Sculpture in the Glen III

Sculpture in the Glen III

Scan the QR code to access our interactive digital map with more information about the artwork, artists, as well as how to purchase or donate to InLiquid!

Scan the QR code to access our Sculpture in the Glen Spotify playlist with songs curated for your listening pleasure as you tour Sculpture in the Glen!

1400 N American Street Studio 314 Philadelphia, PA 19122 215-235-3405 www.inliquid.org

Cover Image: Section of Offering, Francis Beaty

Sculpture in the Glen III A collaboration between InLiquid and the Burch Family at the Glen in Gladwyne, Pa.

October 2021 Featuring: Nancy Agati Alex Bard Francis Beaty Ava Blitz Katee Boyle Charles Burch Annette Cords Diane Deery Richards Brian David Dennis Erica Ehrenbard Charles Emlen Lisa Fedon Michael Grothusen Summer J. Hart rod jones ii Joshua Koffman Wendy Liss Carole Loeffler

Arlene Love Leslie Matthews Gina Michaels Michael Morgan Gilvan Nunes Amy Orr Heather Ossandon Christopher Poehlmann John Schlesinger Maria R. Schneider Emily Selvin Melanie Serkes Peter Slavin Zachary Steinheiser Jonathan Stemler Hanna Vogel Dina Wind 1 Roger Wing

About Sculpture in the Glen III InLiquid celebrates 22 years with a month-long exhibition in collaboration with the Friends of the Glen, Sculpture in the Glen III. This pop up sculpture garden presents work by over thirty of the region’s outstanding visual artists.

InLiquid is grateful to the Burch Family for their generous support of the arts and for the use of their lovely property for this annual exhibition of work by our region’s sculptors.

This year brings positive enhancements to our now annual Sculpture in the Glen exhibition.

Not only has the show expanded in the number of participants and scale of the works, we have also provided an interactive digital map designed to give visitors an opportunity to guide themselves through the property via the map accessible through one’s device, that also provides insight on the pieces themselves and the sculptors that have created them.

This catalog serves as another mechanism for viewing the work, learning about the artist, and the inspiration behind the pieces that InLiquid has the honor of providing the public with an oppurtunity to experience.

Scan the QR code to purchase works from Sculpture in the Glen III on Artsy!

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Washed Away, Diane Deery Richards

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Nancy Agati Nancy Agati’s work addresses transformations and patterns in nature through physical investigations of materials. Her multidisciplinary work includes; works on paper, sculpture, textile, site-specific installation, and public art. Agati holds a BFA from Alfred University, School of Art & Design, NY, and an MFA from The University of the Arts, Philadelphia. She has exhibited her work throughout Philadelphia and nationally.

Several exhibitions have allowed for experimentation with video, public participatory art, ephemeral works, and augmented reality. The movement of water has been a recurring subject of Agati’s work. Agati has been a recipient of a Windows of Opportunity Award from the Leeway Foundation and has been awarded artist residencies at the Santa Fe Art Institute, New Mexico, Lo Studio dei Nipoti, Calabria, Italy, and Main & Station, Nova Scotia. In 2014, as a Hemera Foundation Tending Space Fellow, Nancy Agati began investigating the intersection of mindfulness meditation as it relates to her art-making process.

“My work begins with an examination of visual relationships and transformations found in nature.

Influences include objects in nature that reveal a sense of order, elegance, and geometry. I utilize natural forms such as patterns of moving water and flow-like organic structures to describe or define visual systems that reference our human connection to nature. I am interested in elements that communicate the passage of time and illustrate cyclical occurrences. Drawing is an essential aspect of my work, defined in the broadest of terms and developed through multiple methods. Content or concept determines the process and material used for works that often straddle a line between drawing and sculpture. I work in a range of mediums, from works on paper to sculpture, installation, and public participatory projects.

My work fluctuates from visual explorations that present beauty and order to projects that reveal decay, chaos, or endangerment to the natural world. I have developed site-specific projects and temporal works that respond directly to place, time, and visual perception. Several projects have incorporated aspects of meditation, viewer interaction, and public participation. It is my intention to present my art as a means for reflection, to allow the viewer to take note of something that may have gone unnoticed,” Nancy Agati.

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InLiquid.org | NancyAgati.com

Nancy Agati Ruin, 2021 Cement statuary, stone, decomposing wood and tree stump 3 x 1.3 x 2.5’ NFS

Nancy Agati River Meditation (detail), 2010 Installation with viewing aparatus and chair Dimensions Variable Site-specific meditation viewer installed along your river, stream, or body of water | $1000 5

Alex Bard Alex Bard is a Philadelphia based artist. He works in mixed media, performance, and sculpture. He received an undergraduate Bachelor of Fine Arts degree from University of the Arts and is currently pursuing a Master of Fine Arts degree from Maryland Institute College of Art. Bard’s work is in private collections as well as the Philadelphia Episcopal Cathedral and the Pennsylvania National Guard Museum.

