New Now V - Exhibition Catalog

On View: July 29 - September 3, 2022

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Gallery 108 1400 N. American Street Philadelphia, PA 19122 InLiquid.org Open: Wednesday - Saturdays Noon - 6 & By Appointment For Inquiries and Appointments, Contact (215) 235-3405

New Now V FEATURING: Margery Amdur | Francis Beaty | Polly Bech Michael Biello | Kat Black | Colleen Brand | Jim Brossy Patrick Carrow | Danielle Cartier | Meegan E Coll | Diane Deery Mikel Elam | Erin Elman | Jacque Ferretti | RA Friedman Gwen Gunter | Caroline Gutman | Sarah Gutwirth | Marguerita Hagan Carolyn Harper | Kurt Herrmann | Richard King | Anne Leith Wendy Liss | Russ Little | Emilio Maldonado | Deborah Moss Marris Tommy Mavra | Nick Mittelstead | Sue Moerder | Anna Mogilevsky Thomas Murray | Sam Nejati | Christy Elizabeth O’Connor Erin Oliver | Daria Panichas | Catherine Passante Laurie Beck Peterson | Margaret Pezalla-Granlund Christopher Poehlmann | Elizabeth Pratt | Michael Radyk Elynne Rosenfeld | Marc Schimsky | John Schlesinger Barbara Schulman | Adina Segal | Morgan Thomas Shankweiler Kathleen Spicer | Craig Stover | Jacqueline Yvonne Tull Jeremy Waak | Ronald William Waite | Benjamin Weaver Sharon Wensel | Chantal Westby | Injoo Whang Amy Sarner Williams

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Since 1999, InLiquid has been connecting artists and audiences in the Philadelphia region. In New Now V, the fifth annual new member showcase, the InLiquid gallery becomes a physical catalog of what these artists have to offer, displaying contemporary works from a wide variety of artists across mediums, themes, and perspectives.

InLiquid artist members from this year’s cohort embrace a lack of control, ​ leaning into intuition, spontaneity, and imperfection. They explore the potential in the creative process employing techniques ranging​​from assemblage, collage, abstraction, ​quiltmaking, ​neon bending, ​and ​ filmmaking. They make reference to history, science, math, and popculture, inviting viewers to engage in conversations about big issues like our national divisions, societal inequities, the climate crisis, and a desire for spiritual healing. A ​ ll this ​​with t​ he ​hope ​that v​ iewers ​will ​see ​something ​of ​ their ​own ​lives ​represented i​ n ​the g​ allery ​and ​possibly ​question their own preconceptions.

Opposite: Exhibition details, New Now V, InLiquid Gallery

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Margery Amdur Bio Margery Amdur has been actively creating site-specific installations for over thirty years.

Originally from Pittsburgh, she received her B.F.A. from Carnegie-Mellon University and her M.F.A. from the University of Wisconsin, Madison.

She has worked in diverse communities, with an extensive array of materials, in various formats, platforms, and contexts. She considers herself a painter yet cannot stay within the picture plane.

Instead, her densely layered forms, patterns, and textures activate and extend above, below, and on top of any available surface that may be within arm’s reach.

She refers to her work as “Felt Narratives.” I do not have a specific story to tell, but the materials that I “land on” and the processes that I develop speak to relevant issues. When starting each new body of work, which may extend 5-10 years, she says, “I muster up the courage to leap beyond where “I understand myself to be. It can then take months to a couple of years to catch up.” When inside one of her installations, it is apparent that she has an insatiable need to create.

Margery’s work has been featured and reviewed in national and international publications such as Sculpture Magazine, New American Paintings, Fiber Arts, New Art Examiner, Manifest International Publications, ArtVoices, Blanc, and Creative Practices for Visual Artists.

Amass #17 permanently resides in the lobby of the U.S. Embassy in Paramaribo, Suriname. In 2018, the Philadelphia Convention Center added Amass #9 and Amass #18 to their permanent collection. Even though the platforms resided underground, Margery’s vibrant and invigorating 4,000 sq. ft floor installation, Walking on Sunshine, elevates what was once a dreary and desolate subway station.

In addition to more than sixty solo exhibitions, Margery completed ten national and international projects between 2015 and 2020. A few highlights; Senior Fellowship Award at The Institute for Advanced Studies, Central European University, Budapest, Hungary, Two U.S. Embassy sponsored travel awards, participation in the Istanbul Bienali, Istanbul, Turkey, and Riga, Latvia’s Sixth International Textile Exhibition.

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Margery Amdur Un/Dress #2, 2022 Textile (suspended) 72 x 24˝ $4,000

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Francis Beaty Bio Francis Beaty grew up in the suburbs of Philadelphia, PA and attended Wilkes University. A contemporary installation artist, painter and sculptor, Beaty is known for her interdisciplinary work and introspective style.

Beaty is an alumnus of the Baum School of Art and she became Baum’s first Artist in Residence in 2018 with her project IZANAMI- she invites, involving 500+ students who collaborated to create an installation. During this six month residency, Francis also worked with students at the Roberto Clemente Charter School in her class, What is Sculpture? Her project The Hatching 2017 was a community project where volunteers collaborated on a sculpture made of over 40,000 pages from donated books. Francis’s membership in the Global Art Project, In Liquid, and CFEVA has resulted in numerous installations and exhibitions nationally and internationally. Her work is included in the Geuzenmaand Exhibition 2021-2022 in the Netherlands as a result of a residency in France in 2019. In reaction to the current Co-vid pandemic, climate crisis and social issues Francis’s work is evolving into the Public Art realm. She recently was awarded the 18thAnnual Betsy Meyer Memorial Award through the Main Line Art Center exhibiting her thought provoking installation, “Fear and Hope “and “The Nine”. Francis has been invited to the Buffalo Creek Art Center Residency (Nevada) Summer 2022 and also to consult and create work for the Proposals for All Organization (Oregon) 2022-2023.

Artist Statement Abstract, conceptual, free-flowing, organic and cerebral, I am known for attempting new thingstaking disparate elements and bringing them together. Given the current social-political climate, it has become increasingly important to create work that bridges the gaps across different perspectives and facilitate relational dialogue. I create engaging art that explores spontaneity, imperfection and chance. This evolving process is in line with my philosophical, ethical and imaginative goals. My goal is to transform a space into an energized environment that transports the viewer (participant) from the unfocused everyday gaze into a dimension of discovery. My installations are three dimensional drawings, using linear materials, such as fencing and wire to define space and form. The ephemeral quality of each construction reminds the viewer of the temporary nature of their own life and condition.

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Francis Beaty Esprit de Corps, 2021 Poultry wire and steel 12 x 18 x 5” $900

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Polly Bech Bio Polly Dressler Bech has been making her way as an artist much of her adult life, working in paint, collage, illustration, computer graphics, and quilting. She incorporates her own sunpainted fabric and hand- stamped images in her quilts, combining traditional and experimental techniques. Her work has been shown in juried exhibitions across the U.S., and is included in numerous private collections. She resides with her family in Swarthmore, PA. Artist Statement I quilt because it ties things together. I quilt because it involves many processes: it is a form of collage and design and construction, it can incorporate painting and printmaking, it pulls together ideas, lays them out and stitches them together. I can capture nature in the photosensitive process of solar printing on fabric, incorporating a time and place in the natural world into my art. A quilt does not just have surface design, the quilting stitches add depth, design on design. I quilt because it took the place of oil painting for me when I became pregnant and did not wish to breathe toxic fumes, because when I stopped working as a professional computer graphics designer, quilting became an outlet for ideas. Making quilts ties me to a tradition, a tradition mostly female, of creating order out of scraps, out of necessity.

I quilt because it brings a tiny bit of order to my tiny bit of the world.

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Polly Bech Ferns, Framed, 2021 Fiber Art/Quilt 44 x 34” $1,500

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Laurie Beck Peterson Bio Laurie Beck Peterson (Philadelphia, PA, USA) is an alternative process photographer primarily working in gum bichromate, cyanotype and platinum palladium. Her current work focuses on cyanotypes on ash wood stumps and she has recently started using the sustainable plant-based processes of anthotype and chlorophyll printing.

Her images are film based, using a holga or pinhole camera. Her cyanotypes on tree stumps and work in sustainable plant-based processes, are ephemeral which provides the viewer with an experience that can be transient. Her gum bichromate and platinum palladium prints on paper are archival.

Currently, Laurie teaches alternative process photography at Tyler School of Art + Architecture.

Her work is exhibited nationally and internationally and is included in many private and public collections. Most recently she was awarded 3rd place in The Photo Review Best of Show and her rare chlorophyll print will be on exhibition at The Woodmere Art Museum. Examples of her work can be seen in the book Gum Printing, A Step-By-Step Manual, Highlighting Artists and Their Creative Practice, by Christina Z. Anderson, Focal Press, The Hand Magazine and in the online publication Lenscratch - Art + Science II. She is a past board member of First Person Arts.

Artist Statement My creative practice is rooted in my research specialty of the contemporary use of historical photo processes focusing on the landscape. The various states of instability in my work explore themes of growth and decay, memory and loss, altering and honoring history and the experience of time. I work with Holga and pinhole analog cameras, printing in 19th century processes of gum bichromate, cyanotype and platinum/palladium. Recently I have been printing in the ecofriendly plant based processes of anthotype, chlorophyll printing, and phytograms using plant based developers. As an artist my work seeks to raise awareness about ecosystems through documenting natural forms and highlighting the interconnectedness of growth and decay in our forests and nature.

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Laurie Beck Peterson Two Pair, 2019 Cyanotype on Hahnemühle Platinum Rag 20 x 24 x 1” $1,450

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Michael Biello Bio Michael Biello is a ceramic sculptor who draws inspiration from his Italian-American roots and his passion for theatre. Biello is one of the artisan/makers who helped create the revivals of Old City Philadelphia in the 1970’s and Noho New York in the 1990’s. Biello’s work has been exhibited internationally and is in numerous private collections including many in the entertainment industry.

In addition to his work in visual art, Biello has a long history as a performance artist and lyricist in collaboration with his life-partner, composer Dan Martin.

Artist Statement I believe that art is a healing force in the world. My work is spirit driven. I honor this spirit by giving it voice - by bringing together diverse elements to create a sense of peace, love, harmony, and balance.

“Biello draws upon his experiences … transforming them into vignettes that seem like updates of Federico Fellini.”

- Philadelphia Inquirer

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Michael Biello BUNNY DeLIGHT, 2021 Illuminated ceramic sculpture 17 x 5 x 5” $2,500

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Kat Black Bio Kat Black is a freelance painter who specializes in murals and photo-realistic gouache paintings, and experiments with various other mediums. She divides her time between Philadelphia, Pennsylvania and Oaxaca, Mexico, drawing deep inspiration from each of these places.

She has spent the majority of her adult life in Oaxaca and considers it her second home. Her years spent immersed in Oaxacan culture are expressed in her designs, integrating aspects of the city’s vibrant colors, architecture, horticulture, and indigenous handicrafts. She has designed and painted murals all over Oaxaca in hotels, hostels, cafés, bakeries, and private homes.

She is inspired by various forms of art including independent film and literature, as well as the beauty found in nature, and celebrations and rituals. When she’s not painting, Kat enjoys visiting museums, creative writing, and traveling all over the world.

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Kat Black Cyanotype Oaxaca Handmade cloth flags printed with the cyanotype method 8 x 8” each $85

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Colleen Brand Bio Born in 1979 near Philadelphia, PA, Colleen Brand studied drawing and painting at Moravian College and then continued her studies at Fleisher Art Memorial for the next 15+ years. While she was trained in various mediums including formal oil painting, acrylic painting is her passion.

She loves experimenting with the textures of various mediums and how color can appear rich yet nuanced on the canvas. Her work focuses on abstract color field paintings and is meant to encourage the viewer to look beyond the horizon and contemplate the forces of nature.

Inspiration for her work comes from studying the color field paintings of Mark Rothko and the minimalist paintings of Agnes Martin.

