Painting The Figure Now (2019)

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ISSUE 104 | JULY 2019

Yunior Hurtado Torres Problems of Meaning oil on canvas 16x24 2019


W O N E R U G I F HE GOSS183 PUBLISHING HOUSE 604 Vale Street Bloomington, IL 61701 USA

PAINTING THE FIGURE NOW is a PoetsArtists yearly exhibition. Original concept by Didi Menendez and Walt Morton. In 2019 the exhibition will travel from the Wausau Museum of Contemporary Art to the Zhou B Art Center in Chicago. Didi Menendez, Chief Curator, Publisher, Creator G UE ST CU RATO R S

John Dalton, Victoria Selbach, Barry Blinderman, Lorena Kloosterboer, Jay Menendez, and Daniel Maidman Open submissions for the 2020 exhibition are available from the PoetsArtists website. Guest curator for 2020 is F. Scott Hess. Copyright Š 2008-2019. All rights are reserved by PoetsArtists, GOSS183, Didi Menendez, and contributing artists, writers, and poets. All writings, artwork, and images remain copyright of the contributors and may not be reproduced without explicit permission. This publication may not be reproduced electronically, digitally, in print or any other form, format, or media without the explicit, written permission and approval of the copyright holders. All images and artwork are used with permission of the authors/creators or their representatives. Unless otherwise noted all sizes are in inches.

Detail of oil painting by Adam Miller Exhibiting in Exclusively at Wausau Museum of Contemporary Art


Nick Alm Bo Bartlett Shane Berkery Alfonsina Betancourt Yana Beylinson M. Borysevicz Carmen Chami Hilary Clarcq Mel Cook Vincent Desiderio Kimberly Dow Marc Duquette Belinda Eaton Jackie Edwards Lani Emanuel Natalia Fabia Jef Faerber DebiLynn Fendley Ingrid Capozzoli Flinn Denise Fulton Grant Gilsdorf Jason Lee Gimbel Tanya Atanasova Michele Bajona Michael Bergt Alicia Brown Anastasiya Chybireva-Fender Therese Conte Shaina Craft Sandra De Jaume Jodi Gerbi Scott Grimando

Amanda Greive Barbara Hack Lisa Ficarelli-Halpern Jenny Hansen Julia Haw Mark Heine F. Scott Hess David Hummer Amber Lia-Kloppel Geofrey Laurence Rebecca Leveille Kathrin Longhurst Yanqing Low Peter Lupkin Dáire Lynch Gayle Madeira Larry Madrigal Alexandra Manukyan Mays Mayhew Tom McLean Adam Miller Heather Morgan Natalie Holland Amy Hughes Scott Hutchinson Kaitlyn Hwang John Hyland Robert Jenkin Caitlin Karolczak Francien Krieg Sarah Lacy Christina Grace Mastrangelo

Sandra McKibben James Needham Laurence O’Toole Matthew Quick Dan Simoneau Suzy Smith Vicki Sullivan Rebecca Tait Noelia Towers Nick Ward

Walt Morton Grace Graupe-Pillard Krista Proitt Nadine Robbins Anne Christine Roda Maggie Rose Paula Saneaux Buket Savci Sara Scribner Pegah Samaie Ann Moeller Steverson Judy Takacs Laura Tan Daena Title Alessandro Tomassetti Alexandra Tyng Patricia Watwood Amy Werntz Daryl Zang Zack Zdrale

Jul 9–Sep 28, 2019 David Hummer, Director

Shana Levenson Temptress oil on dibond 14x11 2019

EXHIBITING ARTISTS Debra Balchen James Xavier Barbour Donna Bates Michelle Bennett Mike Brewer Carmen Chami Hilary Clarcq Kimberly Dow Belinda Eaton DebiLynn Fendley Lisa Ficarelli-Halpern Katherine Fraser Denise Fulton Vinka Gasparus Grant Gilsdorf Jason Lee Gimbel Salvatore Graci Amanda Greive Patrick Earl Hammie Mark Heine Scott Hutchison Daniela Kovacic Geofrey Laurence Kim Leutwyler Shana Levenson

