GoggleWorks 13th Annual Juried Exhibition Catalog

13th Annual Juried Exhibition Cohen Gallery May 3 - June 2, 2019

Opening Reception May 3, 5:30-7:30pm

The Annual Juried Exhibition at GoggleWorks Center for the Arts is an opportunity for regional, national, and international artists to exhibit their work in our professional galleries. In the 13th edition of this exhibition, our invitation to participate received a very strong pool of applicants for review. With no theme to the exhibition, this show is a call for artists to submit their strongest works, and it is up to our juror to put together a moving and cohesive show. I would like to thank Judith Schwartz, Professor Emeritus at New York University, for jurying this exhibition by thoughtfully reviewing all 145 submissions and putting together a fabulous show. Thank you, as well, to the 65 artists displaying their work in GoggleWorks’ 13th Annual Juried Exhibition. I commend each and every one of you for standing out amongst your peers. It is a pleasure and a privilege to have worked with Judith and all the represented artists in this show in order to put on an exhibition which strives to inspire our community.

Julie Stopper, BFA Exhibitions Coordinator GoggleWorks Center for the Arts

The artists I have selected for this exhibition have exhibited poignant voices.

They have demonstrated what is true for the role of artists – that they are visual philosophers who are able to convey their personal views of the world and, when at their best, do so with a voice that is at once unique and captivating.

When that voice is paired with skill, we can, on occasion, feel the presence of the transformative experience of genius.

I was pleased to see a wide variety of media entered in this competition. It was challenging to compare, evaluate, and judge one over another, but my goal was to focus on the power of the artists’ voices, and the success of their intended messages were made clear.

I found in these works an array of illusions, metaphors, and sensitivities that serve beautifully to heighten awareness. I am pleased with the quality of the work submitted. I am also delighted to learn of GoggleWorks as a destination that both nourishes and supports artists as they continue to shed light on the human condition.

Judith Schwartz, Ph.D. Professor Emeritus New York University

Index Adams, Charles Alleger, Jasmine Arbogast, Laurel Babiarz, Edward Basehoar, Marilyn Book, Marlene Brett, Kevin Brown, Jackie Condict, Amanda Lee Cullinan, Jane Dahl, Priscilla Danish, Liz DeGroff, Liz Deler, Rose Fellenbaum, Bryan Fitts, Jennifer Foley, Pamela Fridkin, Terri Garfield, Linda Dubin Good, Barry Hagan, Marguerita Hakun, Bob Halbert, Nancy E. F. Harkins, Colleen Hower, Michael Hoyt, Eve Hracho, Gene Indelicato, Andrew Jaroszenski, Jade Koehler, Glenn Koval, Svetlana Kruvant, Alison

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Kurtinecz, Brittany Laincz, Paul Madeleine, Laura Gatica, Monica Marquez McBride, Rosemary McCullough, Sharon Pierce McLaughlin, Deanna Meehan, Jim Morton, Rebecca O’Hanlon, Susan Palcho, Karen Paolini, Jack Gosser, Gail Pieper, Kenny Plough, Jean Redmond, Angie Reinhold, Helen Ressler, Jay Ressler, Martha Shchuka, Ariana Shea, Julie Sheaffer, Maxine Soto, Felicia Spangler-Jones, Loryn Spence, Ciaran Stabio, Maria Steely, Barry Strain, Joey Swoyer, Jennifer Szimhart, Joseph Wagner, Gaylia Zhao, Jiawei Zoltan, Birdie

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Charles Adam

Jasmine Alleger

Guarding 5 • oak, maple, teak, and lacewood • 28”x 25” x 86”

Saint Sava in Serbia • acrylic on canvas • 18” x 18”

I have been working on art for the past twelve years that challenges the distinction between functional furniture and sculpture. In my most recent work I am exploring the idea of “Guardians” inspired by guardian figures from cultures around the world. My work combines a whimsical, aesthetic sensibility with extensive woodworking and fabrication experience. My pieces are comprised of organic flowing forms of creatures with disproportionate appendages reminiscent of the natural world and art from other cultures, and infused with my imagination. Different types of wood are selected to create the “color,” which is then laminated and carved to develop the parts for assembly.

For years my work has focused on representing acute details of my everyday life. With an interest in elevating the banal and celebrating routine, several bodies of work formed. With increased opportunity to travel I have began creating “Wanderlust” projects. Using the sensibilities learned from representing my life I have begun to document the peculiarities of daily life in other countries. I hope for my deep feeling of wanderlust to manifest as a celebration of the diversity of the collective mundane. Aesthetically I am interested patterning, fragmentation, spatial relationship and subjectobject correlation. I am drawn to the order and predictability of repetition and pattern juxtaposed with the unpredictability found in fragmentation.

