oil Color on Canvas W:30 H:20 in 2020 Ant hony Ca iro
I am a Fine and Decorative Painter located in Lansing, Michigan. Using a blend of traditional and contemporary artistic practices, I draw inspiration from the simple beauties of reality. As an artist, I am constantly applying this philosophy of perception through complex subjects such as the human gure, portraiture, and plein air study.
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Summer Afternoon Mixed Media W:24 H:30 in 2020 Ca rla Ciu o
My artwork is about storytelling. Narratives are compiled using original photography, illustration, textures and light. Work generally re ects what I see, how I interpret the world. Wanting to add additional dimension, most of my works are also laced with an animated backstory, moving artwork and augmenting reality as another layer to view and interpret. Subject matter are fragments of the real and unreal, constructed as a running commentary of current events. This work has come out of lockdown during COVID and my isolation has produced a stream of consciousness that is constantly interpreting events in the outer world. The focus is women; the soothsayers, mystics, and amazons.
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The Bath Mixed Media W:24 H:30 in 2020 Ca rla Ciu o
My artwork is about storytelling. Narratives are compiled using original photography, illustration, textures and light. Work generally re ects what I see, how I interpret the world. Wanting to add additional dimension, most of my works are also laced with an animated backstory, moving artwork and augmenting reality as another layer to view and interpret. Subject matter are fragments of the real and unreal, constructed as a running commentary of current events. This work has come out of lockdown during COVID and my isolation has produced a stream of consciousness that is constantly interpreting events in the outer world. The focus is women; the soothsayers, mystics, and amazons.
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Celebration Mixed Media W:44 H:48 D:24 in 2019 B ob Coa t es
I have always been fascinated with the human gure. Whether I'm working in ceramic or mixed media, my work always includes a representation of the human body or face. For the past 3 years, I have focused on movement, whether a piece shows the gure in dance or in the details which draw the eye around the surface of a vase. Color has always been incredibly important to me, and this is seen in the use of glaze color on the vase and in my use of color tissue paper and paint on the mixed media gures.
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Acrobats Mixed Media W:12 H:15 D:12 in 2019 B ob Coa t es
I have always been fascinated with the human gure. Whether I'm working in ceramic or mixed media, my work always includes a representation of the human body or face. For the past 3 years, I have focused on movement, whether a piece shows the gure in dance or in the details which draw the eye around the surface of a vase. Color has always been incredibly important to me, and this is seen in the use of glaze color on the vase and in my use of color tissue paper and paint on the mixed media gures.
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Little Dancer Painting, Oil Color on Canvas W:20 H:30 in 2020 Ma ry Conra d
I think of my paintings as a journal that can be shared with others in which I record my emotional reaction to life. My goal is to highlight the beauty and power of the simple and familiar experiences of daily life. I nd something captivating and sympathetic in each subject that I choose to paint and it is my hope that the viewer will share this experience.
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Hair I Fiber Art, Woodcut Print W:22 H:29 in 2012 Susa n Creha nHost et ler
"My life centers round artful choices, the life rhythms, shapes and spaces and their in nite combinations. My lover, my nest, carving on a log, drumming, woodland meditation and archery are involved. The coming together of art, rhythms, forms and space can be magic. The quest for this gives my life purpose and provides my joy of being.""My work is woman with the mark of the present and the past cultures on her. Timeless woman is an object, a goddess, angular, sensual, stylized, but always lled with grace and vitality that is woman. Woman to me is the ideal form, erotic yet pure,compositionally variable, yet identical every time.""My medium is wood.
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At the Wedding Painting, Oil Color on Canvas W:20 H:16 in 2020 Ann Ma rie Curley
I have returned, time after time, to painting the people around me, the people who have de ned my life. I like to capture them at moments that demonstrate who they are.
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Red Ridinghood with Boots Painting, Oil Color on Canvas W:40 H:40 in 2020 Peggy D ee
What drives the concept of my current paintings is my desire to share with the viewer the stories of gures in isolation. Their inner voices and the voices of the painted spaces and images that surround them exist as narratives of emotional memories. The gures may be waiting, thinking, or dreaming. My art making celebrates the quiet, solitary, everyday moments that ll the greater part of any day.