“While I was going through Covid lockdowns, I decided to make a series of characters that were fitting of the time, dealing with the rampant fear and paranoia. This series addresses the guidelines that were issued, and turns defense into offense. Simultaneously, the images call forth an unconscious archetypal pantheon to display and question the hypothetical dystopian figures that may come about as a result of of such a prolonged cultural change,” Alex Bard.

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Alex Bard Bake Sale; Try It For Size; Catch and Release; Appetizer and Entree; Sunday Delivery, 2021 5 aluminum metal prints 6 x 4’ $5,000 each

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Francis Beaty Francis Beaty is a contemporary installation artist, painter and sculptor known for her interdisciplinary work and introspective style. Francis 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 who invites, involving 500+ students who collaborated to create an Installation in the Walter Baum & Rodale Gallery titled The Arrival. During this six month residency, Francis also worked with students at the Roberto Clemente Charter School in her class, What is Sculpture?

The residency included a camp for the City Parks Summer Program. As a Public Artist in Allentown’s renaissance she exhibited Square on Grid. Her project The Hatching 2017 in Gallery 724, was a community project where volunteers collaborated on a sculpture made of over 40,000 pages from donated books.

Francis joined the Global Art Project in 2018 continuing to create engaging installations, sculpture and paintings shown nationally and internationally. The connections made during an artist residency in France in 2019 resulted in her invitation to participate in the Netherlands Geuzenmaand Exhibition 2021-2022.

In reaction to the current Covid pandemic, climate crisis and social issues Francis’s work is evolving into the Public Art realm. As our population has become restricted limiting social contact, the opportunity for an artist to exhibit work in galleries has been diminished. Francis believes her role as an artist is to speak to and stimulate thought within her audience. Bringing her art into nature and public arenas allows Francis to speak to a diverse audience.

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InLiquid.org | FrancisBeatyArt.com

Francis Beaty Offering, 2021 Aluminum, wood, rustoleum paint 8 x 5 x 4’ $8,500 for all components $3,000 per component

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Ava Blitz Ava Blitz is a visual artist who currently divides her time between studio work in sculpture, works on paper, and public art. Her public works and commissions are many, including installations at the Philadelphia Airport and the University City Science Center, created under Philadelphia’s 1% for Art Programs, and in Scotland and Tokyo. Ava served on an International Symposium panel in Japan, and has lectured on public art for the American Institute of Architects, the Mid-Atlantic Arts Foundation, and the Michener Art Museum.

She has been the recipient of numerous honors and fellowships that help fund her projects, including grants from the Pennsylvania Council on the Arts, the NEA, & the Japan, Mid-Atlantic Arts, Leeway, Geraldine R. Dodge, Independence and Jerome Foundations. Blitz has shown locally at the Delaware Contemporary, the Philadelphia Art Alliance, Grounds for Sculpture, & the Michener, Noyes, and Allentown Art Museums. From 1986 to 1998 she taught at Bryn Mawr College.

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AvaBlitz.net

Ava Blitz Suspended, 2012-2021 Recycled foam (3) 4 x 4 x 1’, 15 x 15 x 10’, 3 x 2 x 1’ $17,000

Ava Blitz Vessel, 2009 Glass fiber reinforced cement, iron, concrete, cement, pigment, slate 1.75 x 2.25 x 1.8’ 11 $14,000

Katee Boyle Katee Boyle, Scarlett Forge; Kennett Square, Pennsylvania explores a wide range of media including drawing, painting, sculpture, photography, words, sound, and installation to create the artifacts and narratives attributed to her work. A conceptually-driven expressionist, her stories stem from personal tributes to the human experience and unyielding faith in the power of emotional responses.

Boyle’s work responds to the question: what does it mean to feel human, unapologetically from the female perspective. The manifestation of Her documents offers a representation of memory energized by a sense of momentum. Her work shares a strong temporal dimension - a place where the past, present, and future are always meeting, often colliding or in conflict. Boyle’s work resonates with a tug of memoir, the desire to move forward but always with a strong gravitational pull of the past. Speaking in a viscerally raw language of unbridled honestly on female invisibility and social conditioning, Boyle presents the viewer with a deconstructed female perspective on emotional life.

Boyle’s Artifacts reflect on cultural and gender-nuanced elements of life: birth, death, mother, family, discord, trust, and healing. Her work explores the mapping of connections and growth between that which is tangible and that which is most often unmentionable and fleeting. Her narratives embody the external social messages that speak to personal and private but simultaneously mingle and resonate with her audience as emotionally responsive, collectively shared experiences.

Boyle’s work is in private collections internationally. She has exhibited at SOFA Chicago, is a Winterthur Museum Maker- Creator Fellow, and a United States Artist Nominee.