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Laurel Arbogast

Edward Babiarz

All Geared Up • acrylic • 16” x 20”

Luminescence 2 • artistmade paper • 34” x 20” x 4”

I love exploring different mediums that might suit my subject matter.

Although painting in inks lately has been very rewarding, especially with my abstracts, I still enjoy coming back to the acrylics for certain paintings as was this piece called “All Geared Up”. This was a young rider from a horse show that was all dressed in her equestrian garb and waiting for her turn to show.

My creative process is my personal individual experience and like my pieces, each conveys different emotions ranging from subtle, quiet moods to strong bold thoughts. The colors are brought together by arranging sometimes harmonious and sometimes clashing values, but with cooperative polarity. Themes of my work run from personifying inanimate physical objects to constructing more abstract non-representational images. I find that by manipulating individual handmade sheets of paper, I can create images that are texturally complex and by custom blending pigmented pulp, unique color and effects take shape. The paper for my pieces is created with 100%, first cut cotton linter that is beaten and individually hand dyed with aqueous dispersed pigments.

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Marilyn Basehoar

Marlene Book

Learning To Fly • collage • 19” x .75” x 24”

Thomas and the Long Way Down • oil on canvas • 16” x 20”

As an artist, I immerse myself in the process of making something concrete from my visions of colors and daydreams of future experiences. By creating collage layers of paint and various papers, these visions take shape, often with added beads, stones, glass, string, fabric, and other embellishments, sometimes reaching the edge of overstatement. I am happiest with these busy, chaotic, energetic works that seek an emotion, demand attention, and challenge the viewer (myself included) to look away.

Marlene resides in Spring Township, Berks County, PA. She has had no formal art training. Her medium of choice is oil, although she has worked in acrylics and watercolor. Her style is representational and her inspiration comes from family, friends, nature and travel.

Marlene has participated in a number of local shows. Her solo exhibitions include Alvernia University and ACOR Gallery of the Arts. Her awards include ACOR Artist of the Year, Berks Art Alliance recipient of The Paul Doelp Award 2019 and Honorable Mention, Senior Arts Award, and Landis Woods Arts Festival Judges Choice Award 2017.

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Kevin Brett

Jackie Brown

Voices • photography • 30” x 2” x 20”

Aggregate • ceramics • 9” x 5.5” x 13.5”

Kevin finds it very challenging to take everyday, overlooked objects or subject matter, people or situations and capture them in ways that the viewer can extract feelings from personal experiences.

Kevin’s style of photography is very pure and traditional but there are always conceptual intentions behind all the fine art images created. Kevin attempts to capture what it is to be human within every image. Each image is titled with only one word. The ambiguity of a one word title only opens the door for the viewer, with freedom to roam their own thoughts rather than defining the images with a complicated heading trapping the viewer on the surface and not allowing the unrestricted journey beyond the scene.

At the heart of my work is a love of materiality, a fascination with living systems, and an ongoing curiosity about what it means to be alive. I explore this territory through biomorphic sculptures where it can often be hard to tell if the forms are healthy or harmful growths.

Recent work is compelled by the use of clay– a material that morphs and molds and mimics the world around it. By combining knot forms with branch forms, and translating them from one material language to another, I explore human nature and the desire to control natural processes.

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Amanda Lee Condict

Jane Cullinan

In the Waiting Room • acrylic • 10.25” x 28”

Pod • rakued stoneware • 13 “ x 7 “ x 8”

My artwork speaks of my everyday contact with people and positions them as central, as subjects in their own lives, as well as subjects in my artwork. My work is always about people; their relationships with the things they own, their relationships with each other and their relationships with me. These paintings are from my Facebook series. When a friend posts a photograph that grabs my attention, usually because it is an intriguing slice of time, I download it and let my imagination add to the narrative by placing people, dolls and other inanimate objects into the scene. I have no plan when I begin, I just let the image take me where it wants to go.

Today I work in clay. Even before clay, I was intrigued by patterns and forms in nature. I wheel throw, hand build and combine the two.

I lean toward organic forms from nature, especially things that are only seen through microscopes I try to turn them into something that others may inherently feel though they have never seen the forms before. I think these ideas are best finished by alternative firing techniques that are earthy like Raku and salt firing.