Colleen exhibits her work across the United States and her work is part of private collections internationally. In 2000, she won Best of Show at Moravian College in their Celebrating Women show. In 2013, she won first place for her painting Smoky Horizon at The Plastic Club Gallery in Philadelphia, PA. In 2014, she won first place for her painting Puddle Dance at Fleisher Art Memorial. In 2017, she received Honorable Mention for her painting Untitled at Fleisher Art Memorial. In 2018, she received second place for her painting Going Coastal at Fleisher Art Memorial.

Colleen believes that art is something that comes from within and is to be shared with the community. When not exhibiting her paintings or teaching classes locally, she paints in her home studio located near Philadelphia, PA. Artist Statement I paint, because I have a compulsion to paint. In my studio, minutes become hours and my painting becomes my reality. Inspired by energy and colors found in nature, my work focuses on textured, abstract compositions.

I use acrylic paint and various mediums, choosing colors intentionally to add meaning. I use my tools (sponges, bamboo skewers, palette knives, etc.) in a relentless, repetitive way where the process becomes part of the painting. I enjoy adding and removing layers of paint, adding texture, and manipulating the surface of the canvas until I create an inviting, surprising new world for the viewer to enter.

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Colleen Brand Blue Calm II,2022 Acrylic Painting 36 x 18 x 1.5” $480

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Jim Brossy Artist Statement My role as an artist is to become more aware and curious. All life experiences, physical, intellectual and emotional, contribute to the process of making art. Through the study of science I approach art with a problem-solving mentality. Mathematics has given me the experience of pure thought and music a means of expressing it. My work in construction has given me an appreciation of a variety of materials and methods of execution. The direction in which I move depends on my desire to find ways of realizing my dreams.

Over time I have become more aware of how I see the world and my fundamental process of making art. The painting is not a representation of life, but a real thing, an object in real space that can be experienced as a picture. This is how I have been making art, constructing as much as painting. My paintings are a layering of planes, one in front of another. Every material offers a series of sensibilities, forming rhythms and patterns obeying the same forces of nature governing all things. Assemblage and collage are methods used to add elements unique to the material, not as a substitute for the painted form or drawn line. Text is used as both a visual and a political element. Through the combination of image and the written word, the paintings can literally be read on several different levels.

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Jim Brossy Happy Day, 2022 Mixed media on canvas 23 x 27˝ $750

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Patrick Carrow Bio Patrick Michael Accessories is committed to saving the environment, one accessory at a time; the fabrics used to create his handcrafted, one-of-a-kind items come directly from upscale design houses and decorating firms. These donors allow Patrick to turn surplus and discontinued materials into wearable art, therefore eliminating considerable waste in landfills.

“As I was folding and stacking my collection of upholstery fabrics, I saw a beautiful harmony of print, color and texture. It occurred to me that this could be a fantastic interior for a woman’s wallet.” This initial idea grew into a prototype, then a reality. Early support from colleagues and personal associates furthered his vision, and as demand grew, a business was born.

His company has significantly expanded from a few wallets in 2009 to an inventory boasting handbags, clutches, credit card holders, coin purses, make-up pouches, tissue holders and wine carriers. Patrick introduced a jewelry line in 2016 at Nutz and Boltz Clothing store at Center City, Philadelphia. Top Philadelphia boutiques such as BUS STOP Boutique, Paper Dolls Ambler and Linda Golden Boutique on the Main Line have proudly carried Patrick Michael Accessories.

Additionally, his pieces appeal to consumers outside his home city. Boutiques in Provincetown, San Francisco, Fort Lauderdale and Lyon, France have offered his pieces in their showrooms. The Germantown Friends School 2014 Juried Craft Show honored Patrick the “Local Emerging Artist” award along with the “Artist Recognition” ribbon at the 2018 Manayunk Art Festival. During the 2014 spring and summer season, Patrick’s products were found at juried craft shows throughout PA, DE, NJ and NY. Patrick Michael Accessories also participated at Christmas Village LOVE Park for the 2012 and 2013 season as well as Winter Wonderland at Congress Hall in Cape May, NJ. His latest endeavor was a temporary independent boutique located inside The Shops at Liberty Place during the 2014-2016 holiday season. He’s been a member of the PA Crafters Guild since 2014 and the Haverford Crafters Guild since 2016.

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Patrick Carrow Venus Sunset, 2022 Fiber- combination silk, cotton and polyester 6 x 11 x 2” $220

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Danielle Cartier Bio Danielle Cartier is best known for her mural projects and large-scale, multimedia paintings made from reconstructed materials, recombined ephemera and layered printmaking and painting processes. Caier graduated from Sonoma State University with a Bachelor of Fine Arts degree, concentrating in painting and printmaking. She received her Master of Fine Art in Interdisciplinary Studio Practice from the Graduate School of Design at the University of Pennsylvania in Philadelphia. Her work has been viewed in various solo and group exhibitions across the United States.

Cartier has experience teaching studio art courses at Sonoma State University in California, the University of Pennsylvania in Philadelphia, Harcum College in Bryn Mawr, Pennsylvania, Rutgers University in Camden, New Jersey and Stockton University in Galloway, New Jersey. She currently teaches at Rowan College of South Jersey and within the Visual Arts Program at Stockton University in Galloway, New Jersey. Cartier also has experience instructing visual art at various non-profits and community art centers within Pennsylvania, New York, New Jersey and Delaware.

Since 2017, Cartier has painted and installed over fifteen grant-funded public art murals within Camden, New Jersey. Cartier’s various public mural projects in New Jersey have consistently headlined in the South Jersey Courier Post and have been featured on ABC Channel 6 Action New Philadelphia. Cartier continues to make large-scale, mixed media paintings and is working on multiple new community-based public art projects throughout the Philadelphia region and Southern New Jersey in 2022. In 2022, Danielle acquired a property in the Glasstown Arts District of Millville, New Jersey that will serve as a contemporary art gallery, her personal studio and a visual arts classroom. She is currently working to ready the gallery and studio space to open to the public.

Artist Statement My artwork usually takes the form of murals and large scale, multimedia paintings that are made from reconstructed materials, recombined ephemera and layered printmaking and painting processes. I see myself as a mixer in terms of materials but also in terms of methodologies; I employ the found and felt as well as the improvisational and the strategic. My artwork stems from my interest in reconstructing images that circulate throughout contemporary society in order to form a version that is my own.

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Danielle Cartier Fosters Freeze, 2022 Acrylic and mixed media on canvas 24 x 18˝ $350

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Meegan Coll Artist Statement I am a late bloomer. I attended Tyler School of Art for painting in the 90’s and then I put down the brush for over 20 years.

I am a competitive paddler and so my time has been spent on the water. It is my passion and inspiration. In 2018 I needed surgery and it took me away from the water and left me with time. I picked up the brush again, attended classes at Fleisher Art Memorial and began painting after so many years.

My paintings are Inspired by my time on the water, the Schuylkill River and so many memories. I own an outrigger canoe and many of my paintings are the view from my boat. There is a magical feeling when you are alone on the water, the sun is rising, and the light hits the Philly skyline.

Now I have two passions, I am back on the water, and I am painting what I love. My hope is that viewing my work takes you to that special place, dreamlike and magical.

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Meegan Coll 2 small paintings from the 4x4 Series, 2022 Oil on canvas 4 x 4 x 1” (each) $200 (pair)

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Diane Deery Richards Bio Diane Deery is a land artist living in Pottstown, PA. She is an innovator in fibers; it allows her the freedom to explore and play. Water is her vehicle to explore the relationship between colorful dyes, cyanotypes, and fabric. She is fascinated by the subject of water itself; her desire to explore it is central to a large body of her work. Her sculptures are made of wood and fiber. They have a harmonious quality requiring the strength of each opposing element. The tension created by confronting opposing elements synergizes flowing patterns that seem to be woven directly into the landscape. The result is a purely harmonious symbiosis of subject and material. She received her Masters of Fine Arts degree from the Pennsylvania Academy of the Fine Arts (2018) and her BFA and Art Educator Certification from Moore College of Art and Design (1993, 2008). She has been an art educator for fifteen years. Currently, the Chair of the Art Department at The Hill School, a private boarding school, she teaches digital photography and woodworking.

Artist Statement I am intensely attuned to the patterns in nature. In the land, I see form and energy. In my work, I try to capture these patterns, which I see as profoundly moving. I have developed a way of working that speaks to these patterns and the process is unique since the elements of nature are creating the work.

I am a land artist. The process is site-specific: material is laid onto the land while the pigment is introduced to create a monoprint from the land. With time and a bit of patience, I watch and wait for the right moment to introduce the pigment to the fabric. The results combine nature’s elements: sun, water, wind, and earth. Nature has created the design, and I am taking the imprint.

Once the print is made, the fabric is displayed to move freely, so that the viewer can feel the energy of the work. For a moment, I wish to harness that energy— and then share it. This work is created with the same gentleness of spirit and kindness that nature gives to all of us when we slow down, sense, listen and watch.

There is a sense of tranquility and impermanence as one interacts with the work. The shapes and materials used are minimal—They create both a balanced complexity and a calming effect.

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Diane Deery Wishing Well, 2022 Dye on Silk 35.75” Diameter $800

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Image: Exhibition view, New Now V, InLiquid Gallery

MORE ART THIS WAY!

Mikel Elam Artist Statement The diversity of the world is very apparent. It is important to tell everyone’s story from background to foreground through visuals, literature, sound and film.

I am a visual artist interested in the contrast of history and the concepts of futurism. I express my ideals through abstract figurations. In fact I like to think of myself as an Afrofuturist. I use classic painting techniques interspersed with a mix medium of collage ,found objects ,assorted ephemera to convey messages about human equality or lack of. In short, I am a storyteller . This body of work consists of painted fabric, mesh and paper mounted onto canvas and wood panels.

Sometimes I construct an image deconstruct an image . Erase , push and pull areas to convey emotional responses. I use pigments which simulate melanin based skin and hair with highly keyed colors to evoke memories of the past with a glimpse into an inclusive future.

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Mikel Elam The Blacker The Berry, 2021 Acrylic on canvas mounted on wood panel.

36 x 48˝ $6,000

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Erin Elman Bio Erin Elman was born in Brooklyn, NY where she was raised by two remarkable New York City public school teachers who exposed their daughters to all of the great art and culture of New York City.

She received a BFA in Art from Carnegie Mellon University and also studied in Rome where she fell in love with Etruscans, ruins, and all things Italian. She received an MA in Art Education and an MFA in Book Arts/Printmaking, both from the University of the Arts in Philadelphia.

Elman is the dean of Graduate & Professional Studies, and the interim dean of the School of Art at the University of the Arts. She has artwork in numerous public and private collections, including the Tate London. Elman lives in a stone cottage in the Mt. Airy section of Philadelphia with her husband Steph who is an architect and their son Izzy who is a musician and a writer who attends Bennington College.

Artist Statement I consider myself a lyrical abstractionist, incorporating spontaneous expression and illusionary space coupled with occasional imagery. For me, the act of painting takes on a balance of contradictions: intentionality vs. spontaneity; gesture vs. control; conscious vs. subconscious; materiality vs. the ethereal; representation vs. the evocative; contrived vs. authentic. The works themselves are negotiations between expanding and contracting notions of what painting is and can be. They are conversations with myself - using language composed of mark, gesture, and color. The work is rooted in history, memory, place and time. The marks become a bibliography of forms, a glossary of reference points, which include vessels, natural forms, and calligraphy, among others.

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Erin Elman Our Winter I, 2022 Acrylic on canvas 16 x 16˝ $1,200

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Jacquelyn Ferretti Artist Statement I am an abstract painter and mixed media artist, living and working in Philadelphia. For the past 8 years, I have been a full member of the 3rd Street Gallery and also exhibit at several other venues within the area.

Primarily an oil painter, I also incorporate found objects, mixed media and collage into my work. Drawn towards the element of texture, I enjoy experimenting with layers of fabric, random materials, printmaking and layering the surfaces of my paintings. The end result may range from a rough impasto build up to a smooth silk surface.

Throughout the years, my work has been strongly influenced by urban living in surprising ways.

For example, when I first moved to the city I was struck by conversations overheard during my daily walks. I collected random words spoken by strangers that struck a cord in their sound, emotion and message. Unedited, and cumulated over the course of a year, I ended up with a series of paintings and drawings entitled, “Talk on the Street.”