(Top to Bottom) Katee Boyle Dory 1, Child, 2021 Steel, wire, ribbon, rope, lace, enamel, fiberglass resin 7 x 2 x 2’ $3,200

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KateeBoyle.weebly.com

Katee Boyle Dory 2, Parent, 2021 Steel, wire, ribbon, lace, leather, enamel, fiberglass resin 4 x 4 x 13’ $5,800

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Charles Burch Charles Burch began his career in 1978 working for US Steel in Texas. Since then he has relocated to Gladwyne, PA to open and operate Burch Materials & Supplies Co. Charles has always been drawn to the arts, and has acted as an advocate for artists and a philanthroper to organizations. In his spare time he explores his own creatively where he cuts, burns, hangs, and stacks found objects.

Charles Burch & Leslie Matthews Smashed Drums in a Tree, 2016 55 gallon drums 9 x 9 x 9’ NFS

Charles Burch 3 RINGS, 2015 55 gallon drum cut into rings; chain and screw eye 9 x 3’ NFS

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Charles Burch Orange Timbers, 2017 Found wooden timbers, leftover paint, road hardware and cable 9 x 9 x 9’ NFS

Annette Cords Born in the North of Germany and raised in Hamburg, Annette Cords received her MFA in Painting from the University of Pennsylvania. Recent solo exhibitions include Shape/Shifters, Project:ARTspace, New York; Breaking the Grid, Kang Contemporary, Berlin; Sideways, New York Public Library; Diamond Days, Villa Rosenthal, Jena, Germany. Her work has appeared in group shows at venues including the Queens Museum, Flux Factory, The Drawing Center, Kentler International Drawing Space, and Montreal Centre for Contemporary Textiles. She has been the recipient of grants and residencies, including a New York Foundation for the Arts Fellowship, an Open Sessions Residency at The Drawing Center, and a grant from the ArsVersa Kunst-Stiftung.

“My work spans diverse media, from painting and weaving to installation and sculpture. Frequently, I incorporate ideas from other disciplines. I investigate physics concepts relating to time and space through my installations and hanging sculptures. In my paintings and works on paper, I explore the possibilities of using simple steps to create complex structures. My Jacquard tapestries focus on the convergence of visual and textual languages, making connections between text and textile. Specific themes persist in my art: an interest in structures, the possibilities of mark-making, an exploration of writing systems and vernacular styles, and an inquiry into how we process and interpret visual information. By merging ideas and transforming materials, I place my work in conversation with a range of topics while inviting close reading and looking,” Annette Cords.

(Top to Bottom) Annette Cords Drift, Float, Ripple, Ruffle, Glide, Flutter, 2021 Painted aluminum wire mesh Sizes variable, approximately 35 x 25 x 25” each Prices range from $800-$1,200

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InLiquid.org | AnnetteCords.net

Annette Cords A Crossing, 2021 Colored monofilament Dimensions variable, approximately 9 x 7 x 10’ Commission price available upon request

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Brian David Dennis Brian David Dennis was born in 1959. He was raised in a home with movable walls designed by his father, an aspiring artist. The openness and fluidity of the modular arrangement captured Brian’s imagination. His mother, a kindergarten teacher encouraged Brian’s free thinking and constant building.

As a student Brian considered following his passion for stage design, but sought the more personal expression the fine arts offered. He studied drawing and painting at the Pennsylvania Academy. He quickly settled into collage and assemblage. In the mid 80’s he began to explore installation using the exhibition location as an essential part of the piece.

A life long resident of Pennsylvania, Brian has lived and worked in Philadelphia since 1984 with his life partner Keith Breitfeller. He began exhibiting with the cooperative gallery, Vox Populi and remained an active member for 15 years. He has held solo exhibits at the Philadelphia Art Alliance, the Sande Webster Gallery as well as a prestigious Fleisher Challenge. He has been granted an Independence Foundation Fellowship and other awards.

This piece was created for the InLiquid exhibition Structures at Park Towne Place Museum District Residences as Arc and has been brought to the Glen to return to the earth.

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InLiquid.org | BrianDavidDennis.com

Brian David Dennis Maker / Once Arc, 2019-2021 (Section) Bamboo skewers, acrylic, glue, and wire 13 x 22 x 24’ NFS 19

Erica Ehrenbard Erica Ehrenbard is a sculptor based in Philadelphia with a practice that intertwines fine art with design, research, architecture, and custom fabrication. Through collaboration with other artists and architects, she has developed creative projects across many scales and industries.

After revitalizing an early-20th-century carriage house into a metalworking studio with Zachary Steinheiser, the two founded Carriage Creative Co., which provides custom design & fabrication services to artists, architects, designers, and homeowners.

Ehrenbard earned a BFA in Sculpture from Rhode Island School of Design in 2012 and has since been awarded scholarships with Vermont Studio Center, Chashama, and Center for Metal Arts. Erica's work has been acquired by private collectors and she is currently producing a public artwork for the City of Philadelphia.