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Priscilla Dahl

Liz Danish

Blue Bird in the Arched Yellow Sky • earthenware clay • 13” x 8” x 3”

Stability 1 • fiber • 35” x 37.5”

Priscilla Dahl is a sculptor and potter working with red earthenware clay. Her colorful and vibrant work is painted with underglazes and colored slips. The foxes, birds and rabbits that are the subjects of her sculpture are joyful representations of the questions, mysteries and essential values of life.

My work uses the interplay of shapes and colors to represent emotions or concepts that I am thinking about. The final design is either derived from my initial idea, or I find a meaning after I play with different shapes and colors. What does the piece represent to you? Are the shapes thoughts, feelings, relationships, or something else?

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Liz DeGroff

Rose Deler

Into the Woods • photograph • 45” x 1” x 30”

Aluminum Coat No.4 • mylar, yarn, wire, paper, plastic sleeve • 29” x 4” x 26”

As a documentary photographer, I strive to capture life as it happens around me in a way that others can relate to. My goal as I take photos of my children, my family, and myself is to show that real life has the potential to be wildly beautiful, even when (or perhaps, especially when) it is at it’s messiest and most chaotic.

I am an artist who draws on the skills handed down to me by my ancestors. They were boat builders, carpenters, and seamstresses.

I am interested in the labor of art making and craft. My work must bear the mark of my hand as well as my mind. I build sculptural vessels that carry imprints of time, vessels that have contained and shaped our bodies, vessels that hold the evidence of our body image and our self-esteem. They speak to the past, but they also speak to the passing of time. My art is craft based, woman’s work. I weave through the experiences of my immigrant grandmother and mother, seamstresses, and the shoulders I stand on.

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Bryan Fellenbaum

Jennifer Fitts

Life is For Living • collage, image transfer on paper • 12” x 12”

Kin Salute • archival inkjet print • 16” x 20”

My work hinges on found objects and various ephemera. Through the use of these objects, along with the acts of painting, drawing, and collaging, I create abstract works based on formal principles and design. I often search for found beauty, such as the patina on an old book page, stained by ink or coffee, how it has aged over time. The process of making these works is largely based in play.

The parts of the final artwork have been built up, torn off, reapplied, or even covered up from the beginning to the end of the creative process.

The focus of all my work is to make the audience use their emotions to finish the story woven within each photograph. This collection is dedicated to all of the proud men and women that have served, fought, and given their lives for the United States of America. I specifically chose these photographs because they contain many different perspectives of war and the effect on those involved. I want the audience to relate to the photographs in their own ways and create discussions of remembrance, pride, and unity.

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Pamela Foley Catching the Light • digital photography • 16” x 20”

I have enjoyed having a camera in my hands since I was a teenager but with the advance of digital cameras and digital processing, I can combine my interests in both photography and the artistic manipulation of the subject. I draw a lot of my inspiration from the early art photographers of the twentieth century. I find that their creativity and experimentation is still speaking to me and I hope to create something that speaks to a viewer in the twenty-first century.

Terri Fridkin Moab 4 • intaglio, woodcut collage, artist made abaca paper • 15” x 15” x 1.5”

Converging shapes, lines and colors are the foundations of my hand-pulled prints. They are bold and subtle, simple and complex, yet resist a specific meaning. Abstract elements allude to forms that are both natural and architectonic. These components generate structure to the composition. Discipline and instinct allow these outcomes that provide a sense of harmony to counteract the disorder in today’s chaotic world. My work is a combination of various printmaking techniques, such as intaglio, relief, monotype and chine collé. This visceral and mental journey is guided by inks, matrices, and papers, including artist-made-paper. My prints are further enhanced by incorporating paint, collage, pencil or pastel.

Discovery, experimentation and invention are the converging 10 forces that inspire me to create.

Linda Dubin Garfield

Barry Good

Grand Canyon Reflection • mixed media • 22” x 26”

A Road Home (In Infared) • digital infrared archival pigment print • 16’ x 20”

In the early 90’s, I took a printmaking course and fell in love with the process. Unlike other passionate relationships that fade with time, the passion and love I have for printmaking has only gotten more intense. Several years ago, I started exploring mixed media and have found that combining collage and monotype is another relationship that works for me. I also enjoy combining photography and digital imaging with traditional printmaking techniques. The process leads to rich palimpsests using a vocabulary of shapes and motifs. My use of traditional printmaking techniques combined with experimental approaches is a means of expanding my visual language. The possibilities are exponential.