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Women's Work: Grocery Get'er Painting, Oil Color on Fabric W:36 H:60 in 2019 B ux D hyne
In my work I explore the themes of hyper-femininity, gender constraints and gender roles. Gender is a performance based on that which society has assigned; a set of tropes, standards, and fallacies that carry the label of masculine or feminine. This set of standards that we have agreed to as a society relies on benchmarks set by past generations. It also established a control aspect that has initiated a world of trouble and pain by the division of the sexes. My paintings, have a heavy focus on color and often involve multiple mediums including fabric, glitter, sequins, and decoupage; all crafting items that are traditionally related to women's hobbies.
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Holly Go Lightly Painting, Oil Color on Canvas W:48 H:72 in 2019 Leslie D uPra t t
I like my work to portray the current events that a ect the lives of women today with humor and beauty. I depict the predicaments of women balancing motherhood and careers, but with style and grace. Holly Golightly is of course the main character of"Breakfast At Ti any's and one of my and model Ashley's favorite movies. The painting was part of "DressUp" solo show and I chose famous actresses, models and artists for the eight di erent models to interpret using my collection of vintage dresses that I've collected over the years.
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Chained Woman Ceramic Art W:13 H:23 in 2017 Elha n Ergin
My work in ceramic medium is based on mainly hand built and wheel -thrown techniques resulted in sculpture, installation and design. I am not afraid to tackle themes in my work that range from personal, moral to political issues especially gender stereotypes and woman's condition in my country's changing political scene. My content-driven work involves aesthetic & conceptual sensibilities. I want the work to be meaningful and evoke feelings of suspicion, wonder and also analytical to show a di erent point of view. All my designs and sculpture in ceramics are a ected by my surrounding and the city I live in.
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Holiday, Maroon Bells Painting, Oil Color on Board W:11 H:14 in 2019 Ann Feldma n
I love capturing people in moments of unguarded relaxation or contemplation. Their relationships to other people or to their environment always intrigues me, and I try to express this as I paint them. My favorite scenarios feature people in unexpected circumstances- the businessman in sandals on the beach, a cowboy in an art gallery, Amish women on holiday in the mountains. I observe, and I paint; continually fascinated by people!
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Waiting in Turmoil Painting, Color Pencil W:20 H:33.50 in 2020 Tra c y Frein CPSA, CPSX
As a Narrative portrait artist my inspiration is drawn solely from my subjects and their hidden emotional truths. To be able to capture those emotions, I model my work in black and white colored pencil on drafting lm. Working with a limited pallet allows me to concentrate on the composition, form, texture, tonal values and lighting. Color or lack of it alone, possesses emotion without the need to tell a story. Each subject is a compelling visual portrayal of the human spirit, determination and courage.
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Mask: Static Mixed Media, Collage W:10 H:8.50 in 2020 J a c k Gira rd
I work primarily in collage, as the form suits the fragmented design of my days. Current subjects that inform my works include con ict, history, cultural and ethnic diversity and literature.
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Contemplation Painting, Oil Color on Canvas W:8 H:10 in 2015 Ya na Golikova
I was born in Siberia, Russia. Growing up there, surrounded by majestic nature encouraged me to really appreciate beauty,feel it and truly love it. As a young kid, every time I would see something inspiring, I was trying to imprint it in my memory but it would fade with time. I think that’s when a spark for art lit up in my heart. Painting and drawing was the best way for me to capture the moment, keep it and share it. It was the best feeling and from that time it remains this way. Moving to America brought me many opportunities, to express my emotions through my art and share it with others is the best gift.
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You Were All Light Drawing, Color Pencil on Paper W:12 H:18 in 2019 Colleen Gra ndra t h
Works of recent years have focused on the utilization of colored pencils to depict subjects against varying background medium. I have slowly drifted back into drawing humans after exclusively drawing animals for about a decade. Music has arguably been one of the most powerful driving factors to push me through life. To start paying homage to musical artists that are responsible for shaping who I am today, I began capturing those most in uential to me through drawing. Such musicians gave life to music that helped save my own.