This series depicted raw and spontaneous emotions. Many of which suggested feelings of frustration and isolation; such as one painting entitled, “Is anybody Listening?”

Over the years, the city continues to shine with gems of inspiration. Objects may range from the color of rust reflected in the sun off an old shop window, to cracks in the sidewalk, and family trophies displayed in the front window of a row house.

One example, from a photo I took of a plastic white swan nestled within a cinder block wall of a back yard melted my heart.

Within my life and work, I try to follow the words of the poet, Mary Oliver...

“Pay attention, be astonished, tell about it.”

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Jacquelyn Ferretti Bird In Flight, 2017 Fragments of nails found at demolition site 9 x 13.25 x 2” $800

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RA Friedman Bio RA Friedman received a BA in Technical Theatre from Harpur College, SUNY and an MFA in Painting from Louisiana State University. He has exhibited his work nationally in venues including InLiquid in Philadelphia, The Merchant’s House Museum, Pratt Institute Manhattan, and Stephen Romano Gallery in New York. In 2019, Friedman was awarded a residency and solo exhibition at the Center for Arts and History in Lewiston, Idaho. Friedman founded “Tsirkus Fotografika” (The Circus of Photography) and has created public art projects with Mural Arts of Philadelphia and the Philadelphia Fringe Festival. Friedman is an instructor at Pratt Institute and the Pennsylvania Academy of the Fine Arts and has published his work in Peau Magazine, F-Stop, What A Roll (Spain), and the Supplementaire (UK). His current work, The Covid-19 Portrait Project, has been featured on WHYY, ABC and NBC TV and published in the Broad Street Review and The Philadelphia Inquirer.

Artist Statement I create drawings and photographs of the human form that portray complex spiritual and psychological states of being. Using the power of photography, drawing, and re-crafted analog technologies, I give voice to our collective histories, often enlisting the energies of the public to expand the scope of my projects and create new dialogue. I immerse myself in a unique interplay between the mechanical objectivity of the camera and the subjective world of thought, feeling, and memory engendered by the hand-crafted. Through experiments that span long periods of time, important elements emerge. I work with deep introspection to reshape, and orchestrate them, discovering new points of departure.

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RA Friedman Fireball, 2022 Archival Inkjet print from digitally composited instant film pinhole photographs 11 x 16” $800

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Gwen Gunter Bio Gwen Gunter’s art practice spans representational portraiture and landscape as well as the geometric minimalism of her current work. Moving to abstraction from objective painting, shapes emerged that brought with them an unexpected vocabulary and meaning. A curved shape meets a rectilinear shape meets a solid line, and in the confluence an energy is released that informs and drives the painting. The shapes appear intuitively and may layer, merge, coalesce or repel one another as they settle in relationship on the surface of the painting. Her painting process is both mystical and deliberate and has become meditative in its execution.

Gunter’s career encompasses both fine and commercial arts. A graphic artist, illustrator, photographer and successful entrepreneur, she created a line of functional art items. Today Gunter is a full-time painter based near Atlanta, Georgia. She works in acrylic on wood, paper and canvas, most often in a series of a dozen or more paintings per collection.

Gunter earned a B.A. from Columbia College with further study at the Atlanta College of Art and Savannah College of Art and Design (Atlanta).

Artist Statement While revisiting drawings I had collected in sketchbooks for several years, I discovered a new vocabulary of shape, line and color that began to inform my work . A curved shape meets a rectilinear shape meets a solid line as an unexpected energy is released and I become enthralled by the relationships that appear on the surface hinting at a deeper truth underneath.

This series of shape, line and color is developed thru a process of arranging and rearranging the elements until a balance is achieved that both answers an underlying question and poses new queries of relationship and “what if” possibilities. The process is both mystical and deliberate and has become meditative in its execution. The challenge of discovery in all that is possible within these minimalist parameters keeps me engaged and searching.

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Gwen Gunter Love by Any Other Name, 2022 Acrylic on canvas 24 x 18 x 1.5” $875

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Caroline Gutman Bio Caroline Gutman is a photographer and writer based in Philadelphia, PA. Her work often looks at gender and economic inequality, climate change, and art and cultural innovation, and has been published in The New York Times, The Washington Post, The Guardian, NPR, ProPublica and Politico Magazine. Her photojournalism has received funding from the Pulitzer Center, the Philadelphia Office of Arts, Culture and the Creative Economy and The Economic Hardship Reporting Project, and has been exhibited at the World Affairs Council, the Popping Club Rome and IA&A at Hillyer. Caroline is a member of Women Photograph and previously was a Kathryn Davis Fellow for Peace and a Fulbright Fellow in China. Prior to that, she was a Fund Analyst at Morningstar.

Caroline holds a BA in Chinese Language and Literature and Political Science from Washington University in St. Louis, and an MSc in International Relations from the London School of Economics. She speaks Mandarin and conversational French, Spanish and German.

Artist Statement Walking in the woods is meditative for me. When I lived in on the West Coast, I fell in love with the old growth forests.

These centuries-old trees are also affected by climate change, with forest fires an ever-looming threat.

My goal is to share these wondrous woods, accompanied by the works of great poets, and to provide lasting utility.

With each sale, I’ll plant trees to aid with forest fire recovery.

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Caroline Gutman These Wild Solitudes, 2022 Photograph on Hahnemuhle paper 12x18” $1,250

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Sarah Gutwirth Bio Sarah Gutwirth received her BFA and BA in painting in 1978 from a joint program of Reed College and the Pacific Northwest College of Art in Portland, OR and an MFA in painting from Pratt Institute in 1985. In 2017 she was nominated for the prestigious Joan Mitchell Prize for Painting.

She has received grants from Kentucky Arts Council, Kentucky Foundation for Women, Murray State University and United University Professions at SUNY. She has had 20 one and two person exhibits over the last thirty-one years and has had work in numerous group shows. She held three tenure track teaching positions, at Georgia Southern University, Potsdam College, SUNY, and at Murray State University. She taught painting for thirty years including in several study abroad programs in Italy, Prague, Scotland, and Japan. She recently moved to Philadelphia where she was born and raised.

Artist Statement I have an unquiet mind, uncomfortably aware of my consciousness. My art making is related to that awareness of my mind as a filter for experience, but equally as an entity which shapes experience.

I love science in the way that a non-mathematical person loves science, which is to say in a taxonomic and descriptive way. I love the 18th century version, with its categories and collections, and the earlier version dating back to the Greeks, with its emphasis on the visual correlations and webs of meaning, which have internal consistency but are based on ideas now deemed deeply unscientific. I see parallels to modern scientific understanding of systems like ecosystems, various forms of mutualism, and our own bodies, consisting of colonies of microorganisms.

Over the last ten years I have two ongoing bodies of imagery which are related. To me they have twinned themes of taxonomies or collections on the one hand, and connections within the natural world. Some look like still life as they are collections of things with some underlying taxonomic or categorical order. Some use the convention of landscape in order to explore the underlying relationships between living things.

My latest body of work I call Correspondances and it builds on a theme of related images, here usually derived directly from nature, from decorative arts filtering nature or from painted depictions of nature all juxtaposed in triptych form. The last of these are seeking to create a similar collection of related imagers but in a unified space, involving complex still life/landscape compositions derived from late 17th and 18th century still life.

In all my work I play on history of art and on classical genres and styles but always subverting, never performing still life or landscape or abstraction in a pure non-ironic way.

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Sarah Gutwirth Red-Gold Brocade, 2022 Oil on canvas 40 x 35 x 2” $3,500

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Marguerita Hagan Bio Marguerita Hagan is a ceramic sculptor based in Philadelphia. She is an advocate for the thriving of all life in mutually sustainable communities and environments. The concept of interdependence plays throughout her sculpture, teaching and community arts.

Throughout her career, Hagan brings to light the beauty and engineering of our planet’s diverse ecosystems and our powerful role as stewards. Her intricate ceramic shines light on the wonder and respect for the fragile, diverse life with which our lives are intrinsically linked. Hagan’s practice is an ongoing discovery, magnifying our awareness, reciprocal responsibility and protection of each other and our planet.

She received her MFA from Pennsylvania Academy of the Fine Arts and her BFA in Ceramics at James Madison University. Her projects include collaborations with artists, scientists and community, environmental art-science residencies, lectures. She is in collections and exhibits nationally and internationally.

Artist Statement What does light talk about? I asked a plant that once.

It said, ‘I am not sure, but it makes me grow’ – Thomas Aquinas, 1225 – 1274 Oak trees know. Their roots graft into one flesh so they may share mutual sustenance, benefiting the community as a whole. When one tree is in need, the healthy ones direct their energy in support. Microscopic marine organisms form the basis of all life on our planet and connect in exquisite systems or colonies. These one-cell plankton gems, our primary producers provide over 50% of the oxygen for the planet with light from the sun. Rich diversity and reciprocal sharing power thriving communities and environments. This light-giving flow has enabled all life to thrive for eons.

Inherent potential realized moves everything, even light itself.

It certainly moves me. My work is a response to this light. The interdependent forms and projects grow in a continuous heliotropic adventure, energized with every opportunity and connection.

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Marguerita Hagan Manta Ray Shield, 2017 Ceramic 21.5 x 34.5 x 10.25˝ $13,400

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Carolyn Harper Bio Born in Rochester, NY, I moved to Philadelphia in 1989 to go to art school at the University of Pennsylvania. I have always worked in arts related fields and while much of my time has been spent working to sustain myself, I have always made time for community engagement as well.

In the early 1990’s I worked with many in the LGBTQ community to create quilt panels for the NAMES Project AIDS Memorial Quilt. More recently I have volunteered at a local family Shelter to provide art classes for children, and I have created small portraits of residents there which I have then given to them. Currently I volunteer with organizations and attorneys to create change to our system of mass incarceration.

Today, I create large images of people or groups who have been marginalized, discriminated against, or abused. These are hand embroidered batiks, and hand sewn, large quilts, often with hand dyed fabric. These are unique processes not often seen in traditional arts venues. They are visible markers that shout out, ‘Look at me! See me!’ I meet with people who have been made to feel a deep sense of separation, a lack of belonging, and I try to understand their isolation and make them feel visible through friendship, portraiture, and community engagement through exhibition.

Artist Statement My work has a strong social justice component to it. Much of my work depicts specific Philadelphians; someone living in an area homeless shelter or on the streets. They provide faces to those who are faceless, nameless and powerless, and bear witness to those who are suffering.

The current works are primarily hand sewn, large quilts, often with hand dyed fabric; and hand embroidered batiks. They provide very large, graphic images that call attention to those forgotten by society.

My experience in working with portraiture and the homeless is that the portraits serve to empower those people depicted. They are able to see themselves through the portraits as not just homeless, or jobless, but as singular individuals with an important story and history. Portraiture is an extremely powerful tool of self discovery. There is something reached, something confronting, something born or remembered when an individual and an artist can coalesce into an honest creative space and energy.

My practice is not only about documenting and creating - it is also about making connections with people, and I have formed deep personal relationships with many of the people whom I have met.

My hope is that the work will encourage others to do the same, and that you will see something of yourself in these images, for as Paul Klee wrote, “Art does not reproduce what we see; rather, it makes us see.”

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Carolyn Harper Damien, 2019 Hand sewn cotton with hand dyed cotton 62 x 48” $1,200

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Kurt Herrmann Bio Kurt Herrmann (b. 1972, Lock Haven, USA) is a painter from the mountains of Pennsylvania who does both figurative and abstract work, but above all he is a colorist at heart. Two of his recent shows were featured in Time Out Chicago and the Philadelphia Inquirer, and upcoming shows in 2020 will be in Sydney (Anala Art), and Canberra (Aarwun Gallery), Australia; Auckland (12 Gallery), New Zealand; and Philadelphia (James Oliver Gallery), Charlotte (Sozo Gallery), and New Orleans (Octavia Gallery). Although his exhibition schedule is increasingly international, Herrmann’s rural Pennsylvania roots continue to influence his work. “I’m very aware of the fact that even if a painting was initially inspired by something exotic, or an extremely personal event on the other side of the planet, all my work is filtered through my studio in the hills of Appalachia,” he explains. “The colors, silence, space, seasons, landscape, even the rednecks impact everything I make. It’s inescapable.”