My Background is one of maintaining the Highest possible Quality in the production of Offset Printing. It is this skill set that I bring to today’s Digital Cameras and to the Software that hones the captured image into one of Vision and Creation. I have found that wherever I turn, it is likely there is some unique moment, a single form or shape or color, that my mind’s eye captures and modern technology allows me to possess and recreate. The results vary from image to image, but always will reflect my own interpretation of the scene before me.

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Marguerita Hagan

Bob Hakun

Prickly Persistence • ceramic • 9” x 9” x 9”

Widowmaker • assemblage • 26” x 36” x 8”

Marguerita Hagan is a ceramic sculptor and advocate for the thriving of all life in mutually sustainable communities and environments based in Philadelphia. The universal connection and interdependent element that has enabled life to thrive for eons is the underlying rhythm of her practice. Her La Mer work shines light on the unseen life of the sea from the abyss to the mighty microscopic beauties with which our lives are intrinsically linked.

These primary producers have supported life on our planet for millions of years. Hagan’s Marine Abstracts magnify our reciprocal responsibility within the architecture of these vital gems.

I collect old, discarded items: some natural like bones or wood, some man-made, like wheels or rusty wire. I look for old things that show the graphic effects of aging: the beauty and harshness of the breaking-down over time of all things. I collect objects that are burnt, broken, rusty, crushed, bent, and stained: these things naturally imply a history or narrative. I stitch or bolt them together in a somewhat un-craftsmanlike manner, and assemble a relatively crude and unrefined piece of art. My assembled artwork is intended to tell a story or convey a message greater than the individual items would project separately. The interpretation of that message is left to the viewer.

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Nancy E. F. Halbert

Colleen Harkins

Color of Women • oil on canvas • 30” x 24”

Easter Ham • acrylic, collage, and oil on paper • 36” x 36”

I was a choreographer and modern dancer for most of my life. It is the balance between energy and stillness that I focus on in my art. I reflect this discord in a gestural, painterly, and contemporary style.

I experiment with mixing materials, such as, pencil with thinner, charcoal with oil, acrylics and glazes creating painted collages of varying surfaces. While using a variety of media, I create in a raw, yet, luminous expressionistic style. I paint spontaneously as I draw into paint. I am passionate about color. A line begins takes, shape into mass which deepens with color. I have had an extensive career teaching art. My teaching is an integral part of my art making process.

My work is about food and the fine line between the beautiful and the grotesque. Food is typically presented as comforting and enticing, and it is an essential part of life. However, I am interested in depicting rotting and unappetizing meals as a way to invoke a sense of fear and disgust. With these works, I am overwhelming the viewer with sickeningly bright colors and chaotic mark making as a way to portray food in an off-putting yet visually exciting way.

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Michael Hower

Eve Hoyt

Cowpers • digital photograph, inkjet print on paper • 24” x 18”

Madame Butterfly • neon and found objects • 20” x 16” x 5”

The American Steel industry stands as a symbol of American industrial might and also as one of shifting economic values and downfall. This series focuses on one of the abandoned centers of steel production in Pennsylvania, Carrie Furnace, near Pittsburgh, PA. These photos focus on architectural themes. I focus on the intricacies of the structures and their harsh geometries.

When I first began to notice neon, I knew that I wanted to make it for myself. I love that I can take the raw material of glass, melt and shape it into something completely different, and with the addition of noble gas and electricity create colorful, brilliant light! I make my neon art in the spirit of fun and curiosity, and often use found objects in my pieces, discovered while frequenting vintage and junk shops. I tend to be drawn to peculiar and antiquated things: those once beloved possessions, now discarded and forgotten in time. Shaping a line of light around these objects of the past, I create a new landscape for them to come alive in the present 14

Gene Hracho

Andrew Indelicato

Aquatic in Nature • mixed-media construction with found objects and internal lighting • 84” x 67” x 64”

Goodness Me • acrylic, marker, ink, spray paint on panel • 28” x 28” x 1”

My sculpture is built upon narratives, some recounted and some imagined, for which the works become relics. Sometimes, the scars of the previous lives of the materials that will be curated into the work become the lines with which I draw, thus allowing their histories to contribute to the impact of the art. Other times, I manipulate the materials to give them the appearance of possessing more of a past than they actually have. Through these processes, I provide clues to the story of the person who made the object or to the anthropomorphic object itself.

The work revolves around the language of dystopian aesthetics that lay within the context of niche Anime subcultures. Through Bright stylized colors combined with the fast paced nature of ink and spray paint these topics come forth. The work wants to be questioned and made for the viewer to think about possible futures and timelines. The mash up of designs and cultures that perhaps might happen in the not too distant future. The work calls to be remembered and stir up personal memories and connections that the viewer once had.