Kathrin Longhurst Catherine Lucas DĂĄire Lynch Daniel Maidman Alexandra Manukyan Mays Mayhew Tom McLean David Molesky Reuben Negron Judith Peck Megan Read Nadine Robbins Anne-Christine Roda Paula Saneaux Viktoria Savenkova Sara Scribner Pegah Samaie Ann Moeller Steverson Alessandro Tomassetti Yunior Hurtado Torres Michael Van Zeyl Dan Volenec Daggi Wallace Daniela Werneck Veronica Winters

Oct 18–Nov 13, 2019 Sergio Gomez, Director

Megan Read | Faith | oil on linen | 84x60 | 2019

Daniela Kovacic | Basia | oil on canvas | 60x36 each | 2019

Grant Gilsdorf Patina acrylic on linen 30x24 2019

Junyi Liu Sinking oil on linen 30x20 2019

Donna Bates Electric Boogaloo oil on aluminum 18x14 2019

Amanda Greive | The State in Which | oil on wood | 24x48 | 2019

Curated by Lorena Kloosterboer

to be released from her bondage. Her lawless beauty is fading even now, heralded by the scrape on her foot and the inevitable ravages of imminent aging.

The PoetsArtists publication and exhibition project, entitled Painting the Figure Now, seeks to highlight skill-based painting that investigates the many ways contemporary artists see the human igure in all genres, such as portraiture, narrative, nudes, and any and all visualizations focusing on the human form in life, action, play, work, and repose. The human body is an inexhaustible subject within the arts, potentially allowing us to see humanity in fresh, relevant, and innovative ways.

Daryl Zang’s striking painting, entitled Anatomy, is a partial selfportrait after a health crisis left the artist feeling powerless and disoriented by the soulless scrutiny of medical treatments. The anonymized headless composition symbolizes feelings of disconnection from her body—a body converted into a nameless anatomical problem to be solved by a medical system that habitually objectiies and overlooks the humanity of the person under their care.

Painting The Figure Now

Chief curator for Painting the Figure Now is Didi Menendez, and guest curators include John Dalton, Victoria Selbach, Barry Blinderman, Jay Menendez, Daniel Maidman, and I. All work will be published in PoetsArtists magazine, and a selection will be exhibited at the Zhou B Art Center in Chicago, Illinois, and/or the Wausau Museum of Contemporary Art in Wausau, Wisconsin. My goal, as guest curator of the PoetsArtists’ Painting the Figure Now, was to select artists who paint the human body by means of exceptional pictorial skills as well as having a distinctly individual look to their work. I invited igure painters Amanda Grieve, Daryl Zang, Natalie Holland, and Laura Tan to submit. Amanda Grieve’s exquisite painting, entitled The State in Which, symbolizes the status quo of societal ideals of unobtainable perfection that tend to focus exclusively on outward appearance. The irises are used as a metaphor for the ever-diminishing importance of psycho-emotional self-care, and compel the young woman—restrained by satin ribbons representing societal pressures—to be more concerned about her looks than nourishing her interior well-being, strength, wisdom, and resilience. The minute details of the variety of textures in Grieve’s painting are a feast for the eyes—note the meticulous wood-grain, sheer fabrics, delicate lora, glowing youthful skin, the fading light. The young woman stares directly at the viewer—one perceives an accusatory look, yet also an eagerness for airmation and a need

The lat powder blue backdrop enhances and elevates the magniicent curvaceous silhouette of a nude that, despite being headless, appears to exude diferent emotions. Note the skillful expression of luminous skin, the superb chiaroscuro of the lesh tones, the unapologetic strength of the igure elegantly juxtaposing warm and cool hues. One perceives a defensive gesture as well as an expectant, deiant attitude—a stoic demeanor whose illusive face is turned eagerly towards the light, the future, and towards well-being. Natalie Holland’s elegant painting, entitled Morning Cofee, forms part of a series of four paintings inspired by the rituals of daily life. A young woman, loating in a luxuriously soothing milk bath, stares up in quiet contemplation—symbolically transitioning between the world of dreams and the quotidian realities ahead. Neither completely naked nor truly dressed, she holds a cup of cofee, the skies above relected in its motionless dark surface. This painting’s strength lies in its muted color palette, superbly translated by meticulous brush work that captures smooth transitions between unusual textures—note the delightful translucence of the milky water, an ephemeral bubble loating on its surface, the diaphanous wet fabric clinging to the skin, the small exquisite details in the cuf. Her body relaxed, her wet hair loating freely, her wide blue eyes transixed—yet emanating an indecipherable juxtaposition in emotions that range from a restful physical state to intense mental acceleration.