Artist Statement I want the Color Bombs to radiate across the room but to also whisper quietly beside you. I want big sound and silence. Many of my shapes, forms and colors have been extracted from the mountains of Pennsylvania where I live and work, but I also sample bits and pieces of memories and places I’ve never been. There are trunks of trees, winter skies, deer legs, the pink from a summer watermelon and Greek islands I’ve always wanted to see – these are some of the sparks that start a painting but they are not the whole story. The initial inspiration is simply a launch pad to shoot a rocket off into the unknown.Color does not need to represent anything other than itself.

It is universal yet nothing is more personal. And that’s how I present these paintings. I’m distilling something that struck me, but the interpretations and feelings others come away with are infinite.

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Kurt Herrmann Simba Acrylic on canvas over birch plywood.

48 x 48 x 1” $4,000

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Richard King Bio Based in Philadelphia, Richard works as an artist, architect and educator. His art practice is focused on abstract drawing, painting and sculpture, exploring shape, geometry and light.

Educated as an architect, he holds a Bachelor of Architecture from Temple University and a Master of Architecture from University of Pennsylvania. Richard is an Adjunct Assistant Professor at Drexel University’s Westphal College of Media Arts & Design.

Artist Statement My art practice has grown out of a need to manage bouts of insomnia over many years, drawing to distract myself from the realities of sleeplessness. I explore geometry, shapes and forms, inspired by my fascination with industrial ruins. In their decayed condition, these ruins often seem like giant figures in a forgotten landscape. I am drawn to their liminal status, opening the door to imagining them as something beyond their present selves.

I explore shapes and geometries that conflate formal, spatial and figural qualities, tapping into the perceptions and memories of the viewer. Pieces are drawn in layers, subtracting and adding lines to clarify interesting qualities that begin to emerge, often reworking them over long periods of time.

Working with tools from my architectural training, I develop drawings in graphite, ink and paint as well as in digital form. I see this work as extending the collection of shapes/spaces that we unconsciously interpret, to make sense of our physical world, every day. I seek to create these moments of translation in the experience of the work, shaping structures that remain open to that interpretive condition

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Richard King College Ruled, 2022 Acrylic, ink & colored pencil on wood panel 32 x24 x1.75” $1,200

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Anne Leith Bio Anne Leith has lived in diverse places in the US and Europe, both cities and country, and she has painted in all of them. These oil paintings focus on the physical landscape - both natural and urban - created both in the plein-air style and in the studio from memory. Many of her works include metallic foil, which adds a 3-D element of light to the work. Her exhibition history includes galleries, a couple of museums, restaurants, pop-ups, studio tours etc.

Artist Statement I am a painter of places.

For many years I have painted plein-air oil paintings. Landscape is my primary subject matter.

In my in-studio practice I often paint imaginary places that go beyond the ‘real’ and cross into fantasy. I work my paintings until they have that curious vibrating balance: between the recognizable image, abstraction, and that moment of achieving a beautiful painted surface.

As an art historian, I admire many artists that took that path.

A few years ago, I began incorporating metallic leaf into my work. The metal areas add a dynamic dimension, reflecting color and light, shifting from light to dark, depending on the light source. In the landscapes it can bring a river or a sky to life.

The immense pleasure that I get from making art is unlike any other activity. I hope the viewer experiences a similar pleasure when they look at my work.

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Anne Leith Plattekill Clove, 2020 Oil on panel 24 x 24” $1,500

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Wendy Liss Bio Wendy received a BFA (‘84) and an Art Education Certification (‘85) from Moore College of Art. In addition to working as an artist, her professional life has included face painting, teaching of studio art and workshops, fine art restoration, color consulting and interior decorating.

Artist Statement I am inspired by the mystery in the act of creation.

How does the intangible become tangible? What are the possibilities and limitations to what can be expressed in physical form? How does creative process reflect life itself?

My process engages these questions by balancing contrasting dynamics — intellect and intuition, action and reflection, control and surrender. I follow my body’s natural rhythms and tactile responses to the malleable clay to create hand-built ceramic sculptures and sculptural vessels that strive to convey a sense of gestural movement, as in dance or a splashing wave.

Forms emerge out of raw and refined edges that contour shifting, folding, and concrete planes.

I love working three-dimensionally because every time I flip or turn a sculpture another world opens up to me. Responding to these shifts in the present moment becomes a meditation on how perception is shaped by perspective. I approach each sculpture, as I do my life, creating a balance between intention and intuitive response in the moment. The finished sculpture ultimately evolves out of that back and forth between creator and creation.

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Wendy Liss Reflective, 2021 Glazed clay on metal stand 16 x 8 x 8” $850

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Russ Little Bio Russ Little’s university education focused on the technical aspects of geography and cartography, and he spent more than 25 years applying that learning to a corporate career. Over the past 15 years he’s studied surface design, dyeing, color theory, and 2D design as he gradually made the transition to becoming a full time studio artist.

Littles’s artwork is abstract, intuitive, and influenced by his interests in matters of faith, biology, computer programming, cartography, and the nature of places. His work has been shown nationally and can also be found in private collections. Little is a member of the Surface Design Association (SDA), Studio Art Quilt Associates (SAQA), and Art Cloth Network (ACN).

Artist Statement My artwork is abstract and deals with the themes of brokenness, wholeness, connection, and movement through the juxtaposition and manipulation of color, shape, line, and layering. Circular forms speak to me on a soul-deep level and appear in most of my work. I work very intuitively; I often only understand the meaning of a piece of art as it nears completion.

I’m a dyer, printmaker, programmer, photographer, painter, stitcher, and quilter. I tend to create multiple works in a series. Doing so allows me to explore a given concept or motif more deeply by addressing it in several works of art.

My work has evolved into what I’m calling “quilted paintings” were the whole cloth or pieced compositions created by either painting directly on cloth with dye or paint, or by printing a design on cloth using a wide carriage inkjet printer. The computer-based prints are made from iPad drawings or photographs of my own original paintings and collages on board or paper. The final product is layered with batting and backing, then quilted. I often add hand embroidered detail.

For me, the quilting lines are the final drawing layer, adding texture and shadow to an otherwise flat surface. My quilting style often resembles contour lines on a map. It’s not an intentional thing; it’s just what happens when I sit down to quilt. It touches on my roots as a cartographer, and that sort of connectedness and authenticity is what I strive for in my work.

My most recent series is titled, Reformation and it’s a no-holds-barred revisiting of some of my older completed pieces. These finished works are getting cut, painted, combined, reassembled, and radically transformed. It’s about mining the past to create something new. It’s about evolution and reformation.

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Russ Little Reformation #2, 2021 Fabric, wood and lights 20 x 20” $500

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Emilio Maldonado Bio Emilio Maldonado is an Afro-Caribbean artist living in Philadelphia. He graduated from Savannah College of Art and Design (MFA, Painting, 2013), Escuela de Artes Plasticas de Puerto Rico (BFA, Painting, 2011) and from Altos de Chavon in the Dominican Republic (AAS, Fine Arts and Illustration, 2007).

Through a multidisciplinary practice, he boards questions that live between the realm of the domestic and the social-contemporary, dealing with culture, poverty and trauma and with a very keen interest in the human condition.

He has been part of group and solo shows locally and abroad, such as Vox Populi Make/shift (Philadelphia,PA, 2021) and Santo Domingo Museum of Modern Art Biennial, (Santo Domingo, DR, 2013). He has also attended Elsewhere Residency (Greensboro, NC) and Tiger Strikes Asteroid in 2020 and is a 2021 Mural Arts Fellow.

He lives and works in Philadelphia.

Artist Statement I make art to explore personal narratives, to navigate life through the material culture of the Northern American hemisphere, to raise questions about social constructs and structural inequalities, to create a platform where multiple modes of understanding can coexist, and where multiple people find meaning relevant to their own experience.

I am often interested in discarded objects and their access to memory and language, and reflect on how people, just like objects, can become discarded and derelict; either because of race, country of origin, the social spectrum which they(we) inhabit, or the ways in which they(we) reflect on gender, identity and social conventions (all of which are important factors in the outcome of our experiences) I establish narratives in the hopes of creating links that speak about the human condition.

Under this dynamics, the object’s relationship with the realm of the domestic and the socialcontemporary becomes a departure point to expand my practice to other media as it becomes a powerful field for the construction and expansion of multiple narratives adjacent, parallel and interconnected, with the hopes of inciting in the viewer a process of reflection and interconnection.

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Emilio Maldonado Covid drawing #7 (Robert), 2020 Ink on paper 22.5 x 30” $1,300

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Image: Exhibition view New Now V, InLiquid Gallery

MORE ART THIS WAY!

Tommy Mavra Bio Tommy Mavra explores narratives relating to our relationship with the natural world through painting, drawing and sculpture. The work spans from solo series in drawing and sculpture to collaborative interdisciplinary projects in experimental film and sound design. Mavra is a first generation American and the first generation to grow up not depending on farming and fishing.

The contrast of being taught to have a reverence for nature while living in urban and suburban environments is most likely where his interest in understanding our role in the world as it relates to life began. Each work questions agreed upon notions of morality and explores the magic and the mischief of life.

Artist Statement I am interested in how we negotiate our place in nature.

Technology, medicine, housing, farming, etc. are thought of as being artificial, yet they support the survival of our species. If survival is what motivates the actions of all living things, our “artificial” creations are also part of nature. However, no other animal has had the same impact on the eco system that we do. In the long term it seems that our inventions, intended to insure our success, could usher in the end of most life on Earth.

My work examines the paradoxical relationship mankind has with the natural world; it’s beauty and repulsiveness. Through painting, drawing, and sculpture I focus on narratives of daily life — our everyday interactions with animals, the food we eat and the things we buy — to reassess situations overlooked due to their banality. I dramatize these ordinary moments to encourage an investigation of our expectations and assumptions.

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Tommy Mavra After Hours, 2018 Acrylic on MDF 35 x 24 x 3” $1,600

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Nick Mittlestead Bio Nick Mittelstead is an artist based in Philadelphia. He received an MFA in Studio Art and an MA in History and Theory of Contemporary Art from The San Francisco Art Institute and a BS in Studio Art from Skidmore College. He has exhibited work in the US and internationally.

Artist Statement Nothing lasts forever, but maybe the impermanence of all things is unfairly colored by our mortality: we live and then we die, existing and suddenly not. Maybe rather than emerging into being and disappearing from history, all things fade in and out of view, oscillating between being and not. My work seeks to express this oscillation by reinvigorating historical practices, objects, and stories using new media and a material-based approach.

Every project revolves around a metaphorically relevant material. I draw archeological objects using excavated matter as medium, I reproduce found photographs using the technology of their time, and I record found sounds on magnetic tape and other obsolete platforms. By maintaining a materialistic fidelity to anachronistic source material, I gently swing the past towards the present.

The addition of new media, on the other hand, situates the past in the present. My archeological drawings mimic comic book compositions, my photogravures are digitally manipulated before printing, and my recorded sounds are generatively altered by computer programs. This mingling of contemporary technology and historical material and practices situates the old within the new and results in work that appears to emerge from the past, live in the present, and teeters on the precipice of swinging back into obscurity. This practice aspires to optimistically reimagine our ideas about our own permeance.

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Nick Mittlestead Eigenrosa, 2022 Generative video Dimensions variable NFS

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Sue Moerder Bio Most of my life has been trying to find the right fit as an Artist. I went to Phila. College of Art (now University of the Arts) for Illustration, then got side tracked in Advertising and Graphic Design when I graduated, and ended up as an Art Director/Graphic Designer.

While in college and a few years after I did Soft-Sculpture which I exhibited in Galleries in Phila, NY, NJ, and Baltimore. I was published in the books “Outstanding American Illustrators” and “3-Dimensional Illustration” and magazines “Print Magazine” and “Baltimore Magazine”.

After 20+ years in Advertising being frustrated and burning out, I ended up in Tattooing for about 18 years - with my own Tattoo Shop & Gallery for 9 of them.

I enjoy Tattooing, but it’s stressful, so I started painting skulls for relaxation.