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Jade Jaroszenski

Glenn Koehler

Through the Trees • oil on masonite • 36” x 48” x 1.6”

Out to Sea • digital photograph • 16” x 24”

My work depicts the landscapes that I am familiar with due to my own experiences of walking and driving through them, as well as the emotions associated with them. I first find a quality that draws my attention about a place and then convey the feeling, atmosphere, light, temperature, and time of day. Beginning a painting with a colored ground instead of a white background influences the overall process, giving a sense of openness that shows both the positive and negative space.

I began using a camera for the obvious reason - to document the world around me. Visually expressing myself through my photography has become a core part of who I am. The more photos I take, the greater my passion for the medium furthers. Taking the sights of my life and turning them into art is integral to my style of work. There are no studios and no special effects. The world is my studio and it is where I create.

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Svetlana Koval

Alison Kruvant

Chasing a dream • oil on canvas • 30” x 40” x 1”

Through • acrylic medium, fabrics, and pencil on canvas • 22” x 30”

My name is Svetlana Koval. I’m from Siberia. After finishing art studio in my country in 2015 my family moved to USA. I love working with oil and acrylic. My passion is to show movement in my work. Living most of my life next to Baikal, I love the calm and feeling of water and mountains, movement of the wave on sand, and try to capture in my works.

I paint with traditional and unconventional materials to describe an experience of seeing. By obscuring, I reveal—partial, refracted glimpses and echoes of the body. My subjects are ungraspable, their visible reality incomplete. I register gaps in perception, shifting planes and twisting forms. I am interested in an aesthetic of fluidity in this political moment. Through painting, I create mutable perspectives that resist fixation.

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Brittany Kurtinecz

Paul Laincz

exMachina • video, mono audio • 7:26

Frenzy • photography • 24” x 20”

The world is corrupt, data is corrupt, personas are corrupt.

Consumed with the white noise of social media and the Internet, the contemporary self is in a constant flux between virtual and reality. Through paint and experimental media, I am interested in creating experiences that bridge a digital and physical existence.

I use the figure as a vessel into the psychological; the impact of unfiltered information onto the mind and it’s relation to the observer.

They are a hybrid of flesh and distorted digital code. I view them as slowly dissolving into a digital persona, the distressed mind portrayed outward, a distortion triggered by corruption. I juxtapose this with sound, using frequencies and drones to create a dissonant atmosphere.

I like to find images that suit the medium. Sometimes it is the light.

Sometimes it is motion. Sometimes it is serendipity.

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Laura Madeleine

Monica Marquez Gatica

Audience • batik painting on silk • 35” x 70”

Windswept Dali • oil on canvas • 30” x 15” x 1.5”

In a reverent, poetic approach to creating interesting and detailed worlds on silk, I use molten wax as a resist and french dyes for color to elevate the craft of batik to fine art. My inspiration includes folk art, miniatures, illuminated manuscripts, and textile design from many cultures. I have traveled extensively and studied abroad and have a love of the decoration of life. I might record a pattern on a floor tile, the shadow made by someone’s nose, the shape of a beautiful leaf, or a character in an alphabet. The inclusion of faces in every painting invites the viewer to enter a lush, fantastic world.

Hopefully, my paintings interest the viewer every single time they look at it.

I am an artist, a woman, an immigrant creative. Born in Jerez, Spain and living in Aurora, Colorado, I am a fine art oil painter that is internally drawn to peaceful places. So within my artwork I create a sense of calm serenity, no matter what the subject matter. Each piece has a realistic representational style where boundaries are blurred between real imagery and my imagination.

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Rosemary McBride

Sharon Pierce McCullough

SAILBOATS • cotton fabric • 40” x 41”

Shadowman • plaster (with cardboard, twigs, wire, concrete base) • 4” x 5” x 19”

The starting point for any piece I create is the choice of fabric in color combinations and value, along with a geometric shape I am interested in exploring. I work in the abstract in an attempt to compose endless variations when combining color and shapes.

It is on a design wall where all the pieces unite; where I rearrange, delete,and create new blocks to live in harmony. And then one day it all comes together.

Experimentation is always at the forefront of my mind during the creative process. I am inspired by a word, an image, a thought. I thrive on the juxtaposition of incongruent materials and shapes, using common everyday materials. Although some of my work is begun with a plan, much of my work involves working intuitively. I seek to re-purpose items others would discard and give them new life in my sculptures, paintings and constructions. I am happy to be a self-taught artist, as I feel no restrictions from self-imposed artistic rules.