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Out of the Blue Painting, Oil Color on Canvas W:34 H:21 in 2018 Timot hy Gri
th
I have struggled to know where I t into contemporary art, or even historical art. My work seems nothing like anyone has done, or is doing. My art is representational and gurative, and often elicits emotion. The subjects of almost all of my work comes from my life- the people, events, and community spirit. With a few exceptions, I paint people I know or have met. My eyes have seen their outward expression of spirit and that is what I want to re ect back to the observer.
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27 Painting, Oil Color on Canvas W:30 H:40 in 2018 Ga ry Henzler Allen
What I love the most about Art is that you can be whoever you want while doing it. You can make something and it won't judge you for how you look, what you wear, that you like guys, girls, or both, wear braces, glasses, or that your hair and skin look a certain way. Art never demands that you explain yourself for why you feel a certain way about anything. It has always been the most reliable and welcoming of friends, ready to listen and give you anything and everything you want or need.
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Garden Solace Mixed Media, Collage, Color Pencil on Canvas W:13 H:17 in 2019 Ma t t Hepwort h
My work is characterized by seeking truth through multiple perspectives. Each person perceives something di erent from a shared experience, and with time our memories become altered. I don't set out to produce art about one subject over another. Instead, I rearrange conceptual and literal meanings of received ideas and experiences. In this series, I respond to our innate need for self-exploration and an escape of our psychological, emotional, cultural, or physical con nes. Each work depicts a version of the idealized self in the context of a personal narrative through self-exploration.
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Tanzania 2020 Photography, Color Photography on Photo Paper W:8 H:11 in 2020 D enise Hoover
I am both a painter and a photographer. My paintings are a combination thought and experience. My photographs are gifted moments of the real on many levels.
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Tanzania 2020 Photography, Color Photography on Photo Paper W:8 H:11 in 2020 D enise Hoover
I am both a painter and a photographer. My paintings are a combination thought and experience. My photographs are gifted moments of the real on many levels.
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Stacy & Barkley.....Happy Place! Fiber Art W:15 H:18 in 2020 B et sy Hughes
I have been experimenting in various art forms for as long as I can remember but I always seem to be drawn back to fabrics and bers. ‌..mostly because I feel there is something beautiful and ful lling about working with the colors, textures, and versatility of cloth. Inspiration for my thread paintings and fabric collages generally comes from photos that grasp my interest or seem to capture something about the subject that I want to try to recreate with fabric, threads, paint, and colored pencils. Every new project is a fun and rewarding challenge. I want the viewer to look, step back, wonder, and smile!
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Jester Painting, Acrylic, Wax Oil Crayon W:9 H:12 in 2020 Ca rson K a pp
Fun, funky and heartfelt, the images that I create live only in my heart and not the external world. Expressive and abstracted gures exist not as in real life, but in my constructed alternate reality the expression is ampli ed, urging the viewer towards an emotional or spiritual experience. Each has its own unique personality and message. Strongly in uenced by art history and a past career as an architect, subconsciously I set an intention and move those ideas into the studio, into a process of discovery, freedom and allowing the materials to work their magic.
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We Are One Painting, Acrylic W:20 H:16 in 2020 Ca rson K a pp
Fun, funky and heartfelt, the images that I create live only in my heart and not the external world. Expressive and abstracted gures exist not as in real life, but in my constructed alternate reality the expression is ampli ed, urging the viewer towards an emotional or spiritual experience. Each has its own unique personality and message. Strongly in uenced by art history and a past career as an architect, subconsciously I set an intention and move those ideas into the studio, into a process of discovery, freedom and allowing the materials to work their magic.
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Broadway and Thames Drawing, Graphite Drawing on Cardboard W:9 H:11 in 2020 Melissa K a t z
As a portrait artist, I am deeply interested in capturing emotions. Before the pandemic, I got used to building intimacy between myself and my subjects to depict their emotional states. When Covid 19 forced many of us into isolation, I had to rethink the intention behind my drawings and my methods. For months, the only time I saw another person was during walks. Strangers, instead of friends and family, became the source of my inspiration. On one of my walks, I snapped a photo of a man and woman wearing masks. The man looks at me with unease, his mask covering his nose and mouth. We are not only strangers to one another, we are also mutual threats.