Laura Tan’s splendid painting, entitled After Degas, is a self-portrait described as “a ghost of the everyday.” Tan’s body of work consists in large part of an ongoing series of self-portraits, through which she seeks to understand her life, her emotions, herself. Blurring the line between contemporary portraiture and genre pieces—i.e., scenes or events from everyday life—this noteworthy piece stands out for its strength and ierce honesty; a visual autobiography that documents a lifelong exploration into a personal reality. Tan’s deliberate rejection of the rigid rules of traditional painting adds a quirky playfulness not only to the posture but also to the painting’s stirring surface treatment. The choice to work in a near-monochromatic palette allow the turquoise glasses to stand out, yet the discerning viewer will appreciate the ingenious juxtapositions Tan creates between elaborate skin and waning fabric. Note the loveliness of the hands contrasted against the transparency of the jeans, and revel in this highly recognizable awkward moment of semi-balanced (un)dressing of this pensive woman casually gazing up. Despite all being female igures, these four paintings could not be more dissimilar—each piece has a patently distinctive character in both visual expression as well as emotion, and each stands out on its own merits. Yet as a group they capture that magical element that I, as curator, was seeking and eagerly hoping for; the beautiful analogy of diversity, how it invites recognition in the realization that there’s strength in scope and contrasting ideals. These paintings are noteworthy for their psychological complexity, sublime tension, and for their portrayal of human isolation— intimate moments suspended in time, skillfully captured by the female gaze.

Laura Tan | After Degas | oil on linen | 48x32 | 2018

Natalie Holland | Morning Coffee | oil on dibond | 35.5x27.5 | 2019

Daryl Zang | Anatomy | oil on canvas | 35x32 | 2005

Julia Haw The Ping Pong Champion of the World, 2015 acrylic on acid-free paper 14.25x10.5

Jenny Hansen Chert The Fat Chucker Tooth; You’ll Protect Me (detail), 2018 drawing with collage on paper 27 x 41.75

GO FIGURE Curated by Barry Blinderman Despite proclamations of “return to the igure” every decade or

and dyes, still has a lot of clout, and is likely to be making

so since the 1950s, painted representations of the human body

its mark for centuries to come. And I’ll wager that the human

have seldom slipped far from the focus of the artworld. Even

igure, however wizened or robotic by then, will continue to be

during the heyday of high modernism—when transgressions

a prominent subject.

against the sanctity of the contentless, lat, allover picture plane






Meanwhile, tasked with the selection of ive artists painting

seething Woman series (1950-54) stood as testament to the

the igure, I chose modestly scaled works by ive women who

persistence of the igurative impulse.

eschew academic precision in their pursuit of some vestige of personal expression in a world that is mediated, fragmented,

Today, in the era of the selie, when your smartphone holds

and absurd beyond belief. In Grace Graupe-Pillard’s Pop-

tens of thousands of photos and videos of faces, places, pets,

infused self-portrait Grace Sneaking Past Mortality (2018), the

and your latest dinner—many of which are broadcast to over

late-middle-aged artist wearing only a blonde wig and green

two billion “friends” across the globe—it’s easier to imagine

sunglasses casts no shadow as she streaks across what is

artists donning VR goggles and haptic gloves than setting up

essentially a bright red color-ield painting while regarding the

easels in a studio. The fact of the matter is that a stick with an

viewer as if to check whether the coast is clear. With forty-plus

animal-hair tip, dipped in pigments made of minerals, oxides,

years devoted to painted representations of the igure and

scenes of social unrest, Graupe-Pillard has occasionally taken on

Julia Haw’s The Ping Pong Champion of the World (2015), a portrait

(and been banned from) social media, posting images of her naked

of a Midwestern bookseller and former prizewinning table tennis

body digitally superimposed onto photos of machismo in both art

player in his chaotic shop, is a subtly unsettling take on 17th century

(swinging from a Richard Serra sculpture) and politics (tugging

genre paintings depicting domestic scenes with ordinary people.