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Deanna McLaughlin

Jim Meehan

Trump l’oeil: The Grass Is Always Greener On The Other Side • re-purposed shopping cart, artificial grass/ reversable upholstery, lamp cover as champaign bottle holder • 56” x 32.75” x 47”

Rise & Shine • ink on paper • 24.5” x 30”

The shopping cart is the most iconic image of our consumer-based culture. This series is intended to visually challenge the viewer to not only question and assess individual values and priorities, but to also raise consciousness, to alter, and to shift or transform ideas about consumerism, power, and privilege. Acting as a vehicle for discussion and reflection about the disparity of social and personal values; the economic injustices within immigrant, veteran, ethnic and other marginalized groups. At one end of the spectrum of our society are our homeless who use the shopping cart for their belongings, or to resolve their craving for a comfortable place to rest. At the opposite extreme is the hedonist who “shops until they drop”.

I was born in Brooklyn, N.Y. in 1952. My father was a cartoonist and I am basically one too. Although I can work from life, I like to draw from my head: visualize things. I find this to be a very satisfying form of expression, as if I were explaining something to myself, working it out, surprising myself a bit. My best hope is that the visual ideas I create will be interesting for me to do and entertaining for the viewer to look at. I work in a number of different media including pen and ink on paper, acrylic paint on canvas and mixed media collage.

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Rebecca Morton

Susan O’Hanlon

Bodily Consciousness • porcelain • 22” x 22” x 18”

Vase • ceramic (stoneware), ^6 oxidation, layered glazes • 15” x 20”

I create large, hand-built sculptures that reference movement, lightness, and curves. Delicate, soft creases and folds inform my attempt to create continuous flowing sensual forms. I’m interested in large amounts of volume in clay and the elation I feel during the making process within my own body. Excitement comes from working at a larger scale. The physicality of the material awakens my body. Cycles seen in nature, and especially fertility, are often my foremost focus. I aspire to portray these moments and simultaneously suggest ongoing ceaseless motion.

I fell in love with clay twelve years ago and have been elbow deep in mud ever since. Wheel throwing is a meditative practice for me, so most of my work begins there. I layer hand-mixed glazes on my vessels and fire them in a ^6 oxidation kiln using controlled cooling cycles fine tuned through extensive experimentation. My inquisitive mind will need many lifetimes to exhaust all the possibilities clay has to offer, and I plan to use the remainder of this one to joyfully delve as deeply as I can into this fascinating medium.

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Karen Palcho

Jack Paolini

Fiesta 2 • ceramic • 10” x 10” x 20”

Manayunk Bridge • photography • 20” x 24”

My work has often been populated by symbolic, animated creatures engaged in some kind of emotional or psychic narrative.

It asked for intellectual interpretation from the viewer. These new decorative pots come from my feeling of exhaustion from a world overfull of content, a world always screaming for attention. They are a turn toward simple functional beauty and the formal concerns of balance, proportion, pattern, contrast, rhythm, and harmony.

The creative meaning lies in the trance-like process of making the pieces. My hope the viewer experiences a satisfying bodily recognition of design and form that intuitively feels ‘just right’ and negates the need for analysis.

I like to think I make a picture, not take a picture. I am used to using a Hasselblad film camera with twelve negatives to a roll of film.

Each roll takes time to develop so I try to make each picture right. I usually use a tripod not only to steady my shot but mostly to slow down and take time to compose each picture. I always shoot in manual mode, not automatic. I have carried over what I learned in the darkroom to photoshop. I try not to do much manipulation in photoshop because I want my pictures to look like they did in the darkroom.

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Gail Gosser

Kenny Pieper

Whelk, Conch, and Spheres • oil on panel • 16” x 8”

Diva Series, Blue Narcissus • blown glass • 8” x 8” x 22”

It is my hope that my paintings evoke a simple pleasure and craftsmanship that can pull you into a world of greater meaning upon deeper scrutiny. The objects I have chosen to paint and the arrangements I have created represent a view of the universe to be meditated upon. Negative space and the gravitational pull between objects is of interest to me . I hope this gives my seemingly simple paintings value.

My work is a celebration of traditional techniques, opulent colors and classical forms.

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Jean Plough

Angie Redmond

Nothing Left to Lose • acrylic paint on linen • 20” x 20”

What If God Had Made a Different Me? • oil on canvas • 24” x 1” x 30”

How Figures Appear in Space: First colors block out areas around the figures. Then the figures come through empty space. What is real is the emotion of the artist as figure.