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Omak Photography W:11 H:14 in 2019 K ryst a l K oop
My choice of subject comes from a place of intuition and a desire to partake in the stories that unfold around me. I look for the light within the shadows, the stories that are not at rst obvious and the uncommon in the common. I photograph people in their environments because I am curious of what lays behind their eyes, where they have been and where they hope to go.
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Pride Photography W:11 H:14 in 2019 K ryst a l K oop
My choice of subject comes from a place of intuition and a desire to partake in the stories that unfold around me. I look for the light within the shadows, the stories that are not at rst obvious and the uncommon in the common. I photograph people in their environments because I am curious of what lays behind their eyes, where they have been and where they hope to go.
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No Quarter: Willie Painting, Oil Color W:54 H:54 in 2015 D ea n K ugler
I am an artist that focuses on the gure. In all its beauty, crudeness, and subtleties, the gure o ers in nite opportunities to express feelings and emotions. There is also a historical context to the gure going back for thousands of years, starting with the earliest cave drawings. I like being part of that tradition. As a representational gurative artist, I am trying to connect with the viewer beyond the initial visceral response to the work. Naturally, there is a “shared experience” when you are dealing with the gure, but I want to go further, so my work often requires more than simple observation.
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Guardian:Terra Sculpture, Mixed Media W:8 H:67 D:8 in 2018 D ea n K ugler
I am an artist that focuses on the gure. In all its beauty, crudeness, and subtleties, the gure o ers in nite opportunities to express feelings and emotions. There is also a historical context to the gure going back for thousands of years, starting with the earliest cave drawings. I like being part of that tradition. As a representational gurative artist, I am trying to connect with the viewer beyond the initial visceral response to the work. Naturally, there is a “shared experience” when you are dealing with the gure, but I want to go further, so my work often requires more than simple observation.
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The Black Road Sculpture W:14 H:26 D:16 in 2020 D ea n K ugler
I am an artist that focuses on the gure. In all its beauty, crudeness, and subtleties, the gure o ers in nite opportunities to express feelings and emotions. There is also a historical context to the gure going back for thousands of years, starting with the earliest cave drawings. I like being part of that tradition. As a representational gurative artist, I am trying to connect with the viewer beyond the initial visceral response to the work. Naturally, there is a “shared experience” when you are dealing with the gure, but I want to go further, so my work often requires more than simple observation.
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What Was I Thinking?! Fiber Art W:38 H:35 in 2019 Pa t K umic ic h
In my opinion, a woman's body does not need tattoos to make her beautiful. AW127226832
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Face to Face Photography W:13 H:9 in 2020 La dka K urzroc k
My name is Ladka Kurzrock, I live in Australia, Sydney. My hobby and passion is photography and I'd love to be part of this very interesting and unique show. My photos have been shown in the US and Europe.
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The Fisherman Fiber Art W:11.25 H:14 in 2015 Susa n La ne
The materials I choose to work with are those I’ve worked with all my life: fabric, thread, paper, paint, and dye. There are endless ways to combine and manipulate these ingredients and this variety is part of what intrigues me.
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Drift Ceramic Art W:18.50 H:10 D:18.50 in 2020 J ee Eun Lee
I have focused on exploring through sculpture how nature in uences my sense of self, which for me feels similar to searching for the fundamental truths of nature. Nature is mysterious. It creates in me a sense of awe for the universe, while urging me to reconsider the meaning of life and to be more self-aware.
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Hopes and dreams II Ceramic Art W:12 H:19 D:9 in 2019 J ee Eun Lee
I have focused on exploring through sculpture how nature in uences my sense of self, which for me feels similar to searching for the fundamental truths of nature. Nature is mysterious. It creates in me a sense of awe for the universe, while urging me to reconsider the meaning of life and to be more self-aware.
