GoggleWorks Center for the Artsâ€™ 12th Annual Juried Exhibition May 5 - May 31, 2018
GoggleWorks Center for the Arts is a place to develop skills, ask questions, experiment freely, and investigate the human spirit. Here we create dialogue between the established and the experimental, the contemporary and the traditional. Through exceptional arts education and engaging community programming, we inspire people to expand the boundaries of art making, personal growth, and appreciation for material culture. Located in the former Willson Goggle Factory building, the 145,000 square foot complex features seven teaching studios in ceramics, hot and warm glass, metalsmithing, photography, printmaking, and woodworking, along with 35 juried artist studios. GoggleWorks also includes several exhibition galleries, a 130-seat film theatre, and sells handcrafted works by over 200 artists working within our walls and beyond. GoggleWorks is open from 9am-9pm daily. Admission and parking are always free. GoggleWorks Center for the Arts 201 Washington Street Reading, PA 19601 610.374.4600 â€˘ goggleworks.org
GoggleWorks’ Annual Juried Exhibition rewards the talents of individual artists working in all media. There is no theme—artists are simply encouraged to submit their best work. The grand prize is a solo exhibition in our Irvin & Lois E. Cohen Gallery and cash awards are given for first, second, and third prizes. This year, the call for entries attracted 217 artists from 3 countries and 16 states. Over 500 artworks demonstrating a tremendously high level of ability where submitted for consideration. Ultimately, 92 artworks from 86 artists were accepted representing a wide array of mediums; including painting, printmaking, sculpture, photography, pottery, fiber, digital art, mixed media, assemblage, and pen and ink drawings. I would like to thank our juror, Thora Jacobson, Director of Design Review with The City of Philadelphia Mural Arts Program, for carefully assembling a strong exhibition. Her time and discernment in choosing the art for the exhibit, as well as our award winners, is very much appreciated. Thanks are extended as well to each one of the talented artists chosen to participate. It is my pleasure to showcase their work and provide artistic variety to GoggleWorks’ patrons. — Lauralynn White, Gallery Director
Having worked almost fifty years in a variety of settings dealing with prints, public art, and materialsbased works in addition to the “high art” forms of painting, drawing, and sculpture, I was pleased to accept the opportunity to jury an exhibition that invites a full range of mediums and methods; traditional and contemporary—where arbitrary distinctions of seriousness and quality are leveled. But the opportunity did not come without challenges: The number of works to review—more than 500; the scale of the entries (some monumental, others miniature), consistency among the works submitted (selecting among very dissimilar subjects), stylistic variations from virtuosity of brush stroke and patina to exuberant self-taught assemblages, to the inevitable space and logistical constraints of the gallery space—all conspire to make selections difficult and maybe just a little frustrating. I am told that I selected a larger number of 3D works than previous jurors. I can only say that I was intrigued by the range and singular perspective of the sculptors, makers, and craftspeople and I respect their vision. I think I might also have selected a large percentage of smaller works. Often easy to gloss over— but when shown together, as if in conversation, they demand attention and a second, even third consideration. I expect to be surprised when I see the exhibition installed. It will be as much a surprise to me as to the artists and their friends who attend. I know that I can count on Gallery Director Lauralynn White to be thoughtful, sensitive, and ingenious in creating a visually cohesive installation—one that is even more persuasive than the sum of its creative parts. — Thora Jacobson, 2018 Juror
Adams, Charles Adewumi, Oluwatobi Ball, Deena S. Barrett, Elijah Bech, Polly Begbie, Richard Bogus, David Borowski, Michael Bosse, Myhanh Bouton, Agathe Brown, Brent Buonomo, Antony Burstein, Dan Carbone, Angela Carrow, Bonnie Mae Chase, Anne Cieri, Bear Cunicelli, Peter DeLuca, Michael DePietro, James A. Dimmig, Kaylee Dion, Melanie Dixon, Michael Eaton, Romig Ferro, David Fessler, Kristen Foa, Richard Forsyth, Amy Fridkin, Terri
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Fry, Todd Garfield, Linda Dubin Geronian, Alexandre Gerstemeier, Lorelei Gibson-Hunter, Aziza Claudia Gloria, James Gunter, Caitria Haag, Fred Higgins, Nicholas Hoffer, Jessica Hower, Michael Jaskot, Greg Kean, Sarah Klinger, Susan Koursaros, Victoria Koval, Svetlana Kress, Nancy Laincz, Paul Lee, Miyung Lerner, Dorine Li, J. Lovejoy, Stacy Marchand, Amanda McBride, Rose McCullough, Sharon Pierce McLaughlin, Deanna Meyerson, Jacqueline Moonan, Florence Mull, Rob
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Neill, Nancy Nin, Valetta Ott, Katie Paolini, Jack Pellegrini, Vincent Powers Holt, Mary Quinn, Donna Radsprecher, Carol Ressler, Martha Rodriguez, Teresa Ross, Marc Schlachter, Lois Sheskin, David Siegel, Carol Smith, Philip Spilka, Gerri Stackonis, Devon Taylor, Kelly Ujiie, Heather Van Anglen, Carly Veeder, Georgette Weaver, Don Weber, Merrill Welles, Charles Wiedemann, Peggy Williams, Andrew Williams, Babelon Young, Jaquie O. Zecha, Zach
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Self as Guardian 1 • blackened oak, mulberry lacewood, hemp • 79”x 29” x 32”
Division • charcoal on paper • 18” x 24”
My work explores the idea of guardians, inspired by guardian figures from cultures around the world. Combining a whimsical, aesthetic sensibility reminiscent of the natural world, I infuse the pieces with my imagination. Protective creatures are reflective of humanity’s consistent need for assistance in shielding from the disturbances and evils of life. Historically, humans have turned to talisman, charms, or amulets, which are both religiously and culturally-based. My pieces are a contemporary take on this very old idea, inviting discussion about how one can protect oneself, or others, spiritually, physically, politically, and in a community sense.