I am a portrait and figurative artist working with oil on canvas. My process consists of conducting photo shoots of the subject, then using the photo as a reference for the painting. My work focuses on capturing feelings through concept and composition. Whether celebrating natural African American hair for its distinctiveness, dissecting one’s personal journey, or dealing with social and political issues surrounding black bodies, my work centers on the human reaction to various experiences. I use facial expressions, body language, surrounding elements, titles, quick gestural brush strokes, and expressive colors to display the emotional feelings of the subject.

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Helen Reinhold

Jay Ressler

Olives & Oil • oil • 20” x 16”

Klezmer Revival • composite photography • 32” x 24” x 1.5”

Helen Reinhold is a contemporary oil painter with her studio in Northeast Pennsylvania. Her impressionistic style explores and interprets life in her own spirited, painterly voice. Reinhold’s work uses bold, rich color and adventurous texture to create intrigue and complexity. These works are fresh and full of life, reflecting a passionate response to the world around her. Reinhold earned her BFA from Kutztown University and keeps her skills sharp by taking workshops throughout the country. She is a member of Art Plus Gallery and Berks Art Alliance of Berks County.

Besides exhibiting her work she teaches beginning oil and acrylic painting in group and private lessons, also offering workshops.

I explore boundaries. Boundaries between consciousness and the unconscious, between reality and imagination, between certainty and skepticism. My composited digital images are based on original captures put together in multiple layers to produce evocative images addressing big questions and telling a story.

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Martha Ressler

Ariana Shchuka

Harriet Tubman as a Superhero • art quilt • 21” x 31”

Political Pawn • black & white photography • 11” x 14”

In my art quilts I use drawings, postage stamps, and found objects, along with fabrics and hand embroidery. They are reborn in a stitched story about human imprints on the earth, evidence of new and old secrets to be discovered or imagined. An object discarded might merge with pages of timeworn books or sheet music, or swatches of rescued embroidery, unfinished quilt tops, or linens.

I am a member of Cloth in Common, an international group of art quilters, and a Juried Artist Member of Studio Art Quilt Associates.

I was a painter before turning to art quilts.

I am currently a high school senior. I enjoy studying and making art and plan to further my art education after high school. I work in many mediums but have a focus in photography. I use black and white photography to emphasize the influence of light and shadows.

Because natural light is continuously moving, it is important for me to capture highlights and shadows when they are perfectly placed.

My pieces reflect my awareness of light and shadow as a profound artistic element, rather than the element of color.

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Julie Shea

Maxine Sheaffer

Stratum • oil on canvas • 48” x 36”

Collared Mangabey with tree • oil • 16” x 20”

Julie Shea is an artist residing in the Greater Philadelphia area. She was born and raised in Bucks County, Pennsylvania. She works primarily in oils. Her recent work focuses on memories, what we carry with us and what we leave behind. Many of her paintings examine the resurfacing of forgotten memories and the objects we attach memories to. Currently she has been experimenting with making plaster molds as a way to mimic turning memories into bone-like relics. Julie received her Bachelor of Science in Art Education with a minor in Art History from Penn State University and has also obtained a Master of Arts in Education. She is currently in her eleventh year of teaching art.

Captivated by the sheer magnificence of the natural world, I am drawn to paint the beautiful and wild animals that roam within it.

Many of the animals that I paint are threatened with extinction. My desire is to evoke a sense of connection between the viewer and the subject, emotionally and spiritually linking them. Compelling the viewer to explore their interconnectedness to all creatures in our ecosystem, not only for the physical health of our planet, but also for the simple joy of sharing this life with such incredible and wondrous beings.

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Felicia Soto

Loryn Spangler-Jones

Life and Death Diptych • ink • 24” x 18”

Back to Me • ink, graphite and acrylic on paper • 24” x 18”

The focus of my independent work includes zoological skeletal and muscular studies at the organism level. These skeletal works often include a floral or lifelike element that serves as contrast to the concept of death that skeletons typically convey, and instead representing the life force that each organism holds. This is intended to illuminate the constant cycle of life and death- every living thing is significantly unique, yet also part of a larger whole in such a way that it becomes insignificant at the same time.

“Who I am as an artist and what drives my hunger is to continually unveil subject matter in a way that encourages the viewer and challenges them to see, think and feel in a whole new way, pushing their own personal boundaries.” Award winning and internationally recognized mixed media artist, Loryn Spangler-Jones exhibits locally and is the founder of LSJ Studios in downtown Lancaster, PA. Making art since 1997, she is self taught and her innate talent is the foundation of her spontaneous and visceral paintings. Her work can be found in several different publications, from major art magazines to coffee table art books from North Light Publications.