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Self Unbound Painting, Oil Color on Canvas W:24 H:48 in 2019 Yue Li
In uenced and inspired by Chinese culture, I reimagine the Chinese zodiac animals to represent social complexities and re ect people’s daily lives metaphorically. The zodiac animals are given new meanings and presented in a contemporary way. My art speaks for me and my people, re ects lives, reveals problems, questions the so-called truths, and makes people face social issues for a better society. There is no answer given in my works. Instead, I re ect social phenomenon and point out some potential problems that may need to be xed. I want the viewer to discover the answers for themselves.
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See Me-I am I of IV Photography W:17 H:17 in 2019 J a mes Ma ioho
ARTPRIZE Artist AW127583456
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Left in Doubt Painting, Acrylic on Canvas W:18 H:36 in 2020 K a y Ma sini
I see and evaluate-I am an artist. My paintings are a combination of the way I see things - the things I nd beautiful or important. I look for beauty in odd places and visual relationships in forms or people. What do I aim for? Concept, technique and the communication of an idea. For all artists, how we see is the basis of our art. We connect images and ideas with action from the brain to the brush. We communicate using the aesthetic vocabulary of line, form and color, along with our particular (sometimes peculiar) "brand" of creativity. My objective is to stretch imaginations beyond the obvious-beyond 'what is' to 'what could be'.
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Nebula Painting, Ink, Watercolor on Cardboard, Gold Leaf W:22 H:28 in 2019 K a it lynn Ma slen
Watercolor has been my medium of choice for years because of its ability to slowly build the scene with controlled washes of color. The gossamer layers of watercolor have an enchanting e ect that translates the narratives I explore. Dreams often re ect my emotional state in subtle, surreal ways. I consider the symbols and incongruities in my dreams and I often arrive at revelations or nd solutions to problems. These are translated into my artwork through the expression of a human gure along with symbolic aspects of the natural world.
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Peace is the Beauty Painting, Watercolor on Cardboard W:11 H:15 in 2019 Ca t herine Mc Clung
Humans are divided into di erent classes and tribes and belong to di erent countries and towns where they live and grow. Here is a collection of personalities and sweet souls that I have met and felt inspired to paint in watercolor. The community of man is a whole lot of common folks connected and overlapped, young and old, souls that give life to a community. Striving forward together, we cradle and love, raise and teach, worship and work, generation upon generation. Help us to see people not as a group but as individuals.
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Fashionista Painting, Watercolor on Cardboard W:10.50 H:15.50 in 2020 Ca t herine Mc Clung
Humans are divided into di erent classes and tribes and belong to di erent countries and towns where they live and grow. Here is a collection of personalities and sweet souls that I have met and felt inspired to paint in watercolor. The community of man is a whole lot of common folks connected and overlapped, young and old, souls that give life to a community. Striving forward together, we cradle and love, raise and teach, worship and work, generation upon generation. Help us to see people not as a group but as individuals.
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Blue: Toll Booth Salute Photography, Collage on Photo Paper W:20 H:16 in 2020 George J . Miller
My photos, photo-montages, and documented photo-collages stage-sets center around emotions expressed, and stories to be told. I hope to connect with the viewer on a personal level within the narrative story-line. There may be works which may be food-for-thought, or may be thought-provoking, as well as others evoking humor, or sarcasm. Within all the works there are no computer modi cations made.
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Frieze Sculpture W:36 H:105 D:28 in 2016 Ga ry Mit c hell
My sculptures are designed to delight, inform, and to beautify. I am much more concerned with form, or a pattern of forms, than with content. The form is the content. I am limited by what the ductility of the aluminum sheet metal. My intent is that the viewer will always be aware that "This is a construction and not a real body".
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Studio Stretch Painting, Oil Color W:16 H:20 in 2020 D a vid Pa wl
I nd the human body both fascinating and challenging. It is my goal to capture likeness and proportion with accuracy while maintaining a feeling of life and presence. My current work with the gure includes portraits of friends revealing aspects of their daily lives as well as dramatically lit examinations of the structures of the body engaged in various stretches.