With every piece of art I create comes a story, an opportunity to provide history, a new voice, narrative, and perspective for my audience. I believe in using my artistic gift as a conduit to share the stories of people and places living in a different society and culture, but with a new context. My work for the past 10 years has used revealing aspects of history, which have a profound impact on our contemporary culture today. In the current climate, where many believe history has no relevance, I find myself continually returning to those aspects that are often hidden. In my varied and diverse approaches to making art, the purpose is for the context to impact the viewer positively. 1
Deena S. Ball
Out to the Road—Charlestown Farm • watercolor on textured ground • 9” x 9”
Untitled #35 • archival inkjet print • 17” x 25”
I paint as a form of meditation. When I paint, the details of daily life fade away. I choose watercolors and oils to capture the natural world; an isolated swamp, an old maple shielding, a simple barn, or standing water in a field at dawn. These simple images allow me to play with shape, color, and light. I constantly strive to challenge myself to create simple, expressive paintings that strike an emotional cord in the viewer.
Rockport is a group of photographs made in and around Rockport, Texas, in the months after Hurricane Harvey. A combination of portraits, landscapes, and still lives, these photographs constitute an alternative photo essay about what is changed by a natural disaster and what is left behind. Conventional photographs are paired with what seem to be outtakes or misfires, forming an interpretive and figurative retelling of the weeks and months after the storm.
As Yet Untitled Art Quilt • 43” x 41”
Shuttered • chromogenic print on fine art paper • 24” x 30”
Most of my recent work has started with solar printing on white cotton. I collect leaves and, using sunsensitive paint, capture their essence on fabric. Using this fabric and other materials created using additional surface design techniques, I piece together quilts that hopefully reflect my love of, and respect for, nature, and my fears of where contemporary society is going.
Richard attempts to use his camera to provide a view of his subject on a second aesthetic level—as a realistic expression and as an abstract expression. By using both natural and manipulated use of texture and color, he conveys a multi-layered image to the viewer. “In my photographs, I invite the viewer to first see the realistic subject. Hopefully, through further examination, the abstract elements of the image will force the viewer to experience the duality of the subject matter.”
Optimist Luggage • ceramics • 14”x8”x5”
Trail • archival inkjet print • 26” x 40”
The Bogus Boutique is a lifestyle brand featuring unique, brightly colored ceramic objects and status symbols. These everyday objects foretell the ironic codification of consumer culture as it embodies our current society. In The Bogus Boutique, high heel shoes, punk rock lock necklaces, anchors, oversized fishing hooks, suitcases, cigarette lighters, cases of beer, life preservers, telephones, knives, perfume bottles, and cocktail garnishes are outrageously overpriced objects as viable subjects for branding and art.
Feral Infrastructure is a series of digital composites, in which I place smart city infrastructure into photographs of the landscape. These include communication towers, Wi-Fi towers, various antennae, and most prominently, traffic light cameras. They seem both believable and a scene from science fiction. The uncertainty that the images create raises questions about the relationship between smart technology and the environment. These could be forgotten remnants of a feral city, or curious methods of data collection for some unknown purpose. Just like in the city, we are unsure whether these devices are active or what purpose they serve. 4
GoggleWorks • watercolor • 22” x 30”
Street View II • monotype and collage • 26” x 36”
My work as a physician is grueling. In 2001, I decided to take a watercolor class. Something special happened to me then and since, I just cannot wait to have even the briefest opportunity to paint. I like to combine my love of travel with my love of painting. My subject interests are diverse sometimes people within a scene, old cars or buildings, vintage objects and fabrics, flora, and sometimes animals. Watercolor gives me joy, balance, and peace.
I have been inspired by the urbanism I see around me in Philadelphia. Whether it’s a new block of offices or apartments, an abandoned warehouse, an old administrative center, or a half-demolished home, I am drawn to the history and lives they evoke, as well as their intrinsic beauty. My latest artworks are interpretations of these buildings; sometimes in detail, sometimes with a broader view. These are urban landscapes with grand facades, patchworks of broken windows, color palettes, sometimes the reflections of other buildings or the sky. I created monotypes, playing with improvisation and superimposition, so although the work is monochromatic, the color appears in different half-tones, shades, and densities. 5
Plato the Great Lion • cardboard • 23 “ x 27 “ x 10”
You Can Have Anything, But You Can’t Have Everything • digital photomontage mounted into lightbox • 23.4” x 33.1”
Brent Brown (1975 - ) has been creating art since he was a small child. He calls making art, “the joy of my life”. He has worked with clay to mold wonderful creature and has created paintings on paper and canvas. Brent currently works with paper, cardboard, glue and acrylic paints to create creatures ranging from jungle animals, Gremlins, the Blues Brothers, Teenage Ninja Mutant Turtles, Star Wars, and more. He calls them puppets because he gives them moving arms, legs, and heads with the use of cardboard pegs.
I am a disabled artist, living in London. I consider these lightbox pieces to be fragments of an ongoing self-portrait which chronicle and comment on various personal aspects of my life—relationships, my disability, the importance of art in my life, etc. As a digital designer, I use my love of typography and word-forms together with stock imagery and (digitally) handdrawn elements to construct photomontages, which are then mounted into commercial lightboxes. Bright and saturated colours recall feelings of looking at stained glass windows.
In the Meadow • glass • 10.25” x 4.5”
Liberty & Justice for All • earthenware, wire, brick • 18” x 6” x 14”
I am a multimedia artist and the owner of New Hope Stained Glass, which I have been operating in collaboration with my wife, Jill Burstein, for the last 15 years. I have been practicing glassblowing for the last 7 years, advancing my skills in 2013 by participating in classes at the Corning Studio with Davide Salvadore, John Miller, and Janusz Pozniak. I am currently creating and using Murrini for my glass art and experimenting with different sculptural and functional forms in glass.
Life in the 21st century involves regular exposure to controversial cultural, social, and economic issues. Consistently, news media bombards us with imagery of violence and war, perspectives on finances, politics, and religion. We are force fed a multitude of complex interpretations, as the overwhelming truths are cleaverly masked. Disenchanted and misguided, we are left riddle through the facts, questioning our liberty and justice. The work explores complex interpretations about cultural, social and economic issues and strives to highlight what liberty and justice truly means. It unravels ideas of nostalgia while simultaneously surveying the diplomatic fray with a breath of honest sarcasm. 7
Bonnie Mae Carrow
Inkling Chair • bronze • 34” x 16”
Idaho • oil on canvas • 15” x 30”
By referencing the domestic space, I try to address the point of onset, where cultural norms are taught and learned. The home communicates a sense of intimacy, safety, or sanctuary. Problematizing domestic objects by altering their context and material allows the viewer to question their physical and conceptual understanding of their surroundings. Removed from their original state, these objects become separate from their purpose, leaving the viewer to analyze both the physical structure of the object and the social structures a home perpetuates. These objects exist in a state of abjection, where they no longer abide by their predesignated role.