“Digesting the experience of being alive is my ever-present artistic motivation. I transfer human instinct and psychological states into physical form, paying close attention to my own body as I work. Aligning with my media and amplifying its own innate characteristics allows me to develop objects that feel ‘one’ with their source. I work extensively with metals and fiber, among other materials, to produce work that feels as though it could have produced itself and surpasses human reasoning. Yet, the trace of my making inevitably leaves an imprint of my consciousness, and thus an inherent connection to those who experience the work.

I refer to the human figure as a primary source of inspiration, coupled with elements from the natural and built environment.

I am particularly focused on expressions of tension within our gesture and the process of growth within the natural world, which are powerful reflections of existence and time. I couple this inspiration with research into particular material histories and careful site observation to develop work that resonates with specific surroundings and contexts,” Erica Ehrenbard.

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InLiquid.org | EricaEhrenbard.com/

21 Erica Ehrenbard & Zachary Steinheiser Reliquary Remains, 2021 Cross-laminated timber, welded steel, cast bronze Overall site - approx. 10 x 18’ | Obelisk - 14 x 3 x 3’ | Pillars - 6 x 1.5 x 1.5’ $61,500 (Obelisk $43,500 | Pillars $9,000 each)

Charles Emlen Charles Emlen was born and raised in Paoli, Pennsylvania. He received his BFA in sculpture from Pennsylvania State University in 1981 and his MFA in sculpture from Arizona State University in 1984.

After leaving ASU he worked for several years as a sculptor’s assistant with Arizona artist Michael Anderson. In 1987 he returned to Pennsylvania where he built a sculpture studio and for the next twelve years worked on sculpture commissions and custom metal work. During this time he also worked as an electrician and CNC programmer. In 1999 Emlen took a position at a local avionics company and spent the next 18 years as a software engineer, designing and programing aircraft flight display graphics. In 2017 he retired from the avionics industry and has since been devoting most of his time to sculpture, machine art, and site specific installation.

“The universe is a vast array of infinite variation. While much of that variation already exists, most of it does not nor ever will exist. As humans, we have the unique ability to knowingly create things that were not here before and in doing so are privy to the notion that there is an immense reservoir of things that have not yet nor ever will be seen,” Charles Emlen.

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InLiquid.org | Emlen.com

(Left to Right) Charles Emlen Angels & Agony, 1996 Welded steel 6 x 4.5 x 3’ $6,000

Charles Emlen Alien Rasta Conspiracy, 2002 Welded steel 6.5 x 3.3 x 2.5’ $6,000

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Lisa Fedon Lisa Fedon was born in Bellefonte, Pennsylvania in 1955.

Having been introduced to art at an early age, she was 5 when a project at a Saturday art class left a lasting impression. Using string covered with glue, she wrapped it around a balloon and let it dry. When the balloon was popped, what remained was a 3-dimensional “balloon” shape defining space. Later and throughout her career as an artist, conveying the life that exists within and beyond the physical has fascinated Lisa.

While attending The Pennsylvania State University, Lisa was influenced by Alexander Calder’s early work. Therefore upon the completion of a BFA degree in printmaking, Lisa began developing her skills and techniques working with wire and mixed media. While experimenting and teaching herself the properties of creating sculpture with line, Lisa’s intent was to simplify as much as possible, using as little material as necessary, while still incorporating volume. Even though the simplification of Giacometti’s figures was intriguing to Lisa, she was also inspired by the work of Paul Klee, Mondrian and Frank Lloyd Wright.

Learning to weld had a significant technical effect on Lisa’s work. It opened up possibilities for functional sculpture as well as outdoor public commissions leading to major works at the University of Scranton, McDade Center for Literary and Performing Arts in Scranton, PA, East Stroudsburg University in East Stroudsburg, PA and the Arlington Public Library in Arlington, VA. She also completed projects for US Healthcare in Blue Bell, PA, Citizen Watch in Tokyo, Japan and was invited to show at the Allentown Art Museum, Allentown, PA. / Life’s Journey – Steel Sculptures by Lisa Fedon.

Throughout her career Lisa’s subtle use of humor and allegory expressed a message that reflected her life. Her sculptures emerged from the void capturing spirit, where steel and mixed media utilized space, while the meaning and subject of her work evolved. Initially her focus dealt with friends and personal relationships. After having children, Lisa’s concerns revolved around the family. Now that her children are grown, her focus pertains to society and the world. All the while, there is recognition of fullness within the void of her sculptures.

Having recently completed a 9-month artist residency at the Santa Reparata International School of Art in Florence, Italy, Lisa’s experience supported her direction towards a simplification of form and a reflection of the influences of space as related to the spiritual within architecture.