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Back In The High Life Painting, Oil Pastel W:30 H:22.50 in 2019 Ma rk Pea rson
My work is focused on the people in my life and is a re ection of my everyday experiences. When completing a piece, I am frequently brought back to what I felt in that moment. I initially have a goal of what a piece should look like but as with anything, there are changes that happen in the process. As long as I keep the memory of that moment alive, the piece will turn out better than I ever expected. Reinvigorating my passion in art has given me a purpose and has allowed me to appreciate the importance and meaning of everyday moments. I hope that my work inspires the viewer to do the same.
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Eyes Half-Closed Painting, Oil Color W:9 H:12 in 2018 J udit h Pec k
I look at the things happening in the world today, and what history has taught us about our broken world and I can’t stop being drawn into the unreason of it all. What I try to express in my art is that we all have the same hopes and dreams as anyone, anywhere at anytime in the present or throughout history. I depict how, despite our rifts, we might experience healing in a broken world, and how that undertaking is universally human. I am looking for the binding power-opposite of mob mentality-our mutual connections. Although we can all be overwhelmed and feel helpless, the human spirit always possesses hope, even in the most desperate of circumstances.
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The Seed of Change Painting, Oil Color, Plaster on Board W:31 H:33 in 2016 J udit h Pec k
I look at the things happening in the world today, and what history has taught us about our broken world and I can’t stop being drawn into the unreason of it all. What I try to express in my art is that we all have the same hopes and dreams as anyone, anywhere at anytime in the present or throughout history. I depict how, despite our rifts, we might experience healing in a broken world, and how that undertaking is universally human. I am looking for the binding power-opposite of mob mentality-our mutual connections. Although we can all be overwhelmed and feel helpless, the human spirit always possesses hope, even in the most desperate of circumstances.
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Another Monday Painting, Oil Color on Cradled Panel W:12 H:12 in 2018 J a net Pedersen
My gurative oil paintings are based on iPhone images snapped on New York City streets. I have always been interested in gures in movement within the city in motion. As a landscape and gurative painter, there's no better backdrop. These paintings are about private and intimate moments: the walker deep in thought, a woman touching up her makeup on a moving train, a full-on glance from a passing train. These are urban scenes (pre-covid!) on full display. The creative challenge for me was moving beyond traditional representation in order to build dynamic compositions.
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Captive Grin Mixed Media W:8.50 H:10 D:4 in 2020 Mic ha el Pet erson
Finding the beauty in the discarded material is the drive behind my current work. Collecting trash-- twine, mesh, leather, paper, textured packaging is a fundamental ritual in my process. All of this comes home with me and, with the use of carpet tacks, wood bases, gesso and paint, creative unity is manifested. One person’s trash is another’s texture. My practice is intuitive creation, adding, subtracting, building in layers, unrelated materials become related, happenstance, chance, accidents become beauty. I strive to make my work come o the wall and be a part of the viewers space.
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Asase Yaa Fiber Art on Canvas W:36 H:48 in 2020 Rosy Pet ri
Rosy Petri is a mother, self-taught artist, and aspiring multimedia storyteller. Part autobiography, part documentary, her work is about self-discovery, history, and radical Black Joy. Inspired by the art and architecture of churches and cathedrals, Petri applies line and color in an improvisational manner to create contemporary iconography seasoned with Black history, music, and culture. While her primary medium is fabric portraiture, a background in printmaking, photography and journalism facilitate multimedia storytelling that invites participants more deeply into conversations about collective liberation.
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Seeking and Confused Painting, Mixed Media W:25 H:33 in 2020 J udit h Repke
My paintings or drawings of people express the feeling that the pose or face called up in me. The colors are more emotional than totally realistic.
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Comfy in Their Skin Photography, Digital Photography on Photo Paper W:20 H:16 in 2012 Rebec c a Rot hey
Photography o ers the opportunity to fully immerse myself in the world around me. When I am making photographs, I slow down and observe moments that I would otherwise miss. Time stops, my mind frees while my eyes roam and my nger clicks, on impulse. Working in black and white removes distractions and allows me to focus on the emotion and geometry of a scene. I enjoy nding playful or ironic situations and I appreciate classic moments. I make photographs because there are endless dramas to be enjoyed, large and small, that might otherwise go unnoticed.