on Trump’s hair on an escalator). As in those comic interventions,

Here, the subject’s uneasy expression and awkward posture

this painting, aside from being a canny memento mori, confronts

are magniied by the vertiginous point of view and cacophonous

ageism and sexism in the art world and in society in general.

arrangement of books and boxes, not to mention an ominously looming bookshelf. The sitter’s brightly striped shirt, camoulaged

Mel Cook’s Bather (2016) takes a different tack on mortality and

against the similarly hued strips of book spines behind him, lends

feminism, echoing both the pose and eroticism of John Everett

a humorous touch, as does the titular ping pong paddle in the

Millais’ Ophelia, a portrayal of Hamlet’s drowned heroine who

foreground, lying casually in a box among strewn papers, notebooks

releases herself, albeit tragically, from the throes of a corrupt

and rolls of tape.

patriarchy. Cook’s expediently limned igure, however, wears a purple patterned bathing suit in place of Millais’ gauzy, bejeweled

Jenny Hansen’s Chert The Fat Chucker Tooth; You’ll Protect Me

gown. With outstretched arms rendered translucent through

(2018) is the outlier in this quintet in that the tiny collaged female

immersion in a lily pond, her gaze toward the viewer could be either

igures in her mixed media work occupy no tangible “world” other

an inviting glance for a vacation snapshot or the ixed-eyed look

than the maelstrom of paint blotches, talismanic paper bits and

caught by a forensic photographer. While more straightforward

pencil marks they appear to have been thrust from. Whether

than her more recent mashups of cartoony, ingerlike lowers and

regressively sucking on a inger through a Freddy Kruger mask or

gaping oriices, Bather shares their unsettling pairing of pleasure

bearing prosthetic claws, these igural fragments inhabit a delicate

and vulnerability.

psychological space of fear, vulnerability, and empowerment. The handwritten phrase “what I once called my home” near the painting’s

Like Cook, Krista Profit tempers her igurative impulse with ambiguity

lower right edge reveals the ruptures in the sugar-and-spice myth

and latent symbolism. In skull shaver soul saver (2017), a pair of

of girlhood innocence, as does the shark head emerging ghostlike

naked men engaged in shaving and beard trimming stand before an

from the pink-washed background.

implied mirror and against a deep blue venetian blind whose white stripes appear to radiate from the highlights of their bodies. But

The ive artists presented here seek to uncover the instabilities and

there’s a dark subtext beneath this mundane grooming ritual—the

uncertainties lurking beneath the commonplace, imbuing their work

shadowy bearded background igure, who wields his open scissors

with a resonance that extends far beyond the representation of the

at exactly the same angle as his bald-pated companion holds his

human body. As far as I’m concerned, all art that’s worth its salt

razor, lends a Hitchcockian cast to this otherwise innocent-looking

possesses this quality—the ability to jolt us, if only for a moment,

domestic scene. Is he in fact an apparition in the mirror, a Jungian

out of a passive acceptance of the skewed nature of reality these

“shadow” of the red-bespectacled man’s unconscious?


Grace Graupe-Pillard Sneaking Past Mortality, 2018 oil, alkyd on wood 40x30 Krista Profitt skull shaver soul saver, 2017 oil on canvas 24 x 18 Mel Cook Bather, 2016 acrylic and oil on canvas 20 x 28.5

Matthew Quick Land of the Free oil on canvas 120x100 cm 2015

Anne-Christine Roda Maelysse oil on wood 75x45 centimeters

Amy Hughes | Equilibrium | oil on canvas | 30x30x1.5 | 2019

Mark Heine | Resurrection | oil on canvas | 40x60 | 2017

Anastasiya CF | Cymberly | oil on canvas | 30x20 | 2018

Kaitlyn Hwang | Where Are You From | oil on canvas | 11x14 | 2019

Jodi Gerbi | Enveloped | oil on panel | 24x18 | 2019

Sandra McKibben | Happy Hour | oil on linen | 36x36 | 2019

Rebecca Leveille Peacocks oil and gold leaf 60x48 2018

John Hyland | Scorpio Rising | oil and pencil on canvas | 18x18 | 2019

Dan Simoneau | Freedom Lies in Being Bold | acrylic on canvas | 36x36 | 2015

Sara Scribner Hannah With Flowers oil on aluminum 24x16 2019

Carmen Chami I got Myself oil on canvas 46x38 2019

Rebecca Tait | Le Troisieme | oil on linen | 18 x 24 | 2017

Nick Ward | Family Portrait | oil on panel | 36x18 | 2015

Robert Jinkins | Portrait of the Artist and his Mother | acrylic on panel | each 72 x 24 | 2015