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LisaFedon.com

Lisa Fedon Running From Reality, 2016 Steel, bronze, miscellaneous objects 2 x 5.5 x 1.3’ $4,300 25

Michael Grothusen Michael Grothusen is an Associate Professor of Sculpture at the University of the Arts in Philadelphia.

His work has been exhibited locally, regionally and nationally including the Philadelphia Museum of Art, Philadelphia International Airport, the Kimmel Center for Performing Arts. He has also completed two permanent public commissions for the City of Philadelphia. He has received grants and fellowships from the Pew Fellowships in the Arts, the Pollock/Krasner Foundation and three Individual Artist’s Grants from the Pennsylvania State Council on the Arts. He received a BFA in sculpture from the University of Kansas in 1988 and an MFA from Tyler School of Art in 1991. In 2019 his work was included in the 8th Beijing International in Biennial at the National Museum of China.

“Sculpting the human form is a universal impulse that transcends time and place. Almost every culture in every corner of the globe pursues it in one form or another. I want these works to feel exceedingly familiar, but difficult to pin down. They are influenced by multiple sources; modernist sculpture, digital technology, African masks, Cycladic Art and other anthropological forms. They are intended to stop the viewer from coming to quick and easy conclusion about what they are for, where they are from and what they might mean,” Michael Grothusen.

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InLiquid.org | MichaelGrothusen.com

Michael Grothusen Half Blue, Half White, 2021 Cast concrete and steel 7 x 2 x 2.5’ $1,800

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Summer J. Hart Summer J. Hart is an interdisciplinary artist from Maine, living in the Hudson Valley, New York. Her written and visual artworks are influenced by folklore, superstition, divination, and forgotten territories reclaimed by nature. She is the author of Boomhouse (2023, The 3rd Thing Press) and the microchapbook, Augury of Ash (Post Ghost Press). Her poetry can be found in Waxwing, The Massachusetts Review, Northern New England Review, Denver Quarterly, and elsewhere. Her mixed-media installations have been featured in galleries including Pen + Brush, NYC; Gitana Rosa Gallery at Paterson Art Factory, Paterson, NJ; and LeMieux Galleries, New Orleans, LA. She is a member of the Listuguj Mi’gmaq First Nation.

“My work is about obsessiveness and obsession, memory, identity, & longing. I use a blade to draw objects that are indicative of natural forms such as leaves, feathers, barnacles, and seaweed. Sewing, layering, and adding lights & sound allow the work to operate across four dimensions.

I am astounded by the resiliency of the forest: the endless process of reproduction, mutation, and evolution. Even after we trample it, cut it all down, build from and over it, new seeds scatter, vines reach.

My work explores the way nature reclaims the built environment. Who or what will fill the vacancies after we have passed through?

In my hand-cut drawings, I use both the negative and positive pieces—weaving the off-cuts into thickets or clusters, collecting all of the tiny pieces & suspending them to mimic swarms or clouds.

An omen for the augur / that moment when starlings blackout the sun,” Summer J. Hart.

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InLiquid.org | SummerJHart.com

Summer J. Hart Our Fortunes are a Mercy, 2021 7 double-sided screen printed and hand-cut Tyvek, tension wire 12 x 18’ NFS | Reproduction available for $3,000

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rod jones ii rod jones ii is a multidisciplinary artist from Gary, Indiana living and working in Philadelphia, PA. He’s earned a Bachelor of Arts degree in Printmaking from Truman State University, and a Master of Fine Arts degree in Interdisciplinary Art from the Pennsylvania Academy. He’s shown work at the Pennsylvania Academy of the Fine Arts, Woodmere Museum of Art in Philadelphia, PA, Truman State University in Kirksville, MO, Tiger Strikes Asteroid in Philadelphia, PA, and Anna Zorina Gallery in New York, NY. He has also been collected by The Woodmere Museum of Art in Philadelphia, PA. He is currently an adjunct professor of Printmaking and Drawing at the University of Pennsylvania and Moore College of Art, and has lectured at Tyler School of Art at Temple University, Pace University, and the Pennsylvania Academy of the Fine Arts.

“This body of work is an archive of artifacts that exist in the land of the funkdafied. a place that exists in between the things we discard and the things we cherish. as one of the chosen mediators between the two worlds, it’s my duty to share these artifacts from the land of the funkdafied with our world. sculptures manifest as relics from ‘da land’ in an attempt to expand our understanding of being hood as it relates to black bodies and material culture.

It’s apparent that our existing systems of knowledge around understanding people and their ways of living have failed those of us who identify outside of heteronormative culture. it’s true that this world’s institutionalized structures won’t perceive all members of society as full citizens.

How might we reimagine our being outside of a frame of reference that has failed us? how might we move from the margins to the center? how might we imbue the present with visions of tomorrow?

These relics confront assumptions of representation.

These relics delineate time, place, and space.

These relics constantly redefine themselves when succumbed to friction.