Anne Chase is a Louisiana native who moved to Pennsylvania to earn her M.F.A. at Pennsylvania Academy of Fine Art. When she graduated, she found a home at GoggleWorks Center for the Arts in Reading, Pennsylvania, where she is currently a studio artist. She produces wonderfully diverse art in oil, pen and ink, and many other mediums. Her subject matter is as varied as her mediums— portraits, landscapes, the figure, still life, and abstracts created with loose chalks and her wheelchair wheels.
Post Race Wash • photographic print • 18” x 18”
Orange Bottle • ceramic • 18” x 10” x 10”
I am utterly intrigued and inspired by the human condition in all its myriad iterations. Of particular interest is the area where man and nature mingle. Whether it is man’s mastery of his environment or his struggles amidst the overwhelming dominance of mother nature, my passion is to capture humans at play, at work, and at rest. Through portraiture and spontaneous moments, I capture and interpret my world in an attempt to broaden the viewer’s perspective and provide a path toward discovery, connection and a greater understanding of the world. I choose to work with film as it slows down the process and allows for fewer distractions. As a result, I am more able to be present in the moment.
Contrast is a constant element in life and nature, providing inspiration for movement and sensuality. These elements, contrast, movement and sensuality, provide the basis for my ceramic work. I use curvaceous, yet exact and crisp, lines to make the same distinction in my work. As each piece is viewed, each pose should present a different image to the viewer while part of the piece is shadowed. The view may be awkward or graceful. With just a turn, the opposite is true. This is where I find my inspiration to continue creating.
James A. DePietro
Boo • pastel on paper • 810” x 9”
Shadow Series—Sweet DeLite • oil and acrylic • 12” x 12”
I’m interested in visual oppositions, particularly the tangible versus the intangible, and the graphic versus the atmospheric. I’ve been working from flat silhouettes that I cut out and mount on highly reflective paper. I place these shapes in a context out of time and illuminate them with a single top light. I then do drawings from them, where the process can last several days, pushing and pulling endless amounts of subtle information. I gravitate towards shapes with specific gestures within them. The representation of motion or cause-and-effect informs my selection of silhouettes. I find them appealing in their odd and playful way, and I think of them as symbols referencing nature, but influenced by a digital world.
As a visual storyteller James A. DePietro creates art narratives with multiple images that explore personal or social issues. He expresses his art by taking a series format approach with a variety of contemporary topics. The oil and acrylic paintings from The Shadow Series emphasizes its still life subject using dramatic lighting and textures. All of these paintings manipulate realistic images contrasting with abstract fields of colorful backgrounds or borders which deal directly with color, form, and texture.
Plastic Ocean • recycled materials • 3’ x 3’ x 7’
Dreaming of Jacques Cousteau • watercolor and acrylic on canvas • 28” x 30”
In my textiles art, I like to capture the beauty in mundane objects. Different mediums allow me to express different ideas. While working with non-traditional textile materials, I can create beautiful artwork that elevates the original material and brings it into the world of art. I use many different traditional techniques in my artwork, such as paper-folding, shibori dying, and knotless netting. I use these traditional techniques to inspire me to create new and inventive pieces of artwork.
I draw inspiration from landscape and nature. I love the interplay of color and form and how strange things can happen with the way we perceive them. I enjoy making a form turn or recede in space. I ask myself what makes a shape appear to have mass or read as an object? I like to play with paint, seeing how a particular pigment will behave with water on paper. Often I will paint only a stroke or two in a sitting, then rest and respond to it once the next step becomes clearer to me. This approach to painting creates a slow build, an effort to be thoughtful in my response to the intuitive aspects of the painting’s construction. 11
The More Things Change the More They Stay the Same • oil on canvas • 48” x 48”
Compositions • fiber • 48” x 27”
As a bi-racial black American, I have experienced that I do not neatly fit into white culture or black culture but rather rest in the middle. These paintings are my response towards the brutal police killings of unarmed black men, and women, across the US. I am interested in the value of black bodies in contemporary America, which has a long history of violence against its black population through slavery, Jim Crow, and mass incarceration. My aim is to locate myself in this discussion as a bi-racial black man who has been both the victim of racism and “passed” for white because of my light skin.
The inspiration fabric: a found printed piece of unknown origin, is layered with the geometric shapes of traditional patchwork, presenting a triptych of pure abstraction. Machine quilting sometimes references pencil lines, but also provides texture with color-on-color darning stitches and blanket stitch outlines. Hand embroidery adds minimal embellishment. I utilize simple patchwork techniques to construct pieces exploring archetypal themes as well as complete abstractions. Mid-century fabric designs influence my quilting motifs. I rely on modern design concepts blended with organic elements. 12
Carly Van Anglen and David Ferro
Clouds and Scales • majolica glazed terra-cotta • 4.5” x 13” x 13”
Autumn Leaves Weaving • fiber • 66” x 30”
From textile designs to tattoos, we are interested in how twodimensional patterns change when placed on a three-dimensional, curvilinear surface. For example, when a body is stretched into a patterned article of clothing, the design is forced to conform to its wearer as much as the wearer is transformed by the design. Mutually attracted to the hand-painted quality of Iznik pottery, Italian renaissance majolica, and Mexican talavera, the soft, rounded contours necessitated by the majolica medium create the perfect canvas for drawing in the round. Alternating between organic and geometric designs on wheel-thrown forms, our current work explores the use of converging patterns that fully envelop the surface.
This piece was inspired by Pennsylvania’s fall foliage in late October. It can be worn as a shawl, wrap, or scarf.