My skulls started becoming more sculptural, as I combined them with antiques and found objects - seeing only shapes and textures - like putting together a puzzle. I didn’t even know Assemblage Art was a thing when I started, but have became so entrenched in the Art form, that it’s changed my life. I look at everything differently now and every day is a treasure hunt where a single piece of trash can send me into a creative frenzy. Inspiration is everywhere and I see Art in everything!

I created so many pieces so quickly that it only made sense to turn my Tattoo Shop into Moerder Tattoos & Gallery where my Art as well as Local Artists work is exhibited. My Art has been exhibited at Ivystone Studio in PA, Gallery 4 Twelve in Pittsburgh, PA, Arch Enemy Arts in Phila PA, and The Strange & Unusual in Phila., Annapolis Circle Gallery in Maryland as well as Moerder Tattoos & Gallery in Hammonton, NJ, and published in Outsider Art Magazine, Philadelphia Inquirer.

Numinous Magazine, Philadelphia Daily News, USA Today, Courier Post, and on ABC and Fox News.

I’ve been told what to do with my talents most of my life, and it has definitely influenced my art.

Now it’s bold and unapologetic, and extremely complicated and detailed.

This is my own personal artistic voice and I’m so grateful that I’ve finally found it.

Artist Statement I think animal skulls are pretty… I make them prettier.

I spent a lot of time in Advertising and then Tattooing… now I make Art my way.

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Sue Moerder WTF Happened Last Night, 2022 Skull Assemblage Art 21 x 15 x 8” $1,250

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Anna Mogilvesky Bio Anna Mogilevsky lives and works in Philadelphia. Anna’s primary mediums are graphite, oil paint, fabric, and embroidery. She also works in mixed media and collage. Anna’s work has been on view in notable institutions, such as Mana Contemporary (Jersey City, NJ), The Art Student’s League of New York Vytlacil Campus (Sparkill, NY), A.I.R Gallery (New York, NY), Kate Oh Gallery (New York, NY), Oh Gallery (Damyang, Korea) and Boo Sung Art Center (Seoul, Korea). She is a recipient of a number of awards, including the Ruth Katsman Scholarship, Massart Young Master Fellowship, and the Florence Leif Award. A passionate educator, Anna has lectured and mentored students at the Rhode Island School of Design, School of the Museum of Fine Arts, Massachusetts College of Art and Design, Northeastern University, and other notable Universities. Anna earned her Bachelor’s of Fine Arts (BFA) in Painting at the Rhode Island School of Design and her Master’s of Fine Arts (MFA) in Painting, Drawing, and Printmaking from the Massachusetts College of Art and Design.

Artist Statement Anna Mogilevsky’s work emphasizes visual relationships between pattern and figure, using texture and experimental materials such as fabrics, string embroidery and various types of paint. As part of her process, Mogilevsky experiments with a variety of media to create a rich viewing experience. Her work draws inspiration from spiritual and contemplative traditions with influences from Russian Iconography, Eastern art, and philosophy, as well as textiles and fiber art.

Philosophically, Mogilevsky is interested in how insight is expressed in outer manifestations, and how self-knowledge can transform space.

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Anna Mogilvesky Awareness, 2019 Acryla gouache, acrylics, and embroidered rainbow on canvas on board 20 x 16” $3,900

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Deborah Moss Marris Bio Deborah Moss Marris is an artist, teacher, and designer who lives in New Jersey. Her work has been shown in solo and group exhibitions, and is included in the permanent collections of the Carnegie Museum of Art in Pittsburgh, Wills Eye Hospital, AECom, and Korn Ferry International in Philadelphia, and Artists Representing Environmental Art in New York. She is represented by Bluestone Fine Art Gallery in Philadelphia, Pennsylvania and Hardcastle Gallery in Wilmington, Delaware.

As a designer, Deborah Moss Marris has created pieces for NFL Films, QVC, NBC Sports, and was a featured Artist/Designer for ABC Carpet & Home. Along with being an Adjunct Professor at Camden County College, she heads the Visual Art program at Westfield Friends School in Cinnaminson, New Jersey. Deborah Moss Marris received her BFA from Moore College of Art and Design, an MFA from Syracuse University, and is the recipient of three Ford Foundation Grants.

Artist Statement I am a multimedia artist, designer, and teacher. My botanical abstract paintings are generated from collaging and layering images and materials. This “stacking” speaks to my personal experiences through the passage of time, memories I have collected, observations from my surroundings, and my current state; a place of scrutiny, indecision, and tension. Painting becomes a melding of various dispositions, which occasionally result in moments of lucidity.

The foundation of a work begins as a figurative drawing or painting. Subjects are often related to memory, and objects I have found, collected, or grown. These materials may be in full flower, beautiful in their perfection, but are just as likely to be the overlooked, broken, decayed, spent.

A second layer may contain the suggestion of landscape; mist, condensation, or debris. Various materials are built up, scraped away, exposed, and manipulated. Some areas consist of delicate transitions, others harsh, and abrupt. I use plaster, stucco, ink, gilt, and glazes which I have grown familiar with through my experience as a decorative artist, alongside watercolors, oil paint, and drawing media. At a certain point the direction piece becomes clear enough that I continue the work intuitively.

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Deborah Moss Marris Afghanistan, 2021 Oil, plaster, and wax on canvas 21 x 21” $1,800

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Thomas Murray Bio Thomas Murray lives and works in New Jersey with his wife and partner Donna Mason Sweigart.

They relocated from the US/ Mexico border of South Texas. Thomas earned his MFA at the University of New Mexico in 2003. He works primarily in oil paint, with forays into sound, music composition, performance, and digital video. Thomas and his wife travel yearly to Florence, Italy, where he studies Renaissance painting in its birthplace. They frequently collaborate on art installations and performance. In June 2014, Thomas attended an artist residency in Assisi, Italy.

Thomas was recently invited to return to Arquetopia in Puebla, Mexico, for an honorary artists residency.

His work is deeply personal. Gleaned from current political events, he works on the edge of recognition. Thomas appropriates archetypal imagery, such as the Garden of Eden to explore the relations of globalization and a subtle critique of the viewer/consumer and our place in relocating histories.

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Thomas Murray Grey Skies, 2021 Oil on canvas 19 x 15˝ $432

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Sam Nejati Artist Statement Sam Nejati was born and raised in Tehran. In 1999 he moved to Los Angeles and Later on to San Francisco where he attended SFSU. He currently lives in Philadelphia. Nejati’s work is about sharing his experience visually as he is going through life. The work stems from extracting life and ultimately illuminating the spiritual properties such as emotional presence, memory, and the human experience. Nejati is interested in making something visually meaningful, poetic, and universal.

Ode to the Sea Here Surrounding the island There’s sea.

But what sea?

It’s always overflowing.

Says yes, Then no, Then no again, And no, Says yes In blue In sea spray Raging, Says no And no again.

It can’t be still.

It stammers My name is sea.

It slaps the rocks And when they aren’t convinced, Strokes them And soaks them And smothers them with kisses.

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With seven green tongues Of seven green dogs Or seven green tigers Or seven green seas, Beating its chest, Stammering its name, Oh Sea, This is your name.

Oh comrade ocean, Don’t waste time Or water Getting so upset Help us instead.

We are meager fishermen, Men from the shore Who are hungry and cold And you’re our foe.

Don’t beat so hard, Don’t shout so loud, Open your green coffers, Place gifts of silver in our hands.

Give us this day our daily fish.

— Pablo Neruda

Sam Nejati A Poem for the Sea, 2022 Acrylic on canvas 36 x 36˝ $4,500

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Christy O’Connor Bio Christy E. O’Connor is an interdisciplinary artist who lives and works in the New York metro area.

She combines wearable sculpture, performance, and 2D mixed media works to create narrative bodies of work and installations. As an artist, she seeks to drive dialog that challenges the belief systems and preconceived notions, dominated by a patriarchal lens. She continuously explores materials, processes, and genres in order to express her point of view. Her vision and message often informs her use of materials and execution.

O’Connor received a BA in Visual Art from Ramapo College of New Jersey, where she studied studio art, photography, and education. She has participated in professional development programs and studio residencies, including Creative Capital at Artworks (Trenton, NJ, 2017) AlterWork Studio (LIC, NY, 2020) and ESKFF (Jersey City, NJ, 2022). Solo exhibitions and installations include The Maiden & The Crone, (2021), Eat, Buy, Love (2021), Victim Shame, Body Blame and Tea Time in Turbulence (2020), Dusklit (2016-2018), Treacherous Women (2018), Vacant Memories, Absent Dreams (2018).

Artist Statement I am especially interested in how women have been perceived and portrayed throughout history, literature, and modern forms of media through the lens of the male gaze. I often wonder how patriarchal standards affect societal and cultural norms and mores as a whole, religious and social class systems and gender and sexuality.

My work often depicts female archetypes inspired by fairytales, mythologies, and historical figures in multilayered mixed media bodies of work and installations. I create maximalist works that mimic the way in which we are so frequently bombarded with imagery and notions that perpetuate patriarchal and oppressive viewpoints

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Christy O’Connor Shoo!, 2021 Mixed media 9 x 7” $375

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Erin Oliver Bio Erin Oliver creates immersive sculptural installations with ephemeral materials to explore ideas about abstraction and artifice, cyclical processes, movement, and healing. Oliver’s work has been supported by several grants and residency fellowships including the Vermont Studio Center, the Ellis-Beauregard Foundation, and the Gasparilla Emerging Artist Award. Her paintings and installation work has been exhibited along the East coast including UNC Asheville’s S. Tucker Cooke Gallery, Tempus Projects in Tampa, FL, the Carrack Modern Art in Durham, NC, the Greenhill Center for North Carolina Art in Greensboro, NC, and the USF Contemporary Art Museum in Tampa, FL. Erin received her MFA from the University of South Florida in Tampa, FL. Artist Statement In my multi-disciplinary practice, I intuitively deconstruct natural imagery to create immersive sculptural installations with ephemeral materials. I evoke existing and imagined worlds that explore ideas of abstraction and artifice, science and metaphysics, cyclical processes, movement, play, and healing.

My materials reflect ephemerality and artifice, connecting to the natural world but also our virtual interactions with it. The paper serves as object as well as screen, distorting the sense of light and space, and notions of real, constructed, and imagined. Color and light become the second medium, infusing the materials with life, creating a sense of atmosphere, and activating the cutouts and edges.

Many of my installations build from previous work, sometimes re-using materials, morphing and evolving according to the specifics of the site. This iterative process allows the projects to grow and evolve over time, shifting as they change locations and giving them multiple lives rather than letting the materials go to waste from single use.

The environments I construct become surrogate landscapes, transporting viewers to imagined worlds reflecting our own and evoking a sense of calm through biomorphic forms. My installations invite visitors to move within the delicate forms as participants, drawing out the symbiotic nature of our relationships with other beings and the natural world. This puts considerable trust in the participant, but also speaks to the paradox of humanity, with our tendencies to simultaneously practice inhabitation and destruction. These encounters facilitate a sense of presence and connection to the surrounding environment as a reflection of ourselves.

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Erin Oliver Remnant #9, 2022 Cut paper sculptural relief collage and light Approx. 36 x 20 x 4” $500

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Daria Panichas Bio With a style that is clean and direct yet evocative and sometimes otherworldly, Daria Panichas’s photographs are intimate, thoughtful meditations on how mutable moments and overlooked objects can yield whole hidden worlds when given the warmth of quiet attention. Daria has a bachelor’s degree in art and philosophy from Lafayette College, a master’s degree in social work from Boston University, and a certification in web design and development from Boston University.

Artist Statement “I dwell in Possibility” — Emily Dickinson Nothing beats a day spent prowling around streets or creeks, under sun or sleet, looking to capture fleeting or elusive qualities in the people and places around me. I like mutable moments, such as the swell of a crowd or the quick flicker of an animal’s eyes, as well as humble things—a frost crusted weed, a mushroom in the sun—that often escape notice but with the warmth of attention will yield whole hidden worlds.

My process is simple, my cameras light and unintrusive. I shoot in manual mode, use only available light, and work within the given conditions. Sometimes the light is wonky, everything’s in flux, my lens isn’t ideal, and/or my subject is wiggling; other times it’s a stellar still moment that all but guarantees a perfect shot. Either way my task is always the same: slow down, breathe, look for possibilities, wait for my gut to say yes, and press the shutter button. This practice is calming and meditative whether I’m contemplating a creek or navigating a street protest; the world slips away even as it’s brought into sharp relief.