These relics are food for the soul for those of us who exist within the margins,” rod jones ii.

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InLiquid.org | FriedEggsDotCom.com

rod jones ii untitled, 2021 Wire, papier-mâché, resin, beads, glitter, and sea shells 30 x 10’ x 20” (approximate) $15,000

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Joshua Koffman Joshua Koffman is a Philadelphia based sculptor known for his expressive and dramatic, large-scale bronze figurative sculptures.

Koffman is a recipient of many distinguished awards among which are the Alex J. Ettl Grant, the John Cavanaugh Memorial Prize, and First Place in the Grand Central Academy’s Sculpture Competition.

Koffman is a Fellow of the National Sculpture society. His work appears in numerous public and private collections and can be seen in Philadelphia’s F.A.N. Gallery.

Currently Koffman is working on two public commissions. He is recreating his 2/3 life-size bronze monument Synagoga and Ecclesia in Our Time which celebrates the 50th Anniversary of the Second Vatican Council’s declaration known as Nostra Aetate. This second edition will be installed on the campus of Marist School in Atlanta Georgia in October 2021 Also Koffman is sculpting a life-size bronze sculpture of Diligence, the first Percheron stallion brought to the United States from France in 1839. The sculpture of Diligence will be a focal point on Main Street in the center of Moorestown New Jersey.

Born in California in 1972, Joshua Koffman pursued a formal art education at the University of California, Santa Cruz, earning a BA degree in Fine Art. Desiring advanced study, Koffman enrolled at the Pennsylvania Academy of the Fine Arts where he also taught sculpture for 11 years.

“My work is an active pursuit in understanding and expressing humanity. Every piece takes shape through observation and contemplation. Working both conceptually and from life, I evaluate the relationships of form and subject by exploring harmony and discord and examining strength and fragility. By reflecting a struggle for balance that is neither criticism nor resolution, my observations become deeply layered mirrors.

In form, these metaphors embedded with humanity provoke our instincts and speak to us through our own vivid and tangible vocabulary. The work provides a moment to observe and reflect on our relationships, and it inspires us to celebrate the beauty that humanity itself portrays,” Joshua Koffman.

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Joshua Koffman Iris, 2012 Bronze 1.5 x 1.5’ x 10” $8,200

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

“Feeling freed by being confined... This paradox is the inspiration for my Sculpture in the Glen, Presence, a self portrait totem made of wood, clay and wire. The sculpture is meant to feel human rather than be a realistic depiction. Each component is symbolic of a physical or spiritual aspect of myself and my connection to nature.

The tree trunk base represents my love of trees and the grounding force I experience from nature. Their human gestures of reaching, bending, embracing and dancing have always been an inspiration for my work. Just as trees are rooted and confined to a particular spot, they are still free to wander and grow in different directions- this period of confinement represents the same for me.

The clay sculpture is an abstract depiction of my human form, with its round, curvy shape, while working in clay directly connects me to the earth.

The reflective and flexible, free flowing lines created by the metal wire represent my energetic life force being released from the limitations of the physical body.

With the use of these three distinct materials I was able to express this concept of being freed in spite of the limitation of confinement and bring Presence into existence,” Wendy Liss.

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WendyLiss.com

Wendy Liss Presence, 2021 Glazed creek clay 6 x 2 x 0.8’ $6,000

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Carole Loeffler Carole Loeffler is an artist, mother, and educator based in Philadelphia. She imbues vintage textiles with the spirit of nameless foremothers to create a variety of narratives that reflect her lived experience. She holds a BFA from Mason Gross School of the Arts at Rutgers University and an MFA from the University of South Florida. Carole has exhibited her work in over 100 group and solo exhibitions across the US. “My work utilizes found objects and textiles often donated by from women across the US and found in the ‘buy by the pound’ goodwill bins and other charity shops. I am interested in vintage photos, suitcases, quilts, greeting cards, pillowcases, clothing and ephemera from everyday life. Of particular excitement and interest to me is discovering evidence from the previous owner…handwriting on the back of a photograph or greeting card, stitches in a quilt, or on a handmade garment. I feel a strong connection to an anonymous person from an unknown time and place. The power of mark-making and stitches bind us together in humanity and suggest imagined narratives and a renewed purpose. Our stories matter.

Our lives are intertwined in the objects we use and own. I am interested in excavating, amplifying, and embellishing the stories of women before me – to bear witness and learn from the matriarchs of the past.

How can these objects and the work I create help light a path forward?

Through my hands, domestic textiles become imbued with the spirit of my imagined foremothers – emblazoned with positive affirmations – as if the spirit of the maker comes to life and offers solace and support. I connect with the women contained in vintage photographs and contemplate how best to share their stories. Greeting cards offer examples of long-ago friendships and connections and they become pattern, color, and material for collages. Suitcases display stickers of the places they’ve been and serve as functional storage, installation props, and literal reminders of the baggage we carry. I am the caretaker of these thrifted and found objects and the messenger from which their stories flow. We are stronger together and I aim to find ways to break down hierarchy and reimagine a world of support and connection,” Carole Leoffler.