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Madrid Painting, Acrylic on Canvas W:38 H:26 in 2015 Ma rk Sc ha t z
I call these recent paintings "Vacation Pictures". Rather than featuring iconic monuments or natural wonders, I focus on some of the more ancillary, yet integral, aspects of travel: hotel lobbies, airport bars, restaurants and the like- the journey rather than the destination.The venues themselves, designed and built as a sort of communal property, invite random and numerous individuals to share the space. Ironically, rather than nurturing shared public engagement, they more often create smaller worlds and intimate events: private conversations and personal reveries, respected and bounded by the understood barriers between tables and chairs.
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New Jersey Diner Painting, Acrylic on Canvas W:48 H:36 in 2020 Ma rk Sc ha t z
In these paintings, the study of light and its ephemeral nature shows us a world that can only exist as an instant. Its re ective properties, its transparency, translucency, temperature and intensity all contribute to the rich layering of these (and any) scenes. Color sets a psychological tone as it de nes a moment in a day.
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I Shall Not Be Broken Painting, Acrylic, Oil Color on Canvas W:40 H:62 in 2020 Gypsy Sc hindler
Exploration of the diversity and uidity of identity is a constant journey for me. Our understanding of this concept is changing, as the de nitions of gender, race, age, geography, culture and socioeconomic status are mixed, blurred, inverted and dismantled. I am interested in participating in the conversation between the dissection of the externally determined identity and the increasing awareness of the internally determined one.
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I Shall Not Be Restrained Painting, Acrylic, Oil Color on Canvas W:48 H:40 in 2020 Gypsy Sc hindler
I am compelled to depict individuals I feel connected to for one reason or another; familial, friend, acquaintance or stranger. Every category or label that has been developed for one's identity is inaccurately static and therefore ine ectively descriptive. We are verbs, not nouns. We move and grow. We are both/and, not either/or. A portrait strips away the labels, leaving only the reckoning between subject and viewer, if only for a few moments.
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Hope Remains... (II) Drawing, Charcoal on Paper W:11 H:14 in 2020 Arena Sha wn
In her pursuit of art, Arena tries to use charcoal, pencil, brush and paints to re ect the quiet lights, subtle colors and playful shapes exhibited by seemingly mundane, everyday subjects. Striving for the emotional quality of every piece she creates, Arena hopes that her work would be able to reach out and connect with the viewers, evoking the sense of wonder and awe of our everyday life that are so often taken as granted. Her work involves direct observation from life using traditional sight-size method and aims at achieving a strong impression of light and its cascading e ect down the human gure or a particular still-life setup.
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Mirror Mirror Photography W:20.50 H:20.50 in 2018 K a t herine Sirvio
My husband and I decided long ago that we wanted to see as much of the world as we could. We wanted to meet and learn about other people and their cultures - take the road less traveled, take the time to get o the tourist path whenever possible. During these excursions, I love to capture a moment in life. The rich colors, textures, details and character that make up the lives of the people we meet make for a wonderful story. I hope that my photographs can convey those stories.
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Brasserie de Isle Saint-Louis Photography, Gelatin Photography W:14 H:11 in 2020 B ob Solt ys
My love of photography began when I read The Eye of Eisenstaedt. Shortly after that, my aunts gave me a camera for Christmas. In 2007, I spent ten days photographing in Paris, and saw that Parisians have truly mastered the elegance of the joie de vivre. Their love for life and living it to the fullest call me to return to Paris again and again. I make photos in Paris to inspire understanding that we are all one, and to give back to the city that forever changed my photography and my life. My share of the proceeds from the sale of my Paris ne art images is donated to charities in Paris, including Secours Populaire Franรงais.
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I will... Drawing, Charcoal on Paper W:9 H:12 in 2020 Ga briella St a hl
The works I create discuss and uncover discrimination and social justice issues. As an artist I want to open the eyes of people to this issues. While some people deny them and turn a blind eye to them others deal with these everyday. This is a conversation we need to have as a whole people and come together in a positive way to move forward. Who is anybody to judge another?