To distill my images into their richest expression, I have custom-designed a range of monochromatic filters that are based on early 20th-century silvertone, sepia, and cyanotype photography. Yet aside from these filters and some light editing, I do not manipulate or “Photoshop” my images in any way; what is shown is what was there. The results are sometimes clean and direct, sometimes reflective and abstract, but always aim to look viewers right in their mind’s eye. Even in the midst of movement I seek to convey a stillness, one that may then make you go still, just as I did, dwelling in that possibility.

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Daria Panichas From Protection Comes Renewal, 2020 Hahnemühle photo rag paper mounted on archival board 37.25 x 25.25” Framed $975

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Catherine Passante Bio I am a painter who has been many things. Hardware tech, web designer, video producer, waitress, mother, you get the idea. Primarily, I have managed work at all these things and maintain a consistent drive mentally that permeated throughout these endeavors – often to their betterment, sometimes to their disadvantage.

Nonetheless, for better or worse, I possess an internal vision that is compelling and pervasive. At this life stage, I am now able to externalize it in any form I choose.

I live in South Philly, though I am not a native. Originally from a small, strange town in North Jersey called Succasunna, I attended school at the Philadelphia College of Art, currently called University of the Arts back in the day of punk, big hair, and mayor Frank Rizzo.

Artist Statement Let’s have a serious morning where things make sense.

Visual perception of reality appears as a tightly, strung, thin plastic veil that struggles to contain within it energy and thrust. Like a plastic shopping bag, it appears thin in places, barely containing the force within it.

My landscapes, with their extreme linear framework and heightened color, create tension like a balloon being blown up and about to pop. In my abstract works, selected parts of reality are rearranged according to their logic - Energy is allowed to leak through as objects true nature comes into being and balance is achieved.

In this way, the two seemingly opposed viewpoints share the same process.

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Catherine Passante Here He Comes, It’s Cathy’s Clown, 2021 Oil on canvas 30 x 40” $3,000

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Margaret Pezalla-Granlund Bio Margaret Pezalla-Granlund received her MFA from the California Institute of the Arts in Valencia, CA. She has exhibited nationally, including a project space exhibition at the Santa Monica Museum of Art, and solo and group exhibitions at the Minneapolis Institute of Arts, the Minnesota Museum of American Art, and the Midwest Biennial. She has received grants from the McKnight Foundation, the Jerome Foundation, and the Minnesota State Arts Board.

Artist Statement In my recent work, I have been thinking about what it means to be part of a community that is stretched thin - across distance, across time, across culture- and how ideas are shared across that expanse. Throughout my career, much of my work has been about how we understand the world: how we patch together a comprehension of time, or space, or the shape of things, and the strategies we use to try to communicate these ideas.

Most recently, I began making a series drawn from images of books and journals held in library and museum collections. The experience of browsing the magazines there happens at a meeting point between preservation and access: when the nearly century-old publications are delivered to your study space, you’re privileged to leaf through the volumes, but aware that each time you open a cover, or flip past a page, you both participate in the community of sharing inherent to the idea of an artist’s publication, and contribute to the magazine’s inevitable decay. To preserve the pages in my memory, I scan the images— another process, that while providing ongoing access to the content via digital images, contributes to the decay of the materials. These digital images are bound up in other types of decay as well: the loss of image quality, the loss of materiality of the original. These images, then, are bound up in both connection and loss, immediacy and distance.

Over the past many months of the pandemic, I created two series of works that drew from my personal archive of library images. The first was a series of gouaches that are based on cell phone photographs I made of the stacks of images, drawings, prints piled on surfaces in my house. The second series was a series of experiments in recreating images of an artist’s studio, in this case, the images Brancusi made of his own sculptures in his Paris studio. Working from Brancusi’s photographic documentation of his space, I made paper facsimiles of his sculpture, then rephotographed them in my space. My images necessarily stray far from their original photographs: the materials, the space, the scale, the maker bear no resemblance to the source.

Every time I circulate those images, I am extending the community of viewers of those original works: imperfectly, and in a way never imagined by the original makers.

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Margaret Pezalla-Granlund B’s Ghosts, 2021-22 Artist’s book: Ink jet print on paper, gouache, waxed thread Closed: 18 x 12” Open: 18 x 24” $500

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Christopher Poehlamann Bio Since his first solo exhibition in 1990, Christopher Poehlmann has been dedicated to creating functional objects that fall somewhere in the continuum between sculpture, high design and craft.

His work has been published throughout the world, exhibited through galleries, museums and train shows for over three decades. He maintains a studio full time in West Philly.

Artist Statement Stitch is the new series of conceptual lighting fixtures developed in 2022. Fabricated from painted aluminum, silicon and LED, this series allows the end-user a little bit of freedom of design: silicon rope is flexible and can be repositioned in the frame as desired. The stitch line can be custom ordered as pendants, horizontal linear chandeliers, or even floor lamps, and the frame can be painted in any color.

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Christopher Poehlamann Stitch, 2022 Aluminum, auto paint, silicone, LED 60 x 24 x 24” $2,400

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Elizabeth Pratt Bio Elizabeth Pratt is a visual artist and practicing humanist. She is committed to the dignity of all life and believes that creativity is the highest form of human achievement. She lives in Philadelphia.

Artist Statement These works are from a series of paintings which employ weavings and knots as metaphors for emotional states, lessons in self-improvement, and political statements. Born of the isolation and anxiety of the pandemic, they have developed into a visual language that promotes connectivity and unity, while also functioning as a form of self-soothing that is intended to include the viewer.

(Note: the artist is in no way liable for any damages incurred in the viewing of the art)

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Elizabeth Pratt How To Achieve Work-Life Balance, 2022 Oil on paper 30 x 22” $1,750

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Michael Radyk Bio Michael Radyk is an artist who explores woven textiles and the qualities inherent in their structure, production, design, craft, and history. He uses both the hand loom and Jacquard loom to produce his work. Michael designs, weaves, cuts, sculpts, and manipulates his textiles into both two and three-dimensional sculptural forms. Michael’s work involves the reinvention of manufactured materials and familiar textiles such as corduroy. He creates work that is based in place and material research using mainly recycled and repurposed materials both found and created by Michael.

Recent exhibitions include: Structured, Textile Center, Joan Mondale Gallery, Minneapolis, MN; International Fiber Art Fair, Seoul Arts Center, Hangaram Art Museum, Seoul, South Korea; Reemergence, Main Line Art Center, Haverford, PA; Land Feels and Beach Front Properties Inliquid@Commerce Square, Philadelphia, PA; Textiles & Textures, Kellner Gallery, Abington Art Center, Jenkintown, PA. Michael received his MFA from the Rhode Island School of Design and Brown University’s Sheridan Center for Teaching and Learning and a BFA from Tyler School of Art. He has taught at SCAD, RISD, Kutztown University, and the University of Georgia in Athens. He served as the Area Chair of Crafts and Textiles Area at Kutztown University of Pennsylvania from 2011-2016. He is the former Director of Education for the American Craft Council from 2016-2019 and was the founding Editor in Chief of the journal American Craft Inquiry.

His work was featured in the books Artistry in Fiber, Vol.1: Wall, and Artistry in Fiber, Vol. 2: Sculpture, published by Schiffer Publishing Ltd. and the exhibition catalogues Influence and Evolution: Fiber Sculpture…then and now, and Blue/Green: color/code/context published by browngrotta arts.

Artist Statement The making of woven cloth is at the core of my artistic practice. In my work I use both the industrial Jacquard loom and the traditional hand loom in parallel research. This connective process activates both my textiles and structures to exploit their potential for sculptural surfaces and forms. My investigation into weaving and textiles is inspired by the qualities inherent in their structure, production, design, craft, and history. My work involves the reinvention of manufactured materials and familiar textiles such as corduroy. I create work that is based in place and material research using mainly recycled and repurposed materials I find or create.

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Michael Radyk Corduroy #1, 2021 Handwoven and hand cut corduroy 60 x 24 x 2” $2,400

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Image: Exhibition view New Now V, InLiquid Gallery

MORE ART THIS WAY!

Elynne Rosenfeld Bio Elynne Rosenfeld received her MFA in Painting from UMASS Amherst and her BA in Art from Rice University in Houston, Texas.. Active in the Philadelphia art community, she has served as past president of the advocacy group Artist’s Equity. She co-chaired ArtForms cooperative gallery for a decade and served as First Vice President of ARTsisters. She is a member of Montgomery County Guild of Professional Artists.

Having had more than twenty solo exhibitions and over one hundred group shows she is recipient of numerous awards for painting excellence. Her work resides in public and private collections internationally, most recently seen in a solo show at Boston Street Gallery in April of this year.

Elynne has authored articles appearing in Reiki Magazine, and been interviewed by Philadelphia Magazine, Art Matters, The Exponent and the online journal Manhattan Arts International.

Since 2017 she has been Curator and Director of the D’Arrigo Gallery of Salus University, bringing the work of local artists to the attention of this prestigious academic community.

Artist Statement I have always resonated with art that includes exploring the beautiful as part of its statement and have sought to affect the same in my own work. Over the last decade, however, the influence of my growing Reiki practice has shifted my art’s focus to that of healing intention ensconced in visual beauty.

The most recent works are abstractions of the actual - bits of sunsets, icicle formations on rock, invasive tree blossoms. These are created using mixed media - acrylic paint stroked with a 10/0 brush, glass beads and tempered glass which I shatter before affixing atop areas of paint.

Layered, obscured Reiki symbols are infused in all my recent paintings; obscured so that their sacred nature is not revealed, intending that the infusion of energy used in the application brings a sensation of peace and calm to the viewer.

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Elynne Rosenfeld Invasive Beauty 4, 2021 Acrylic, glass beads and shattered tempered glass on canvas 30 x 24” $1,800

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Marc Schimsky Bio I was born on Oct. 10, 1949, in Brooklyn, NY, and later raised on Long Island where I began painting and drawing at an early age. I learned how to make original hand-pulled relief block prints in high school and at SUC, Buffalo, I majored in art education with a focus on “intaglio” printmaking, painting and design.

From 1969 to 1970, I attended the University of Siena, Italy, where I took classes in fresco painting and sculpture at the Istituto Statale d’Arte di Duccio di Buoninsegna, Siena, Italy.

In 1976, I received an MFA degree in printmaking and painting from Pratt Institute where I was awarded an assistantship with Clare Romano-Ross, the innovator of the collagraph process.

Artist Statement I love the intuitive and improvisational aspects of abstraction. Most of my non-objective abstract paintings are nostalgia-based meaning that they are derived from personal sensory memories.

My hope is that people who see my work will be moved to bring their own history to the painting.

Some of my non-objective abstractions stem from blind intuitive drawings executed as reactions to auditory stimuli. I like to explore the use of vibrant color, textures and loose brushwork.

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Marc Schimsky I Found It In My Pocket!, 2021 Mixed media on paper (acrylics & pencil) 29 x 21” $1,800

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John Schlesinger Bio John Schlesinger born in Topeka Kansas is a veteran photographer turned sculptor and installation artist living and working in Philadelphia. He has won a Rome Prize, a Louis Comfort Tiffany Award, an Aaron Siskind Fellowship and two National Endowment for the Arts Fellowships.

His work has been reviewed in Art in America, the Village Voice, Aperture, Bomb Magazine, Art News, and the New York Times. Collected broadly, Schlesinger’s output can be found at the Walker Art Center, the San Francisco Museum of Modern Art, the Houston Museum of Art, the Dallas Museum of Art, the Hamburg Kunsthalle, the Art Institute of Chicago, the Brooklyn Museum, and the MOMA. He has taught at the School of Visual Arts, Rice University, Drexel University and Rockland Community College.

Schlesinger often collaborates with Tra Bouscarenas half of the team Dear Volunteers. In the last four years he has completed installations at CFEVA (Philadelphia), Unsmoke Art Systems (Braddock, PA), AC Projects (NYC), Whittier College (Los Angeles), Fort Mason Center for Art, San Francisco), Lola 38 (West Philadelphia) and Rockville Arts Center (Rockville, MD).