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InLiquid.org | CaroleLoeffler.com

Carole Loeffler The Five Sisters, 2021 Vintage clothing, felt and thread Dimensions variable NFS

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In Addition to Sculpture in the Glen...

For 22 years, InLiquid has served as a unique resource for artists and the community. When you support InLiquid, you provide innovative, free contemporary art programming throughout Philadelphia, serving the region’s artists and audiences. InLiquid seeks to educate audiences about local artists and the value of Philadelphia’s diverse cultural community.

InLiquid curates and presents over 40 exhibitions annually through extensive venue partnerships throughout Philadelphia, and through our flagship gallery at the Crane Arts building. At the heart of its mission, InLiquid seeks to make vital services accessible to artists. InLiquid directly serves over 300 artists each year, providing exhibition opportunities, online portfolios, and a high level of visibility to the public, curators, and collectors, nurturing each artist’s career. Additionally, InLiquid facilitates the creation of new works through artist commissions, works with artists providing framing and exhibition preparation for their work.

Fall Exhibition Highlights:

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To learn more, contact Mark Kaskey at 610-263-5203 or visit: mjbwealthmanagement.brileyadvisors.com Sponsored Content

Chiaroscuro Spring May 22 - November 7, 2021 @ Park Towne Place 2200 Benjamin Franklin Parkway Artist talk with Sam Nejati and Heather Ossandon: October 12, 6 - 7pm

Color in Exuberance September 8 - December 19, 2021 @ The Yard 21 S 11th Street Plus many more! Check out our website at InLiquid.org to learn more!

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Julie Jensen Bryan & Robert Bryan | Amanda & Charles Burch The Burch Family | Glenn & Kristi Burtch | Frederic & Diane Liss Thomas Miles & Deanna McLaughlin | Franz Rabauer & Brian Daggett

The Friends of the Glen Event Committee Mindyjane Berman | Amanda Burch | Rebecca Davidson | Barbara Eberlein Steffi Freedman | Soukvilai Greiner | Julie Jensen Bryan | Wendy Liss Deanna McLaughlin | Thomas Miles | Corie Moskow | Bill Osman Pamela Shaw | Jerry Wind | John Y. Wind | Rachel Zimmerman

Thank you to our Participating Artists of Sculpture in the Glen 2021 Nancy Agati Alex Bard Francis Beaty Ava Blitz Katee Boyle Charles Burch Annette Cords Brian David Dennis Diane Deery Richards Erica Ehrenbard & Zachary Steinheiser Charles Emlen Lisa Fedon Michael Grothusen Summer J. Hart rod jones 39 ii Joshua Koffman Wendy Liss Carole Loeffler Arlene Love Leslie Matthews Gina Michaels Michael Morgan Gilvan Nunes Amy Orr Heather Ossandon Christopher Poehlmann John Schlesinger Maria R. Schneider Melanie Serkes Emily Selvin Peter Slavin Jonathan Stemler Hanna Vogel Dina Wind Roger Wing

Arlene Love “After graduating, the next forty years I focused on sculpture, with solo shows from North Dakota to California. My work has been included in juried exhibitions in the Museum of Modern Art (NY), Boston Museum of Art, Sculpture Center (NYC), Herbert F. Johnson Museum of Cornell University, among others. My sculpture is in the collections of The Philadelphia Museum of Art, James A Michener Museum, the University of Scranton and Franklin & Marshall College.

In Philadelphia, my bronze Winged Woman is in the garden of the Dorchester facing Rittenhouse Square. Eight Figures, life size bronzes reside permanently in the Kimmel Center. The gold leafed Face Fragment is in front of the Monell Chemical Senses Cemnter at 3500 Market Street.

My focus began shifting toward drawing during the dozen years we lived in a tiny mountain village near the city of Oaxaca, Mexico. My drawings, etchings and encaustics were exhibited in Oaxaca galleries and in exhibitions of Oaxaca artists. While in Oaxaca, I also worked in a print taller and created a portfolio of etchings which is in the Linda Lee Alter collection at PAFA. Meanwhile, I began taking photographs in our village and in neighboring markets. I loved taking pictures, but hated the darkroom, so I filled old shoe boxes with negatives, wondering why I kept taking pictures. In the year 2000, I saw the words digital darkroom. Until recently, street photography and candid portraits were my sole passion. I never asked permission. I wanted the person without his or her mask. The present is just an illusion. As soon as the shutter snaps it’s past. My photograph of Old Lee is in the collection of the Philadelphia Museum of Art. I have had more than thirty solo shows of sculpture, drawings and photographs, and am the recipient of awards and grants from the Pennsylvania Council on the Arts, Leeway Foundation, Louis Comfort Tiffany Foundation, and Temple University.