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The Dead Christ Painting, Oil Color on Canvas W:72 H:16 in 2016 J ohn Troy
In his gurative paintings, John Troy examines the existential nature of being by emphasizing the material substance of the physical being of his subjects in the tradition of Gustave Courbet and Thomas Eakins, while embracing the Sienese aesthetic of situating his decidedly earthbound gures in other-worldly Byzantine ethereal environments of golden fantasy and/or stylized architecture.The insistent corporeal scrutiny of traditional realism is contemporized through a heightened concern for process, a la Rackstraw Downes, craftsmanship, a la Robert Bechtle, and psychological allusion, a la Gregory Gillespie.
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Sunday Services Painting, Oil Color on Canvas W:30 H:40 in 2019 D a vid Vet a l
I am a passionate believer in the healing power of art, both for the artist and the viewer. As with many survivors of cardiac events, my recovery from a 2016 heart attack was marked with major depression and a constant desire to nd meaning in my survival. My love of art that had been dormant during my business career reemerged and allowed me to shift my internal angst to constructive creativity. Art became an integral part of my recovery: the more art I created, the better I felt and vice-versa. I strive to capture the spirit of my subjects and the innate humanity of all people. My continued journey has provided me with an acute awareness of the emotional impact that art conveys.
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The Great American Lose-Lose Painting, Oil Color W:30 H:40 in 2020 Ca ssidy W est john
American culture around food is generally unhealthy and needs to be reevaluated. My paintings explore the junk food that most people purchase from their grocery store, the fast-food companies, and even diet fads. These issues are important because they a ect each and every person, whether they live in a food desert (a place where there are only fast-food restaurants) or if they live in a large city with multiple healthy options. Healthy food is expensive, and it is not always made appealing like junk food is marketed. I myself fall into the trap of junk food all too often and struggle with overeating.
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Self-Portrait with Gluttony Painting, Oil Color W:18 H:24 in 2020 Ca ssidy W est john
Many put their frustrations and emotions into their diet because we treat our food as if they are our therapists. Advertisements exploit this and use it like propaganda; to convince Americans of their next greatest chance at happiness. By exposing this ideal shaped around food within my paintings, Americans can begin to rethink their relationship with food.
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Tuesday Night Painting, Oil Color on Canvas W:36 H:48 in 2019 Sierra W hit e
I am interested in exploring the causes of climate change, focusing on the average person and their habits related to food production and waste. Products and packaging for food account for a large percentage of items in land lls. More signi cant issues include large amounts of carbon emissions from meat production and wasting food once it is produced. As a result of over-consumption and public consumerism, approximately onethird of all food produced is wasted, nearly 1.3 billion tons a year. Ironically, food wastes are primarily made up of vegetables. My paintings create a new conversation about global warming and connect the average person to this critical topic.
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Distracted Printmaking W:7 H:5 in 2020 Ellen W inkler
Before the pandemic, I rode the Washington, DC metro many days and made drawings of other riders. These then became the drypoint prints submitted to this show.
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Young Woman with a Pretty Neck Printmaking, Woodcut Print W:7.12 H:10.50 in 2020 Ma x-K a rl W inkler
I am an artist and teacher working since 1984 in the Washington DC area. My chief media are woodcut, penand-ink, and watercolor.
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Woman on the Metro Photography, Digital Photography on Canvas W:13 H:20 in 2019 Andrew W ohl
I typically use a Nikon DSLR to capture still-life or architectural images, some of my most compelling photographs are impromptu and unplanned shots of people going about the daily activities of life using my iPhone. Whether the subject is a woman resting on the Metro, or two women involved in what apparently is an intense conversation, I keep in mind the basics of good photography; composition, clear subject matter and a non distracting background. As the saying goes, "The best camera is the one you have with you". Being in the right place at the right time, I have captured images of the most compelling subject matter of all; People.
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Real People - 2020 G r o u p
E x h i b i t i o n
85 Artworks from 67 artists September - 2020
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