Artist Statement I create ceiling and wall mounted assemblages built out of neon, lab equipment, resin-cast photographs and rebar pulled from demolition sites. The works triangulate a conversation between sculpture, photography and light art. I call them neon hybrids. The work mocks normative 2-dimensional mounting traditions. It cannot be shipped and simply hung. I insist on constructing the neon hybrids site responsively, growing and grabbing across each unique space like a virus infecting its host space.

The material references within my assemblages form a network of ideas that I pull from repeatedly.

The photographs I deploy represent previous assemblages and installations, revealing an autocannibalistic slant in my relationship with own practice. Encased in resin, the photographs are at once fortified by that process, and rendered more translucent to the lighting effects of the neon.

The demolition-sourced rebar presents an indexical representation of the trauma it underwent through the process of demolition. The rebar pieces emerge from the rubble like 3D scars. The lab equipment I deploy reflects my experimental and alchemistic approach to building. I cast the form of the neon to mimic the twisted, 3-dimensional drawing of the demolition rebar. The neon functions as glowing, fragile, anti-shadows of the dull, cheap metal of the rebar. Neon also serves to penetrate the surface of the photographs, lighting them both front and back. The works light themselves like deep-sea bioluminescent predators.

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John Schlesinger and Taji Ra’oof Nahl Collaboration #1, 2022

Beeswax, honeycomb, neon, demo rebar, laboratory clamps Dimensions variable $1,800

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Barbara Schulman Bio Barbara Schulman holds a Master of Fine Arts degree in Fiberarts from Kent State University, in Ohio, where she also received her undergraduate degree in Art Education. She was Professor of Art at Kutztown University, North Carolina State University, Weber University, in Utah, Virginia Commonwealth University, and Kent State University.

She has exhibited throughout the United States and in Korea, France, Canada, the Philippines, and twice in the Art in Embassies Program of the U.S. State Department, in Baku, Azerbaijan and Bandar Seri Begawan, Brunei. She has lectured on Contemporary American Textiles in England, Scotland, Ecuador, and throughout the United States, including presentations for the Pennsylvania Humanities Council Speaker’s Program. Her work is in numerous collections, including the Museum of Arts and Design, New York City, the Allentown Art Museum, Lehigh Valley Health Network, American Express Company, Carolina Power and Light, and has been shown in Surface Design Journal, Fiberarts Magazine,The Language of Making, 500 Baskets and in seven volumes of the Fiberarts Design Books. Her work has been seen in the following exhibitions: Korea Bojagi Forum, Seoul, The Art of Basketry, Santa Fe, New Mexico; Fifth International of Tapestry and Fiber Art, Beauvais, France; The Fiberart International, Pittsburgh, PA; the Quilt National, Athens, Ohio, and in solo exhibitions at Bradbury-Sullivan LGBT Center, Allentown, PA, the Allentown Art Museum, and Hunterdon Art Museum. Awarded two Visual Arts Fellowships in Crafts by the Pennsylvania Council on the Arts, Barbara is Professor Emeritus, Kutztown University and a full-time studio artist.

Artist Statement I am a mixed-media fiber artist with a background in textile techniques, which I taught for many years in university art departments in Ohio, Virginia, Utah, North Carolina, and Pennsylvania.

Working spontaneously, I cut and reassemble fabric and found objects until a transformation occurs, often to the realm of memories, dreams, or fears. I work with original textiles drawn from my extensive background in weaving, fabric dyeing and patterning, digitally-printed designs, hand and machine stitching, and painting. With the exception of transformed found fabrics, or solid black and commercial fabric on the back of quilts, I always use fabric I have designed.

One of the enjoyable aspects of making art is deconstructing a formerly “finished” work and reassembling it into a new one.

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Barbara Schulman We Are Very Proud, 2020 Mixed media quilted textile 31.5 x 31.5 x 1” $4,000

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Adina Segal Bio Artist and educator, Adina Segal, fell in love with photography in high school. After earning an MFA from the School of Visual Arts in New York, she exhibited her prolonged exposure photographs at galleries nationwide. In 2006, her focus shifted to teaching, and she earned an MA in Education at UC Berkeley. She soon began designing and facilitating art programs for children. Since 2014, Adina has worked with the Philadelphia area non-profit ArtWell, supporting young people through the arts. Transitioning from nurturing other peoples’ creativity to her own, in 2018, Adina began experimenting with watercolor and exploring abstract painting. She is driven by the same curious fascination that first drew her to photography. Throughout her art, Adina explores realms outside of daily life, spaces where the imagination may wander. Adina lives in Philadelphia with her husband and two sons.

Artist Statement I am fascinated by space, not as an exact location, but as a mysterious place, an infinite place of wonder with shifting atmospheres and moods. Color, circular shapes, and layers are elemental to my abstract nature-inspired paintings. I work with multiple transparent layers of watercolor and gouache, along with crayon and colored pencil, shaping the piece as I go. Guided by my intuition, I aim to capture a feeling rather than a concrete reality. Transformation is at the core of my work as I seek a world outside my physical experience.

These visceral spaces exist outside the flow of my daily life, for when painting, I enter a meditative state. My process is dynamic, and I invite spontaneity by pouring liquid paint on paper. Following my intuition and trusting when to stop and when to work back into the painting, is contrary to how I often exist in other areas of my life. I am a planner, a list-maker, someone who likes to know what to expect. Therefore, making work in this intuitive way stands in sharp contrast to other parts of myself. It’s the letting go that allows this work to come forward. I am enthralled by the not knowing, the seeking, the discovery. It’s exciting to work in this tactile way, embracing the tension between my need for control and my desire to uncover the unknown.

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Adina Segal Below the Cloud Line, 2021 Watercolor, gouache, crayon, and colored pencil on paper 24.5 x 24.5” $1,200

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Morgan Thomas Shankweiler Bio Morgan Thomas Shankweiler splits her time between Philadelphia, PA and the coast of Maine.

She graduated with sociology and studio art majors from Williams College and studied miniature painting in Jaipur, India. Her background in sociology informs her work, which examines community, relationships and the commonalities of human experience through aleatoric drawings, paintings and data visualization. Shankweiler has been awarded residencies at the EllisBeauregard Foundation, SVA, Penland School of Craft and Da Vinci Art Alliance and works as a portrait painter for MuralArts Philadelphia. Her award-winning work has been featured, exhibited and collected across the continental US and online.

Artist Statement My work focuses on how humans connect and relate to each other in physical space, metaphysical space, systemic and social space, emotional space, more recently, virtual space, and with how we attach meaning to social choices and to the interactions that alter these choices. I approach my observations of human behavior through a trained sociological lens, utilizing both ethnographic and quantitative analysis, and I approach my artwork similarly, straddling a line between realistically rendered metaphorical work and more abstract data visualization. Larger works in a variety of media are ‘net’works, each knot or loop, each channel of connection, indicating a corresponding human connection that holds a community of people together.

Form and mark-making meet in the work. The ropes are lines themselves but also have a dimensionality built from repetitive texture-building and rule-following. Physically, ropes are bound by natural laws, but on canvas, these laws can be challenged, and the ropes can take on any form. Ropes are imbued with meanings of their own; they are a tool for security and safety, they are a tool for holding something down against its will, they might bind, they might lift, and when connected they take new form and tension through their interaction; safety nets, networks, internets, a metaphorical fabric of society. Ropes can be unions, but they can also enforce boundaries. Knots can secure or be an obstacle to untangle. The line-work of the individual threads in each cord, the cords twisting or weaving to make a rope, the rope looping with another, knotting, tying, to make a form or a net, compounds a physicality to the image and the rope becomes more than itself.

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Morgan Thomas Shankweiler Chosen Family; Making Sense of the Loose Ends and Tatters, 2021 Ink, colored pencil, acrylic and gouache on paper 22 x 30 x1” $1,500

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Kathleen Spicer Bio Kathleen Spicer attended Philadelphia College of Art, (now the University of the Arts), and received my BFA from Parsons School of Design in New York. After more than 30 years living in New York, she returned to the Philadelphia area and continues to actively create and exhibit artwork. She has received several art awards and 8 public art commissions, one of which was just completed at New Market West, in Philadelphia. She is in collections nationally and internationally, and has an extensive exhibition history in galleries and museums and public/ private collections. She is a member of MCGOPA, Tri-State Artists Equity, ARTsisters and InLiquid Artist Statement I am both painter and sculptor, 2 very different processes that I find ever challenging and endless with possibility! My work sort of defies category, as it combines painting and sculpture and is mostly hung on a wall. My language is clear, I am very shape oriented. Most of my forms give reference to nature and language itself – pods, seeds, flora, speech bubbles etc.

The work is built using layers of wood that are laminated, and then painted with oil . I also use rolled, painted metals, painted plexi, and some metal leaf. The paint is also applied in layers so that color is built up and the end product seems to breath light from within. Color solidifies the work and adds mood and character.

Negative space is very important. The interplay of connected shapes is very much alive and even the shadows they cast feels charged with energy. My sculptural work asks questions, speaks to the viewer and, hopefully, invites conversation.

I always embrace new possibilities and seek to create work a that is living construction, drawings in space, and meditations on moving choreography that radiate positive energy from within.

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Kathleen Spicer Kinda Blue, 2021 Oil on wood with rolled metals 32 x 15 x 3.5” $1,900

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Craig Stover Bio Craig Stover (American, b. 1971) • Undergrad Tyler School of Art (Temple Univ.)

• BFA from University of the Arts, 1993 • Studio assistant for artists Sam Maitin and Elizabeth Osbourne • Worked with Creative Artists Network (now the CEVA), The Philadelphia Art Alliance, Woodmere Art Museum, The Snyderman Galleries, The Avenue of the Arts and The Arts & Business Council among others • Served as Executive Director of Allens Lane Art Center for 13 years – oversaw 2 galleries, theater, classes in visual and performing arts, summer art camp • Host of ArtShow (weekly artist interview program), 2020 Artist Statement It is my desire to make things that attract people and create that one thing in the room that people are drawn toward, question, and ponder.

For the better part of 30 years, I have been making artworks in which I set out to challenge both myself and the viewer. Over the years, I have shifted from making work that was thoroughly planned out in every detail to slowly morphing into a technique whereby I do not know what the final image will be. This desire to let go has enabled me see my own work more as others do: not with an understanding of what I’ve created but more with an eye towards seeing other hidden meanings and structures that I wasn’t conscious of within the works. I’m fascinated by what springs out of my mind when I’m able to let it loose.

Each picture that I’ve made in my artistic career has always made references to the ones that came before it. This allows all of my works to not only talk to each other but for the entire body of work to be one big conversation when viewed as a whole. In my early years, these conversations were more thematic. I spoke of things like mythology, war, and nature. More recently, my works have stripped away these themes to focus more on the basics of life and its building blocks: color, line, shape, and imagination. In doing so, I’ve found a way to let my audience use their own imagination to look at and perceive my work in new ways that I might never have intended.

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Craig Stover Sentinel, 2022 Oil on canvas 20 x 16” $1,200

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Jacqueline Yvonne Tull Bio Jacqueline Yvonne Tull grew up in Greenbelt, Maryland, and completed her Bachelor of Fine Art degree at the Pennsylvania College of Art and Design in Lancaster, Pennsylvania, where she had the opportunity to spend summers studying plein air painting and drawing at the Mount Gretna School of Art in Mount Gretna, Pennsylvania, and the Rome Art Program in Rome, Italy.

She completed her Master of Fine Art at the University of Delaware, where she specialized in sculpture and material culture studies. She has taught sculpture and other fine art courses at multiple universities in the Philadelphia region, and is currently the Interdisciplinary Sculpture Studio Manager at the Maryland Institute College of Art in Baltimore, Maryland. She is a member of Automat Collective, and has exhibited works in the Philadelphia region, New York, and Berlin, Germany.

Artist Statement I am obsessed with the relationship between humans and their sentimental objects. For me, objects have the ability to connect us to times, relationships, and places that we can no longer exist within, and even help us live beyond death in the passing-on of heirlooms. Through the process of making sculpture, I uncover my own feelings and questions about the limitations of the human body, and the ways that humans supplement their own mortality through the objects they collect and cherish.