Noelia Towers | The Pain That Keeps On Giving | acrylic on wood | 36 x 48 | 2019

Sandra De Jaume | Bathing | acrylic | 51 x 38 | 2019

Scott Grimando | Aureole 1 | oil | 18x24 |2016

Shaina Craft | Whose Horrid Image Doth Unix My Hair | oil on canvas | 40x30 | 2018

Michele Bajona | Chitlalicue | watercolor on paper | 20x14 | 2019

Laurence O’Toole | Do You Think I Look Nice? | oil on linen | 26x26 | 2019

Suzy Smith | Rebirth | oil on canvas | 40 x 60 | 2019

Michael Bergt | History Lesson | egg tempera and acrylic on panel | 48x30 | 2019

Scott Hutchison | Her Eyes Opened | oil on aluminum | 16x26 | 2019

Francien Krieg | Patterns of Life | oil on linen | 47x40 | 2019

James Needham | Man’s Best Friend | 78 x 48 | 2019

Daniel Maidman | The Model | oil on canvas | 30x24 | 2019

Yana Beylinson | Convergence | oil on board | 24 diameter | 2019

Tanya Atanasova | Tiger | oil on canvas | 40x56 | 2018

Salvatore Graci Iceland Girl Blue oil on panel 30x14 2017

Reuben Negron Persephone 4 watercolor 12x12 2018

Jackie Edwards | Capture | oil on linen on wooden panel | 117x69 cm | 2018

Maggie Rose | Its A Fine Line | oil on panel | 20x16 | 2019

Judy Takacs | #Me(dusa) too | oil on canvas | 48x30 | 2018

Pegah Samaie To Love and Obey oil on aluminum 30x20 2019

Kimberly Dow | Alluring | oil on canvas | 31x33 | 2019 Denise Fulton | Labyrinth | oil on canvas | 36x24 | 2019

Barbara Hack Anxious Contemplation oil on linen 25x42 2019

Nadine Robbins The Green File oil on linen 48x36 2017

Christina Grace Mastrangelo | The Edge of the World | oil on linen | 24x24 | 2019

Natalia Fabia Joey oil on canvas 16x12 2019

Lisa Ficarelli-Halpern Hand of Goddess oil on canvas 22x18 2018

Sarah Lacy | Her Grandmother’s Blanket | oil on canvas | 28x16 | 2018

Adan Miller | Hermaphroditus (triptych) | oil on canvas | 48x24 | 2018

Painting the Figure Now Curated by John Dalton The group exhibition from PoetsArtists called Painting the Figure Now is a yearly snapshot of where igurative painting is at, and how we are doing with portraying the oldest of subjects, ourselves. I love igurative art and I love skill and mastery. I’ve had so many brilliant igurative artists on my podcast that when I was asked to be a guest curator for the show I was spoilt for choice. So if Painting the Figure Now is a snapshot of where igurative art is at, what I hoped to do with the artists I invited was take a snapshot of what the landscape of working igurative artists is like. And yes, using a snapshot analogy for a group of artists with a strained relationship with photography is chucklesome, to say the least but let’s press on . . . I chose a cross-section of working igurative artists, young emerging artists, mid-career artists and igurative artists who have been working for a long time. Artists like Vincent Desiderio and Bo Bartlett who are deinitely old school. They have been igure painters for as long as it’s been unfashionable. And they’ve sufered for it too. Bo was famously told by New York critic Roberta Smith, upon reviewing his massive painting, God that it was, “idiotic.” He still smarts from the memory. And Vincent’s brief association with Kanye West could have sparked a rebrand as the latest avant-garde discovery, a bit like Salvator Mundi, but instead, Vincent kept painting his compelling igurative paintings and the avant-garde spotlight and money moved on. I always think of Vincent Desiderio as being like the John the Baptist of igurative art, preaching away in the desert. Mad with passion and history. Painting his beautifully poignant paintings with rooing tar and soot and twigs, that’s not metaphor. The depth of Vincent’s