Locavore • wood, French whisks, wire tea basket • 14” x 15” x 15”
Jewelry Box (You Look Marvelous!) • wood • 12” x 17” x 7”
My recent work has focused on sculpture that combines turned, carved, and painted wood with a variety of found or recycled objects. I draw inspiration from a number of sources including contemporary social trends and classic literary imagery. My goal is to create objects that both say something about our contemporary world and connect us with our cultural heritage. While the core of every work is entirely of my own invention, the incorporation of delightful found or collected objects gives each work a closer connection to the cultural tradition that I’m trying to reference. Hopefully, my works capture both the eyes and the imagination of viewers.
This jewelry box is one of a series of wall mounted containers that combines a traditional hand-cut dovetail box and drawers with a more expressive band saw box door, attached with sculpted wooden hinges. The intention is to combine the planned and measured with the improvisation that can arise while making something new for a particular use. In addition to drawers for storage and hangers to suspend necklaces, the door also contains storage for small items, including a pendant made from the wood of the door itself, nestling into its original location in the board.
Black and Blue (East Meets West) • monotype, wood intaglio, collage • 24” x 28”
Envy • oil on burned canvas, nails • 8” x 8” x 2”
Converging shapes, lines and colors are the foundations of my current work. Abstract elements allude to forms that are both natural and architectonic. The interdependent and interlocking relationships of these components alternately produce energy and synergy which generates structure to the compositions. 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.
I believe abstract art is the language of the subconscious; a bridge connecting our deepest hopes with our darkest fears; a flawless mirror reflecting the many angels and demons lurking within us all.
Linda Dubin Garfield
Trees 1 • mixed media • 20” x 20”
art 4-1 • acrylic • 36” x 36”
Nature nurtures and inspires me. I combine elements of nature, texture, and design, along with the magic of the press. I am intrigued by memory and what remains in our mind’s eye. My work reflects scenes from travel near and far. More than a report on how it was exactly, I am interested in my expressive and passionate response to the color and pattern of the landscape, experience, or image. Rather than representing every detail, I evoke the hidden, and reveal the atmosphere, creating visual memoirs.
I approach canvas when I feel the internal need to express my emotions in visual form. My complex abstract interplay of form, color, and depth are the objects in my view—I never plan ahead and try to overuse conscious reflection. Mostly self-taught, I began painting in hopes that others will recognize my core.
Aziza Claudia Gibson-Hunter
The Struggle With Fashion 1 • digital photography • 11” x 17”
Playing to WIN# 14 • acrylic paint, mixed media • 22” x 26”
Throughout this series, The Struggle With Fashion, I looked at the relationship humans have with their clothing and that clothes have with us. I watched the movements as my model stumbled to take his clothes off and put it back on again. This struggle to quickly take one’s clothing off and put it on again was like a dance. It was beautiful. The clothes folded and creased beautifully along the body. Shadows along the creases of the clothing mimicked the lines of the body. Fashion photography is staged. It is made to look flawless and beautiful. The idea of The Struggle With Fashion is to show the beauty in the reality of fashion photography.
The question of how and why one wins can be essential to understanding the collective character of a country or that of a single individual. The answers begin to reveal themselves in sports, lotteries, video games, children’s playground activities, relationships, and the simple board game. Questions concerning morality, identity, patriotism, class, race, and ethnicity can enter this inquiry. To win can be a beautiful outward expression of luck, or skills attained through discipline and work, yet when it comes due to unfair or dishonest practices, it can undermine the positive qualities of a person and or a nation. Winning can shine so brightly as a goal that it can become a blinding force. 17
Blue and Violet Iris • oil on linen on panel • 18” x 24”
Cellular Form • fabric, adhesive, beeswax • 6” x 10.5” x 6.5”
By developing a familiarity with the component parts of the materials and techniques of painting, I engage in a dialogue. Inconsistencies in materials are, in fact, opportunities to explore the dynamics and properties of raw materials. A focus on the process becomes as meaningful as the product. For me, making art is a way of connecting with the essence of being, by living in the moment of the creative process. Working in a familiar medium, with the garden as subject, I gradually increased the amount of marble dust in my paint to create dimension. This series led me to even broader use of impasto, and no transparent glazing. The resulting paintings are more about surface and immediacy.
Whether fleeting or lingering, everything is impermanent. I am especially attracted to the ephemeral qualities of nature—drifting cloud formations, cyclical tidal patterns, shifting light, and shadows. The constant growth and decay that occurs in the environment captivates me as well as the beauty of the deterioration of matter. I manipulate hair, paper, beeswax, and other organic materials into subtle forms and landscapes, constructing pieces through the accumulation of cell-like fragments or voids. I enjoy the quiet intimacy of small-scale work and savor the contact of my hands with materials and the meditative nature of the processes. 18
Cody • acrylic and oil on canvas • 50” x 42”
The Ballad of Last Call • acrylic on canvas • 24” x 48”
I am a practicing artist who lives and works in Hellam, Pennsylvania. My sensibility is autobiographical, and my work reflects my surroundings and experiences. I usually work from direct observation, but I also use memories and conversation as departure points. Often, my painting entertains a conflict between depth and flatness, between space and surface, and between color and drawing. The conflict occurs in all of my major subject areas: the figure, the studio-interior, chairs, and the still life. I explore it in my painting through aspects of subject, color, composition, and even particularities such as patterns and brushwork.
My work is an expression of my introspection into my spirituality; particularly how I feel about the meaning of life and death. I use acrylic paint in a variety of colors to create characters to tell my story of the constant strive for balance. My intention is to create a vulnerable experience for the viewer in which they are able to contemplate their own spirituality.
The Coallercoaster • digital photography • 8” x 10”
Chastened • digital photograph, inkjet print • 14” x 18”
These photographs are intentionally dark and moody, with a focus on slightly unsettling the viewers perspective.
In this series of photographs I examine the abandoned prison cells of Eastern State Penitentiary. The Penitentiary subscribed to a theory of rehabilitation that proscribed confinement and a lack of interaction with other inmates. This ran counter to the prevailing system in the United States at the time where harsh physical punishment was the norm. Ideas of church and religious experiences are embodied in the building and served as a guide for how prisoners should be rehabilitated: hallways looked like that of a church, low doorways required one to bow and seek penance from a greater power—a single small skylight lit each cell, a proverbial “eye of God.” 20
Intrepid • oils, spray paint, encaustics, collage, and found objects • 24” x 30”
Untitled • photography, archival inkjet • 39” x 27”
As an artist I use suggestions of information and hints of narrative to stimulate responses within my viewer. I try to appeal to previously held schema within the viewer to create an image that is both accessible and yet open to interpretation. My range of media incorporated in my art is eclectic and ever-expanding. I view the materials used in my work as artifacts with a history of their own. By bringing them into the work I create a textured surface. I hope to create works that have a nuanced yet powerful presentation.