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Ciarán Spence

Maria Stabio

Stradivarius • painted steel • 10” x 12” x 31”

The Guide. • acrylic on panel • 36” x 24”

Playfully elegant: a description not commonly associated with metal, yet it’s an aesthetic I constantly strive for in my work. Having been exposed to and inspired by sculptors who subscribe to a mantra of ‘twenty feet tall and made of steel,’ I fully recognize the robust, imposing nature metal can present. But metal has an impartial potential to be transformed from a cold sheet or a rigid bar into a warm, airy figure. It is this form I find most desirable and eye-catching, and it is achieved by breathing heat and life into an otherwise unwavering material.

Images emerge from overlapping screens of pigment, a confusion of positive and negative space. This additive, layer-oriented process not only recalls printmaking but also speaks to the mechanics and the attentions of Pointillism. The images these pieces depict (e.g. the flashlight, snake, cave), the stories they tell, are then pulled from the environment--trips taken to my mother’s home country, the Philippines--that also happens to be a heritage. The works’ rhythm and pulse resides in the vitality of finding myself outside of myself, in a place that was supposedly mine but seemed someone else’s.

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Barry Steely

Joey Strain

Plaid, Pal id • pen & ink • 9.25” x 15.5”

Fred’s Birthday Party • acrylic paint markers, gel pen • 36” x 24”

The magic of making lines. Lines making patterns, Patterns filling spaces with light and darkness. Laborious work until the eyes cross and the fingers ache. Joyous work when entering into a meditative trance. Surprise as to where the work might turn. Satisfaction never completely attained and yet a kind of wonder at the new creation.

My work is all about escaping from reality and entering a fantastical world aside from our own. I want the viewer to be enthralled and mentally distracted from their daily life for a few brief moments.

Creatures and colors of the human imagination take hold of the compositions and create a unique viewing experience.

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Jennifer Swoyer

Joseph Szimhart

La Vista • acrylic on canvas • 1.5” x 36” x 46

Edgy Bird • oil • 22” x 28”

Light in space is central to all of my work. In my fine art studies and European travels, I fell in love with the way light transforms colors cast by the sun creating appealing texture, form, and space. My paintings are centered on the beauty of what is here on our Earth and the splendor of what God has provided for us. What I am after above all is to reflect God’s perfect creation of all things beautiful and good in this world. I aim to reflect Him in my works on and off of the canvas.

If you find meaning and entertainment in my painted images, I will be happier. My images generally begin with an idea and a symbol that represents that idea. Some paintings emerge whole in one sitting with final touches in days to come. Others struggle toward completion over weeks with days of non-attention in between brush strokes and marks.

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Gaylia Wagner

Jiawei Zhao

Phases • etched metal • 46” x 6”

We always have a model #1 • pigment print on self-adhesive wallpaper • 56” x 42”

I’ve worked with a variety of materials, but my favorite is metal.

Originally I saw it solely as material for fabrication, something requiring physically manipulation. That perception changed once I took an etching workshop. Rather than forming metal to give it dimension, I discovered etching metal caused it to reveal dimension. Since that moment of enlightenment, I’ve devoted my artistic practice to exploring metal etching. My current focus is the creation and development of techniques to add additional texture to my work, with the intent to propel texture to the forefront as an element as important as color or imagery.

Jiawei photographic project Wallpapers grapples with the shifting of culture and everyday life in the U.S. as a result of China’s influence and explores a redefinition of his relationship with the homeland.

Jiawei came to the U.S. at age 18 to attend college, and have been here for ten years since then. The “Wallpaper” series evokes the common practice forty years ago of pasting newspapers on the walls of one’s home, a handy and affordable solution for wallpaper.

Jiawei uses The New York Times and San Francisco Chronicle as the wallpaper and hangs calendars appropriated from the internet along with family album photos over it to reference the experience of displacement and cultural assimilation.

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Birdie Zoltan Rolling Notions • ceramic mixed media • 16” x 9” x 6”

In my art, I create sculptural personalities of unrepentant whimsy.I work primarily with the “notion of the button.” I am drawn to everyday objects that are eager to assume new identities and new roles in their existence. The mood of each piece would arise intuitively from a wide variety of personally chosen materials and innovative techniques.Through art ,I am able to recreate my life experiences in sculpture .My family of a dozen siblings remains my greatest source of inspiration.This and my sense of material curiosity is what fuels my art .

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