knowledge is impressive and he shares it far and wide. From his yearly masterclass in Italy to his ongoing teaching dates in China. Bo Bartlett is a lilting powerhouse with a dreamy loquacious personality that belies his wattage as an artist. His big paintings are condensed with power. Like the painting he has in the show, the sheer size of it makes the simple composition pulse with implied meaning. What at irst glance looks like a Sunday boating jaunt quickly turns into the great lood and possibly the end of the world. Powerful stuf for this soft-spoken Southern Gentleman. With his island studio of the coast of Maine and his institute in Georgia, he gently imposes his perspective on us. And we I think are the better for it. Young Irish artist Shane Berkery has a lust for igurative painting too. Discouraged from representational art in art school he painted a nude diptych of himself and the dean of the college for his inal show. He was asked to take it down. Controversy ensued. Making igurative art controversial again? No mean feat, and an auspicious beginning for his art career, no? Shane is very much aware of his position in life as a young man and a young artist yet his paintings have the conidence of a much older artist. I think his work is great and look forward to seeing his growth. Stoic and very Nordic to talk to Swedish artist Nick Alm’s paintings are anything but. They are delicate, light, and capable of a lonely pathos like Stairwell, the painting he has in the Show. Nick’s skill level is incredible across a number of mediums. He is one of those artists who conveys a lot in seemingly ofhand brush strokes. Nick has established himself as one of the foremost igurative artists of his generation and with two hundred and fourteen thousand followers on Instagram an unlikely social media star. Australian artist Lucy Hardy makes wild paintings as if from another era in a parallel universe. They are like something and Edwardian futurist might have made. Surreal, exquisite and kooky beautiful, her precision and level of detail are so impressive. Her painting, The Opening which she has in the show is a great example of her

Nick Alm | Stairwell | oil on canvas | 87x67 cm | 2018

Shane Berkery | Enugu’ | oil on canvas | 31x43 | 2019

Bo Bartlett | The Floods | NEED MEDIUM, SIZE, AND YEAR

work. Her paintings are laden with personal meaning that feel almost within grasp of understanding like a waking dream. Grandiose and epic, there is nearly always a catch with Adam Miller’s paintings. Something to hitch up the attention and arrest assumptions. “Oh yes here is a beautiful classic scene, of Venus I think. Hang on, she’s standing in the mouth of a giant ish!” Or “Oh yes the satyrs are playing together in the dark. Hang on, they’re emptying a trash can.” Or like the triptych Adam has in the show. “It is a beautiful depiction of a Greek myth I think, with beautifully rendered Godmen and Godwomen. Hang on that woman is a man, or is it the other way around? Did they have trans people in Ancient Greece?” Shock value aside Adam’s beautifully crafted paintings reference the past but are very much of their time. They are part of and advance the ongoing conversation of igurative art. The Old Masters are referenced a lot in igurative art. “True painting died with Vermeer,” or “There hasn’t been a real painter since Rembrandt.” I often wonder what the old masters would be painting if they were alive today? How would they handle the issues of the male gaze for example, or Instagram, the “me too,” movement, gun control or the climate crisis? You only have to look at the work in Painting the Figure Now to get a glimpse of what that might be.