My embroidery on furniture aims to portray my opinions on issues regarding women and feminism. I construct this imagery on pieces from furniture I find abandoned or discarded. This is meant to represent that women do not have to be found in the home or other domestic settings. I am working to give this neglected furniture a new chance at being something of importance. I have focused on this revival in a photographic series as well. I believe that placing imagery on this feminist platform and presenting my ideas in the traditionally “woman’s medium” of embroidery addresses many levels of depth. 21
Red Onions • soft pastel • 15” x 20”
“Ignorance,” after Tiepolo • oil on panel • 10” x 8”
My paintings may be of familiar scenes, but perhaps overlooked in the fast pace of today’s society. My subjects are diverse, with an emphasis on nature. Inspiration occurs while gazing up into a tree’s canopy, at water splashing over rocks, or at the play of shape and color at the local farmer’s market. Light, and how it interacts with shape, plays an important role in the subjects I paint. A recurring theme is reflection—whether the broken reflection of objects floating on water or the unexpected reflections found in glass. I enjoy the challenge of capturing the transparency of glass and the movement of water while rendering the many reflections.
I’ve always been drawn to the unabashed embrace of beauty of the 18th century. The music, painting, and architecture all culminated in, what is for me, the height of artistry and harmony. My current work is inspired by that era. Upon entering an 18th century church or palace, there is a visual explosion which can appear both chaotic and glorious at the same time. Each figure plays an important role and flows together in a seamless composition like a symphony. I want to isolate and highlight the lesser noticed elements of these environments to show the beauty of all the separate parts that make up these great symphonies, to show that everywhere you look there is beauty. 22
The Sea • oil on canvas • 36” x 48”
River Gap • acrylic on canvas • 30” x 30” x 1.5”
My paintings are a reflection of my inner self, current state, thoughts, and values. Often they portray glimpses of everyday life, people and nature. Mainstream artists are currently turning from utilizing oil on canvas as a medium, but I feel that it remains a traditional and universal means of reflecting my vision. Oil on canvas is a multifaceted medium in its capacity to reflect the nuances of our surroundings. This technique allows me to experiment by using oil in layers to create transparency as well as opacity in the manipulation of the work’s theme.
Atmosphere. Point of entry is focused on metaphysical spatial aspects that I perceive in nature. In striving to depict a dimensional energy, my study is directed to the patterns of air currents, and their direction. When representing structure, energy, and light, I am very mindful of the Gestalt principles of original form perception. This is evident in the bold red structures of creek study, and the massive rock-like structures of river gap. My work results in an abstract representation of earth’s natural shapes.
Patterns #2 • photography • 11” x 16”
My Life Journey • oil on mulberry paper • 15”x24”
I use the camera to discover ideas lying with objects. For me this is looking for “essence” rather than just “surface” or simply a “picture of.” I want my images to be “about” something other than a pictorial record.
In our world, there is no particular time and space, but in my heart there is a certain moment of time and space. I depict this moment of my inner world because this moment has taken eternal and complete ownership of my heart. I cannot truly express this truth because emotionally it is so complicated and immense that I must use my intuition as well as symbols to represent the state of my mind.
Geometry • paper and acrylic on board • 36” x 36”
Fire and Desire IX • watercolor on arches paper • 40” x 45”
How do I explain my art? The unpredictability and chaos in the outside world takes me there. Sometimes order, sometimes chaos. I also enjoy using my hands on the surface. As a dress designer, feeling the warp and the weave of the fabric on the surface and draping it into a form. Striving to create a new kind of object that is both painterly and sculptural. It is a dialogue between the dimensions of texture and the process of construction that hopefully will allow you to experience your own thoughts of color, structure, cracks, and texture.
Desire is the power of life instinct. But whether it is physical or psychological, the form of desire is not static. It is like a fire, and more like wildfire—and sometimes like volcanic eruptions. I’d like to describe and express that the fire of desire is a driving force of life, but it could be the source of destruction too.
Silence in Library • acrylic on canvas • 24” x 24”
Wherever You’ll Try, I’ll be There • photography • 20” x 60”
My main goal is to awaken people, tickle their mind, and say: “Hey guys! This world is too simple to be taken so seriously!” I wish for people to realize that being an adult is the same as being a child, but with far more benefits. In the “Transmigration”, series I explore common situations after global scale reincarnation, during which all the people came back to Earth as plants.
My work grapples with what is raw and immutable in the human psyche, with deep affection for our natural world. True North is an anti-text message composed in stillness of a landscape where one can actually receive time. Set in rural Finland during January, the darkest month, this series unplugs from a constant influx of information and images. In the silence there, my walks with my camera became a way of tuning into the natural world and its many subtle shifts and surprises. This work led to heightened attention, a focus on increments of time, and ideas about silence and awareness. Like the practice of meditation, these photographs ask the simple question, “What happens when you pay attention?” 26
Sharon Pierce McCullough
Joyful View • cotton fabric • 30.5” x 33.5”
Windy Wishes • acrylic, gesso on canvas • 30” x 30” x 1.5”
Color and geometric shapes inspire me. The act of cutting up fabric and putting together unique color combinations is used to create an original design or alter a traditional design. What interests me the most is the placement of color to create something new. In this piece, busy, colorful, African prints were combined with solid color. An irregular log cabin was stitched together into a block and then cut up and rearranged. I imagined I’m looking out a window.
Color is very much a signature element of my work; particularly in my paintings. When working on a piece, I try to retain a sense of playfulness and spontaneity. My interest is in experimentation and the relationship of space, line, and colors. In all truthfulness, I am happy to be a self-taught artist, as I feel no restrictions from selfimposed artistic rules.