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Jacqueline Yvonne Tull We Will Never Meet, 2020 Tree bark, mica powder, beads, string, plastic pearl, seashell.

5 x 26 x 8” $750

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Jeremy Waak Bio Jeremy Waak was raised in Lincoln, Nebraska. At an early age, he began to pursue creative endeavors, such as drawing and painting, which have remained integral activities for him.

Being the child of a mechanic, Jeremy was heavily influenced by cars, engines, and all things mechanical. Jeremy attended the Memphis College of Art as an undergraduate and majored in metalsmithing.

Jeremy’s work as a graduate student at Southern Illinois University Carbondale culminated in a thesis show titled, “One Kernel Popcorn Popper”. This work earned him an Illinois Arts Council Grant in 2002. In 2010, he began a ten-year project converting a 19th century warehouse and blacksmith’s shop into a home and studio. After sixteen years in higher education, Jeremy is now a full-time studio artist. His current interest is in exploring new work involving industrial imagery/ mechanisms hybridized with plant/animal subject matter. His studio practice includes functional objects, wearable artwork and jewelry, gallery installations and public artworks.

Artist Statement Post-Industrial Fetish Series All humans desire happiness. To help achieve this, every culture has created objects to bring about things they want and defend against those they don’t. Fetishes are the physical manifestations of potent spirits used for magic, prayer, wishes, guidance or curses. But, fetish can also be a fixation, a distraction or a delusion.

The drawings start as tools to assist in the planning and execution of the sculptures: for measuring and cutting, shaping, and soldering. They are then pulled off the fabrication table, full of scars and blemishes from use, and transformed into art objects in themselves. For me this process of transformation is meditative, reflective, and introspective.

The fetishes in this series are for us now. They relate to our current cultural mindset, our image of who we were and who we are becoming. Some may find comfort and confidence in them and some may find fear and criticism. They are not answers or solutions but mirrors and questions.

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Jeremy Waak Idol to Exceptionalism 8, 2022 Brass, sterling silver on maple plywood panel 4.5 x 2 x 2” sculpture; 40 x 24” display panel $2,200

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Ronald Waite Bio Waite’s photographs explore the hidden narratives of objects and places. A mangled doll on the pavement; a man lighting a cigarette under the El; a fluorescent bulb elevated into the unrecognizable; the images point to an intrinsic order and symmetry that exists in all things, pulling us into the story of all that goes unnoticed. Waite, whose beginnings were as a painter and installation artist, has always used photography as a sort of sketchbook; however, in recent years the photographs have taken a co-role in his work. Waite studied fine art at SVA in New York City and lives and works in the East Kensington neighborhood of Philadelphia.

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Ronald Waite Skylight, 2019 Printed with Canson Platine Fibre Rag and conservation mounted on Museum Rag 8 Ply; Frame was handmade using hand tools 40 x 35.5” $1,500

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Benjamin Weaver Bio Native to Philadelphia, Ben Weaver has experimented with structure and reductive forms for over 25 years. High contrast and geometric forms are consistent features in his work. Ben has painted in oil, watercolor, and currently acrylic paint. He has worked in bronze, and carved directly in wood. Ben has a BA in literature and has worked in and around the fine arts his professional career. He has his work represented in galleries, juried shows, private and corporate collections throughout the Mid-Atlantic region. He currently lives in Abington, PA. Artist Statement I use sets of nonorganic geometric elements to illustrate theoretical spatial relationships between forms. The forms are often incomplete and the completion of the forms give potential movement and resolution that needs to be solved. The geometry itself is less important than the movement, relationships, and the group as a whole. I categorize my work as Geometric Spatial Abstraction.

The reductive elements are built within a system that is meant to be understood within its own context.

When the viewer starts to engage with how the forms are arranged and how they could be reoriented, there is a shared perspective that opens a common abstract thought to be shared between us. It is not only this common viewpoint that I hope to accomplish, but a shared thought process in getting to that viewpoint. That is where I find communion with the viewer.

I want to advance ideas about spatial relationships that have universal appeal. I am interested in the pure abstract relationships between forms and how they work aesthetically. However, I also want the audience to be drawn into the work and be able to recontextualize the relational objects to fit their own context. This is a goal I’ve been working on for many years, the results of which are difficult to quantify.

I enjoy the abstract thought necessary to create the work and the possibility of communicating those abstract ideas.

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Benjamin Weaver Inner/Outer Cubes #5, 2021 Acrylic on canvas 16 x 20” $1,300

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Sharon Wensel Bio Sharon Wensel was born in Phoenixville, Pennsylvania and currently resides in Skippack Pennsylvania. She studied at Hussian School of Art, Pennsylvania Academy of the fine Arts.

At Hussian she received the first runner up award for most promising student. One year later transferred to Pennsylvania Academy of the fine arts to pursue her love of painting. At the Academy, in her second year she received a Merit Scholarship. In 1989 Sharon married and put aside her work for the most part of 20 years. She dabbled off and on joining the Philadelphia Sketch Club and the local Doylestown Art League. In 2013 after her husband passed from Lou Gehrig’s disease. She enrolled in the art program at Montgomery County Community College.

She graduated Phi Beta Kapa while working at a full-time position in 2018. During her time there she received the Montgomery County Community College Foundation Scholarship, Barnes and Noble Scholarship and the Montgomery County Community College Certificate of Excellence.

She was also honored to work on an abstract collage with teacher Diane Mills. Since graduating she has received awards for her pastel, photography, and mixed media work. You can find her work in private and public collections throughout the country.

Artist Statement My most recent body of work was inspired by walks and bike rides on the local trails and parks.

I live in a rural area that offers an abundance of inspiration. This I discovered the first time when my husband was dying and again during the pandemic shutdown. It brought me peace and solitude during these scary, uncertain moments. I also love experimenting with different materials and when I need some play time away from whatever the subject matter is I am currently working on, I enjoy painting portraits. Both pet and human.

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Sharon Wensel Spring Green, 2022 Oil on gallery wrapped canvas 40 x 30 x 1.5” $2,000

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Chantal Westby Bio Chantal Westby is a French-American visual artist born in northern France. Graduated from the Chambre Syndicale de la Haute Couture in Paris, her fashion design career allowed her to express her first artistic emotions through textiles. Refusing codes and limits, she quickly began to recycle and integrate other materials into her creations.

After moving to the United States, she focused on the complete interior design of her home, for which she would reinvent old furniture and objects found at flea markets to give them a second life. This sumptuous decor was published in various interior design magazines. In need of a new artistic expression, expanded her technique and studied art and painting at the PAFA (Pennsylvania Academy of Fine Arts).

Her history has led to affinities with tangible creative themes such as global warming, space conquest and the resulting pollution, as well as mystical themes such as the journey of souls or the origin of life. Since 2017 and her encounter with the French multimedia artist and photographer Lénaïc G. Mercier, they combine their two worlds to create immersive and interactive installations on these themes.

Artist Statement My artworks are imagined and created to be vectors of emotions; they challenge and I try through them, humbly, to awaken consciences to the current and future upheavals of our planet.

My work evokes nature, beauty and the energy of the universe but also humanity’s excesses and its harmful consequences. The Light is always present through the dilution of inks and natural pigments that create mysterious auroras. I also like working with mixed media to reach new dimensions and give life to the fantasy.

My inspirations are so wide that I keep a kind of mood board made up of different materials, photographs, multiple artworks, music and texts that inspire me and challenge me. I recycle, I collect and I store objects, until these elements find their natural place in a work of art.

My freedom of creation is vital, my process is extremely spontaneous and intuitive. A piece of work, painted or sculpted, usually appears very clearly to me as a vision while I am already in the midst of creating. I have one golden rule in mind: never forbid myself anything, whatever the dream might be. The technical process to realize this project becomes clear in my head during the following night.

Obviously, I sometimes face obstacles, the feasibility is not always crystal clear, but my thirst to learn and work allows me to find the solutions.

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Deep Field Galaxy, 2021 Ink, acrylic, silver on canvas 48 x 36” $3,800

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Injoo Whang Bio Born and raised in Seoul, Korea, Injoo Whang received a BFA in Korean traditional painting from Hong-Ik University in Seoul, Korea and a MFA from Parsons School of Design in New York City.

She has been a fellow at Vermont Studio Center with a full fellowship, Constance Saltonstall Foundation, the Anderson Center for Interdisciplinary Studies, Kimmel Harding Nelson Center for the Arts and PS 122 in NYC. Whang has been awarded Urban Artist Initiative grant in NYC and participated Artist as Entrepreneur Boot Camp at NYFA. Her work has exhibited in numerous venues including Queens Museum of Art in NY; LA Artcore in CA, McColl Center for Visual Art in NC and Lee Gallery, Clemson University in SC. Injoo Whang currently lives and works in Cherry Hill, New Jersey.

Artist Statement In my work, I explore the supposed binaries of the individual and the collective, of positive and negative spaces, of full and void, of simplicity and complexity. I imagine their interconnectedness through drawings, paintings, collages and installations using sumi ink and water-based paints on paper.

My work starts from a single pattern, cut-out paper or mark making that I repetitively accumulate to create a larger whole. When tiny and seemingly insignificant individual pieces are gathered together, they generate a powerful collective body filled with visual illusions. Labor-intensive and meditative processes pay homage to invisible time and labor.

I take architectural elements and recompose them into geometric, minimal and abstract landscapes. Informed by Korean landscape painting traditions, there is no singular focal point.

The viewer is instead invited to roam within the work, which is intended to be a contemplative space containing multiple perspectives.

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Injoo Whang Boundless_0221, 2021 Sumi ink and watercolor on paper, cut and collaged 18 x 14” $1,800

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Amy Sarner Williams Bio I am a professional artist, living and working in Philadelphia PA. I spent almost my entire career in the field of ceramic art – teaching, creating and exhibiting. In 1994 I joined the development staff at The Clay Studio in Old City Philadelphia. I knew the organization well, having been one of its early resident artists and instructors and later a member of the Board of Directors and Board Chair. In 2001 I became its Executive Director and, during my ten years of leadership, doubled its organizational capacity and increased its financial strength. I left the staff in 2011 to refocus on my family and my personal artistic expression. Still, it is one of the great joys of my life to see The Clay Studio open its brand new, state of the art facility directly across from the Crane Building.

In the Covid summer of 2020, I quarantined at my family’s cabin in the mountains of western Maine. There, in the magical space of quiet solitude, I began a new phase of artistic exploration, creating collages with natural materials I found on our property and on walks in the idyllic Maine woods. The inspiration for my work has always been the beauty of the natural world and the interplay of hard edges and soft forms, light and shadow, depth and color.

Artist Statement As a life-long ceramicist, I have always been drawn to the use of natural materials in my artistic practice. Thus, while quarantining at my family’s cabin in the mountains of western Maine in 2020, without access to clay and kilns, I began a new phase of artistic exploration.

My new works are collages created with birch bark found on our property and on walks in the idyllic Maine woods. The quality of birch bark has always intrigued me, with its myriad peelable layers unveiling a hidden array of colors, textures and patterns. I collect the bark (from the ground, not from live trees) and prepare it by a process of soaking, peeling into layers, flattening, and cutting. This new body of work builds on my earlier clay work, inspired by the play of light and darkness, hard edges and soft shapes, depth and color. Recently, I have expanded the scope of this work into more abstract compositions.

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Amy Sarner Williams Shadows, 2022 Birch bark collage on board, with stained oak frame 9 x 10” $245

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InLiquid InLiquid is a 501 (c)(3) nonprofit organization committed to creating opportunities and exposure for visual artists and works with more than 280 artists and designers. It serves as a free, online public hub for arts information in the Philadelphia area. Find out more at www.inliquid.org.

Many included artworks will be available on Arsty.

Inquiries for purchases or commissioned work can be directed to Clare Finin at Clare@InLiquid.org.

1400 N American Street Studio 108 Philadelphia, PA 19122 215-235-3405 www.InLiquid.org Many included artworks are available for purchase on Artsy

Opposite: Exhibition details, New Now V, InLiquid Gallery

131 Open Wednesday - Saturday Noon - 6 & by appointment | (215) 235-3405 | 1400 N American St #314