Lucy Hardie | The Opening | ink on cotton paper | 39x30 cm | 2015

Vincent Desiderio | Nude II | oil on linen | 48x64.5 inches | 2008

Curated by Victoria Selbach Alicia Brown The Crown oil on canvas 64x44 2019

Buket Savci | Fragile Dreams | oil on canvas | 22x20 | 2019

Vicki Sullivan | When I Dream of Magnolias | oil on linen | 30x23 | 2019

Therese Conte | Last of the Vestal Virgins | oil on canvas | 30x40 | 2018

Alexandra Manukyan Cradle oil on linen 30x24 2019

Alessandro Tomassetti To The Birds oil on aluminum 19.75x27.5 2019

Amy Werntz | The Shopper | oil on canvas | 38x18 | 2019

Melinda Borysevicz Feast Day oil on linen 47x75 2019

Gayle Madeira | Young American Dreaming | oil on canvas | 24x12 | 2018

Alexandra Tyng | Gesture | oil on linen | 32x24 | 2019

Amber Lia-Kloppel | Unfurling Susanna | Oil on canvas | 24x20 |2019

Alfonsina Betancourt | The Designer | oil on panel | 18x24 | 2018

Marc Duquette | Cheating at Solitaire | oil on canvas on board | 22x23 | 2018

Mark Heine | Be Patient | oil on canvas | 24x48 | 2019

Christopher Cart | Inside A Dance | oil on canvas | 41x52 | 2019

Katherine Fraser | No Hay Nada Mas | oil on canvas | 26x38 | 2016

Daggi Wallace | America The Beautiful? | pastel | 8x10 | 2018

DebiLynn Fendley | Carousel | acrylic on canvas | 30x22 | 2019

Ann Moeller Steverson | The Process | oil and metal leaf on copper | 18x24 | 2019

Mays Mayhew | Abigail | mixed media | 24x36 | 2019

Lani Emanuel | Where it Began | oil on canvas | 48x36 | 2019

Deana Title | Korea | oil on canvas | 26x20 | 2017

Heather Morgan | Auto Luminescent | oil on canvas | 20x16 | 2017

Tom McLean | What lies beneath | oil on linen | 23x15 | 2019

Belinda Eaton | Tattoo Girl VI | acrylic on canvas | 2013

Geoffrey Laurence | Interior After Degas | oil on canvas | 32x44 | 2019

Viktoria Savenkova | Perseids | oil on canvas | 39x47 | 2018

Daire Lynch | Digressions | oil on aluminum | 27x27 | 2018

Zack Zdrale Red Boot oil on canvas 36x24 2019

Patricia Watwood | Icarus | oil on linen | 26x36 | 2018

Caitlin Karolczak | Seeking Arrangement | oil, enamel on panel | 77x36 | 2018

David Molesky | Vness | oil on linen | 16x20 | 2019

Catherine Lucas Materia Prima oil on linen 36x60 2015 Debra Balchen | Copa | painted ceramic | 2017

Ingrid Capozzoli Flinn | Nude Arch I | oil on canvas | 24x28 | 2015

Hilary Clarcq | Unless Acted Upon By An Outside Force | oil, acrylic on panel | 15x24 | 2018

Michael Van Zeyl| Grace Levity | oil on panel | 60x40 | 2019

Jeff Faerber | Isabella | mixed on board | 26x18 | 2012

Jason Lee Gimbel | Painted Ink | mixed media | 16x13 | 2018

Yanqing Low | Mechanics of a Fold #2 | mixed media on canvas | 30x40x1.5 | 2018

Kathrin Longhurst | Rise for Battle | oil on canvas | 48x36 | 2019

David Hummer | Laura Tan | oil on canvas | 48x48 | 2019

F, Scott Hess | Onward | oil on panel | 24x48 | 2018

Larry Madrigal | Between Songs | oil on canvas | 64x63 | 2018

Daniela Werneck | Crown & Crows | watercolor on clay panel | 18x24 | 2019

Paula Saneaux | The Living Room | acrylic on canvas | 36x24 | 2019

James Xavier Barbour | The Broken Violin | oil, wood, gold, brass, copper | 20×9×5 | 2019

Kim Leutwyler | Kim with Green and Blue | oil and acrylic on canvas | 18x24 | 2018

Walt Morton | Modern Condition | oil on canvas | 36x48 | 2019

Vinka Gasparus Summer in December oil on canvas 31x16 2019

Patrick Earl Hammie | Carol Crawford | oil on linen | 60x50 | 2018

Judith Peck | Uprooted | oil on canvas | 20x16 | 2018

Daniel Volenec | Julie | oil on panel | 34x42 | 2019

Nadine Robbins | The Power of Vulnerability | oil on linen | 24x18 | 2019

Michelle Bennett Cheryl oil on canvas 32x24 2018

Mike Brewer Icon of the Buddha Tara Western Style oil on linen 40x30 2017

Veronica Winters My Right acrylic on panel 36x24 2019

Shana Levenson Pearl Bracelet oil on dibond 18x14 2019

Peter Lupkin Ecstasy in Grey oil on canvas 18x24 2019

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