Homage to Homelessness and Hedonism IX, “Glider Swing” • manipulated shopping cart, solid steel rod, step plate for gliding, fabric, metallic vinyl • 35.5” x 26” x 39”
Rusty Secrets • pastel • 13” x 9”
I am always struck by the contrast of value American’s stress on “stuff” rather than the values of intellect, education, compassion and respect for others. Most of my 3D artwork is representative of these persistent, often self-absorbed, values and ideas, the view of women in the workplace, our desire for fulfilment through consumerism, and the “me” mentality that prevails, often at the expense of many. From Homelessness to Hedonism is a series that encompasses the dichotomy of America—the two extreme ends of our consumer-driven culture; from homelessness to our “shop till you drop” mentality. Wouldn’t it be nice if each homeless person were given at least a shopping cart as comfortable as this to rest on?
I am a self-taught photorealist painter and my philosophy is to paint what I see and not what I think I see. My goal is to integrate colors, shapes, and lines, and to create a sound foundation in all my interpretive and creative endeavors with an artist’s eye. Cultivating good drawing techniques, paying attention to composition, and evoking emotion through ones work is an integral part of my process. Reclaiming old forgotten items and breathing life into them with pastels is my current muse.
Isolde’s Vision • venetian plaster, universal tints, acrylic, iridescent gold oil paint stick on board • 16” x 16” x 2”
The Legend of Lucky Louie and Alt. Route 8 • signs, auto parts, barrel hoops, license plate, crow • 43” x 46”h x 9”
I let my artistic process organically flow by making immediate decisions and taking advantage of chance revelations as to the direction of the piece. I am influenced by memories of performing in summer stock theater, family, and the natural world, but above all, music. My love of performing merged into painting in adulthood after my father gave me a set of acrylic paints. When this painting was finished I began thinking of a title. I could feel its strong emotional intensity. It was then I realized its significance. Isolde’s Vision is my interpretation of the electrifying moments from the final act of Richard Wagner’s Tristan and Isolde as vividly described to me, many years ago, by an opera enthusiast.
The poet Charles Simic described taste in his forward for a catalog covering the work of assemblage artist George Herms as: “The eyes have knowledge that the mind cannot share.” Sometimes when the eyes are happily indulging themselves without the constraints of reference, the mind seeks to uncover its own related knowledge that it will insist upon sharing when found. If the familiar perspective is again engaged, a sense of magic may fade, but for me it is replaced by inspiration. So I favor the abstract, and am most enamored by that which teeters on the edge of figurative, satisfying the eyes and challenging the mind. 29
Untitled 1.18. • oil pastel on paper • 16” x 16”
Rib Cage • pastel • 48” x 36”
I paint abstract landscapes. My work is inspired by places where I have spent time. Sometimes I am inspired by the urban landscape, as I have spent a lot of time in various cities, and my paintings suggest the atmosphere of a city or factory location. I try to capture the feeling of these places in an abstract way. I don’t paint from photographs but rather from my imagination and memory. This often results in landscapes that are somewhat mysterious and that can be interpreted in various ways. All of my paintings are untitled. I want the viewer to be transported by what they see and make each painting part of their own reality, rather than seeing a defined landscape.
The feeling of a rib cage being an actual cage led to this series of trapped figures. I began with a set of quick-sketch watercolors and used them to loosely translate to larger pastels. The works are all composed and layered over old pastels. I turned them upside down and, with a damp rag, removed the top layers, leaving a residue of colors on which to work. These colors informed the new work in exciting ways that left me able to choose what to eliminate and what to accent. The figure and the background then became one, taking on a two dimensional tension that respected the picture plane. 30
Unraveled • maple, yarn • 32” x 17” x 21”
Pat’s and Geno’s • photograph • 18” x 32”
So often furniture sits idly by as we thoughtlessly use it in pursuit of our daily lives. We rely on chairs to bear the weight of our bodies as we sit, and we count on tables to hold any object we place upon them. Tables additionally carry the tremendous emotional and social weight of facilitating various gatherings from family mealtime to corporate board meetings. Many an intimate moment is shared around pieces of furniture, which act as passive objects within the context of our daily routines. My work suggests that it is time for the table to bring more to the table.
I am a self-taught, award-winning photographer living in Chester County, Pennsylvania. I enjoy taking pictures of Philadelphia and the surrounding area. I have been doing all my own printing in a darkroom for years. I recently switched to digital after resisting for years. My darkroom now contains my computer and ink jet printer. My photographs have been purchased by The Lankenau Hospital, Stonebridge Bank, Lindt Property Management, Union Meeting Corporate Center, Infinity Broadcasting Company, Holiday Inn, Fairmount Partners, and many others.
Mary Powers Holt
Utah Way • photography • 12” x 17”
Landscape with Bird House and Weeds • acrylic on canvas • 36” x 36”
I love the experience of being out in the wilderness attempting to capture the mood and emotions of landscapes I happen upon. I hope to share these feelings with those who view my images. My favorite way to travel is to just wander at my own pace. If the location is perfect then there is no reason to move on. This allows the light to do its magic as I interrupt nature’s beauty. The journey continues.
My work is involved with the landscape and inspired by abstract patterns against atmospheric color. My paintings are about a solitary discovery of place and the unconscious forms generated from the experience. An emotional undercurrent is important to my imagery and my use of paint is mostly expressionistic within this framework. The landscape becomes a launching point for my imagination and the painting an interpretation of both the seen and unseen environment.
The Plutocrat Next Door • mixed media on paper with fiber, mounted on • 8” x 8”
Little Squished • ink and acrylic on claybord • 12” x 12”
The work in this series expands upon my theme of home and the sense of place we inhabit throughout our lives. The process of wiping away the multi-layered surfaces relates to the cycle of the decay and renewal as it plays out on a landscape both urban and social. Exploring harmony and imbalance, my surfaces recall abandoned spaces with an impreciseness that often accompanies faded memories. I use a materials-driven process to create layers of paint and mixed media on paper to evoke the passage of time, a sense of loss, and reverence for the past.
My style is a combination of figuration and abstraction. In some works the figuration predominates. In others, the abstract. But the resulting work contains an (un)easy combination of the two ways to translate feelings, memories, and observations into visual images. I find that distorting representations of the human figure—especially the female figure, that first landscape we see when we come into the world—allows me freedom to connect fully with what is appearing on the canvas with a depth and richness that I had sought but never found when I refused to let figures remain in my work.
Findings • art quilt • 25” x 40”
The Last Deal • digital collage • 24.5” x 17”
A painter first, Ressler specialized in industrial subjects and workingclass neighborhoods. But the allure of fiber art won her away. She has been sewing since she was 13, and loves the textures of fabric. Her surroundings often serve as inspiration. Moving from Pittsburgh to rural eastern Pennsylvania in 2014 opened new vistas. She collects found objects and papers and likes to include them in her work. “I see the detritus of everyday life as ‘markings’ made by my fellow humans.” Ressler explains. Always finding ways to share her enthusiasm for art quilts, Ressler teaches classes and workshops locally, using her favorite method of raw edge applique.
My work is narrative and symbolic. My pieces involve digital imagery, collage, found objects, and photography, but not necessarily all at once. Humor is often a part of my work. I reference art history as well as current events. Personal history is sometimes a source, most recently in my Widow Series. As I work, the narrative emerges. Every piece is a commentary and an invitation to comment. I have been creating and exhibiting my art for more than forty years.
Make Me That Happy 3 • acrylic, pencil and color pencil on canvas • 36” x 24”
Whirlwind • acrylic on canvas • 24” x 18”
I want viewers to stop, contemplate, quietly question their perceptions, and then interact spatially with my paintings as their appearance will change with distance. My goal as an artist is to create an enlightening break from our addiction to constant technological chatter as well as the instant manipulation of flamboyant images that we have been conditioned to crave. My enjoyment is the process in which every finished painting has a layered life of its own. Multiple layers are lapped over the canvas’s edge to leave a visual memory map. Each finished painting becomes a metaphor for living, for as the Talking Heads questioned in their song, Once In A Lifetime, “Well, how did I get here?”
As I paint and create, I am interpreting the world around me. Having traveled extensively, my paintings are a collective expression of people in my life, events, places, and activities. My art reflects my love of shapes in space, handsome and vibrant color, balance and classical rhythm. Each work is an intrinsic part of me, reflecting hours, weeks, and sometimes years of my intimate relationship with my painting. When I am finally satisfied enough to place my work before you the viewer, you will have a glimpse into my soul and part of my being.
Belligerent Bulldog • digital print • 24” x 24”
Betrayal • ceramic • 11” x 13”
Belligerent Bulldog is from a series entitled Art that Speaks, which involves the creative integration of art and text. My Art That Speaks images (which must be read to be fully appreciated) are atypical in that unlike most art they challenge the viewer on both a visual and cerebral level. The series employs the format of a Scrabble board to provide a unique and/or humorous commentary on a variety of fictional and topical subjects.
Turning a block of clay into a unique human spirit gives me great joy. The characters I create offer the viewer a moment in time; a fleeting thought expressed. We often communicate with dramatic gestures to distinguish ourselves and declare our individuality. I strive to present a more subtle, private distinction. Looking beyond our age or relative attractiveness, I seek to capture a reaction, a daydream, a conversation, a quiet moment. We are all strong and tender, angry and loving, proud and vulnerable. My work is an expression of love for the complex and beautiful faces waiting to emerge from the clay. 36
A Call for Action • sculpture • 16” x 15” x 8”
Say What? • contemporary art quilt • 68” x 68”
For me, life is an ongoing personal experience full of encounters, changes, observations, explorations, and reactions. As a metal sculptor, I have selected to produce my artwork as visual recordings of my life and how it has been involved with these material things. I always hope to have my artwork encourage the viewer to see the sculptures, and then hopefully find some common ground or understanding with me. I consider my sculpture’s titles to be very important in order for the viewer to understand the art piece. Thus, with my sculpture, the title and the actual art piece work hand in hand.
I explore place and identity through the representation of landform and people. At times they are ambiguously the same; at times each stands alone as land or people on fire, in trouble, or feigning indifference. My figures also stand together in groups conversing, sharing, or rebuffing the other. My work is large scale, bold, simple, and direct with strong figures interacting often with strong ground. I love color and use it confidently, powerfully, and playfully. Scale is important, as the consistently large pieces allow the viewer to be in or next to the work; provoking a visceral curiosity about who this may be. Where? As well as realizations that you are somewhat like me. 37
Machine Interior • mezzotint • 9” x 6”
Underneath It All No. 1 • mixed media • 18” x 24”
I am drawn to imposing elements on the natural landscape such as mines, railyards, and factories, but also the communities built up around these industries. Once thriving industrial centers or structures that no longer serve their intended purpose, provide material for me to explore place-specific changes over time. My work is rooted in observation of my area and the ever-present play between progress and stagnation, as well as the delicate balance of chaos and order. I actively engage with these locations, often working from life through painting or drawing which serves to later inform my printmaking.
Authentic, energetic, and spiritual are words that viewers have used to describe my work. Landscape is often my inspiration, and I’m most interested in creating an abstract vision of what nature has to offer. Acrylic paints, gels, pastes, and mediums are used to create layers, building up the surface and creating a history as the work evolves. Lower layers exposed, transparent layers of color added, and textured layers integrated into the surface are elements of the unexpected in my work. My goal is to not necessarily paint a pretty picture, but to provide a fresh perspective to delight the viewer.
Blue Monster • digital inkjet print on poly canvas • 72” x 260”
The Tangled Web We Weave • sculpture, woven jute, handmade paper, wood • 8’ x 4’ x 3’
In my current textile installation work, I strive to create large-scale allegorical narratives that utilize analog and digital technology. As a designer and an artist, I hope my work suggests a fusion between clean elegant design, and the raw underpinnings of creative expression. I am preoccupied by the dichotomies within the human condition and nature, which are characterized by growth, beauty, loss and decay. Presently, I am interested in representing the erotic alchemy between homoerotic human and animal forms, and hybrid mutations. All my textile work is a synthesis of several methods of artistry, including: painting, drawing, stitching, laser cutting, digital embroidery, and innovative large-format digital inkjet printing technology.
My work represents a personal journey of years of research and development using fibers as a sculptural medium. I build, layer, and transform handmade paper into positive shapes and sculptural forms. Transcending descriptive words, I create abstracted forms defined by our environment and human presence. With textures, scale, space and forced perspective I challenge the viewer to participate my world of illusions. Fantasy and reality play the mind: How do we relate ? How do we fit in? A Call for consciousness.
mussolini nouveaux • wooden assemblage • 72” x 27” x 4”
Luncheon with Billie Swofford • mixed media • 30” x 24”
I work with random objects, juxtaposing and altering, to create imagery that resonates not only in my head, but hopefully in others.
Merrill Weber is a native Floridian who has called the beautiful Southeastern Pennsylvania countryside home for the past 25 years. Inspired by nature, her engaging work has been described as imaginative, playful, and filled with energy and hope. In creating her multimedia pieces from life, Merrill adds many layers of flowers in acrylic over brightly-toned canvases. Floral detail is then added in graphite and pastel. Multiple coats of archival varnish complete the process. Merrill’s goal in painting is to create floral imagery bursting with sensations of buoyancy, color, movement and harmony.
Coehlo West • rutland gray marble • 20” x 8” x 3”
Vestige Basketry • pine needles, irish waxed linen, antique metal stand • 15” x 8” x 7”
Charles Welles is a sculptor, who primarily carves marble. This is a medium that is part of an ancient tradition going back to the Greeks and continuing through Michelangelo into the Renaissance. Though modern tools are used now, such as pneumatic air hammers and diamond saws, most of the carving techniques remain largely the same. Each piece is one-of-a-kind, often carved with chisels over hundreds of hours, and hand-sanded and polished. His work includes figurative, abstract and conceptual work in a variety of styles.
As a contemporary fiber artist, I have a strong preference for natural fibers and materials. The shapes, designs, and colors in the materials inspire the artwork. The wonderful thing about using natural materials, such as pine needles, is that they have a life and character of their own. I sometimes like to combine these natural elements with found objects. The interplay among mind, hands, and a host of materials continually stimulates the creative process and leads my work in new directions. Using traditional materials in sometimes unorthodox ways, I want to create designs, shapes and styles that stretch the imagination and react with the senses. 41
Leo and friend, Philadelphia, Pennsylvania • Ilford HP5 film, digitally printed • 10” x 15”
Welcome to the Creature Feature or The Children of Doom • acrylic, toner, pencil on paper on canvas • 44” x 20”
The best camera is the one you have with you. The best film is what’s in the camera. My work was taken with a Nikon compact digital, my Samsung telephone, and my Nikon F4 SLR and are part of my continuing Pennsylvania Project, which documents the diverse nature of the state and its seasons.
Williams’ canvases progress through atavistic Twombly-esque scribbles, a grid of transfigured book pages, appropriation, and right up to the superficial flat rendered image. Utilizing Apophenia (perceiving patterns or connections in meaningless data), as well as material found in the human periphery, the paintings disrupt the exchange between written, verbal, and visual language. The mechanical typography used, along side more handwritten elements, functions as an authoritative voice that can sometimes be misleading or whimsical. Culminating in work that critiques contemporary existence while embracing atavism, with no apologies for sardonic backwards thinking. 42
Jacquie O. Young
Olde’ Smokey • infrared photography on fine art paper • 12” x 16”
While Trees Burn • wood, drywall, paint, tape found object, photo • 48” x 36” x 12”
We live in a world that is complex and of a constantly changing puzzle. We are in a time when people need creative visual energy to excite the mind. A speed bump better known as Multiple Sclerosis (M.S.) has averted my photographic journey into the fine art of photography. It is through my lens I capture visions that portray uniqueness in a different spectrum of light—the unseen spectrum of infrared. The surreal sense of infrared imagery feels as surreal as my diagnosis of M.S. My photographic genre concentrates in remnants of the past, ‘Beautiful Chaos’. Intrigued by the left behind and remnants of the past comes from curiosity and depression related to M.S.
My work is about materials, their origins, and their usage. I use industrial and art materials to explore ideas about humans and the environment. Each works contains a series of moves, actions and reactions, building until the essence of the thought I am having takes shape.
About Thora Jacobson Thora Jacobson currently serves as Director of Design Review for Mural Arts Philadelphia where, with community members, design professionals, and muralists, she works to ensure that mural projects are authentic in their intent and realization, responsive to their communities and commissioning agencies, and fresh in their approach. Until recently, Jacobson also held the post of Executive Director of the Philadelphia Art Alliance until it merged with The University of the Arts in January 2018. Her longest tenure was as Director of the Fleisher Art Memorial where, for 33 years, she built on the extraordinary legacy of Samuel Fleisher, and the commitment of dozens of teaching artists and colleagues, to provide access to the arts regardless of experience or ability to pay. Between 1972 and 2006, she created the highly respected Challenge Exhibitions (renamed the Wind Challenge series in 2005), developed the Community Partnerships in the Arts with local schools and community service organizations, and completed three capital projects. In 2006, she joined the nascent Philagrafika, Philadelphia’s international festival for contemporary print. Jacobson worked with Executive Director Teresa Jaynes and a small but visionary team of artists, programmers, and board members to create a consortium of art schools, museums, and cultural organizations that launched the city’s first international visual arts festival in 2010. Over the years, she has served as a juror for dozens of regional art exhibitions, served on funding panels, conducted research on the social impact of the arts, and consulted on strategic planning for Asian Arts Initiative and the Philadelphia Folklore Project. She has served on the Boards of Directors of the Greater Philadelphia Cultural Alliance and the exhibitions committee of the American Swedish Historical Museum and the Philadelphia Folklore Project. She chaired the City of Philadelphia Art Commission during the Rendell Mayoral Administration and was Secretary of the Board of Trustees of the National Guild for Community Arts Education in the early 2000s. In 2006 she was named a Visionary Woman by Moore College of Art and Design with photographer Mary Ellen Marks and art historian Linda Nochlin. Most recently, encouraged by the Art Alliance’s focus on contemporary craft and design, Jacobson joined the Board of Overseers of Craft NOW Philadelphia which will launch its fourth season of programming in fall 2018 to recognize the city’s three-century legacy of innovation, virtuosity, craft education, production, and scholarship.
Heather Ujiie, Blue Monster, digital ink jet print on poly canvas, 72â€? x 260â€?
GoggleWorks Center for the Arts 201 Washington Street Reading, PA 19601