I have now returned to drawing. I want the feel of pencil and crayon in my hand making tangible marks.

Drawing is the magic of discovery,” Arlene Love.

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InLiquid.org

Arlene Love The Contralto, 1961 Cold cast aluminum and fiberglass 1.2 x 1.7 x 3.5’ approximate $2,100

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Leslie Matthews “As a mixed media artist, I can sculpt, paint, solder, sew, assemble…whatever technique I need to create my intended designs. Anything I see can become a part of my sculptures. From a steel grinding wheel to a soup bone to an old light bulb, they are all fair game. The freedom of material and technique is both liberating and intoxicating. At present my favorite material is painted tin.

I combine different textures and materials using traditional joining techniques often used by women.

Quilting aluminum cans, making bracelets for trees, creating chain links with dryer hose as well as paper collage and weaving photographs.

I grew up knitting and sewing and making things when ever I could. Once I started my own practice, I’ve been drawn to using traditional techniques such as sewing and knitting to join unusual components. My art is fluid, sliding between large and small, simple and complex pieces, always embracing the combination of disparate materials. I am as happy collaging paper as I am working with large sheets of steel. As the parent of two grown children the act of holding things together is ingrained in my being,” Leslie Matthews.

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LeslieMatthews.com

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Leslie Matthews Auric, 2021 Polystyrene, paint, steel rod 4 x 4 x 3’ $900

Gina Michaels “I explore the structural and emotional relationships between humans and plants. The work is at once animal, vegetable and mineral. Hand Plants can be read as deliberately cultivated hybrids, or as random and disturbing mutations. My sculpture fuses the forms and gestures of plants and humans, challenging categories and preconceptions. A hand is a leaf, or the earth itself. Fingers are flower petals that invite close inspection, but might also poke the viewer in the eye.

In a spirit of meditation and play, I press my hands, arms, legs and feet into casting sand, imprinting the expressive energy of the body into the mold. I also draw in the sand, recording the speed and arc of my movements. I then ladle molten bronze directly into the hollows created by my body. Using a spontaneous, collage-like vocabulary, I then assemble the cast elements, fusing the ancient tradition of cast bronze with the open forms of contemporary metal sculpture. Sometimes I include diminutive human and animal forms in various relationships with the plants, creating a more narrative, mythic dimension,” Gina Michaels.

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InLiquid.org | GinaMichaels.com

Gina Michaels Pluero, 2016 Bronze 9.5 x 6.3 x 6.3’ $40,000

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Michael Morgan “I am originally from Portsmouth, England, where I worked as a gardener for a number of years before studying to become an artist. I completed my BA (Hons) in Ceramics at The Polytechnic Wolverhampton UK in 1988, and my MFA Ceramics at University of Nebraska Lincoln in 1993. I lived in Lincoln NE since then, and moved in 2010 to Philadelphia PA, where I am a practicing artist.

I have received grants and awards from the Clay Studio, University of Nebraska, Nebraska Arts Council and The Bader Fund. Although I have taken part in a number of exhibitions, my work is mainly commission based. I have completed many brick sculptures for both public and private clients. My work has been featured in a number of publications such as American Craft, Ceramics Monthly, SMART dynamics of masonry, Landscape Architecture, Rockland Magazine and Dallas Morning News, to mention a few.

Some of my major commissions are; “Hornets Nest” 2015, Arts and Science Council, Charlotte NC, “Convergence” 2015 Blue Barn Theatre, Omaha NE, “Arches of Resurgence” 2013, SEPTA Philadelphia PA, “27th Street Hearth” 2012, City of Lincoln NE, “Silo” “Memory Wall” “Human Landscape Fireplace” 20052010, William Roskens Nashville NE, “Haverstraw Trophy” 2005 Rockland County AIPP, Haverstraw NY, “Spring Valley Terms” 2001 DART, Richardson TX. I am a sculptor who has worked almost exclusively with brick for some years. For me, using this humble everyday material to create public art can be a good vehicle for metaphor, mainly because of its accessibility to a wide audience.

Functional and semi-functional elements are an integral part of my sculpture, I don’t view them as an impediment to the artistic form, rather they drive it to become more when human involvement is present,” Michael Morgan.

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InLiquid.org | BrickworksMichaelMorgan.com

Brick hump emerging from the earth, thus emphasizing the connection of brick to clay/earth.

Michael Morgan Earth, 2020 Brick 1.3 x 6.5 x 6.5’ NFS | Site specific commission available

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Gilvan Nunes Born and raised in Brazil, Gilvan Nunes is living and working in Philadelphia since 2017.

“Gilvan Nunes began painting in the 1980s at the prestigious School of Visual Arts at Parque Lage in Rio de Janeiro; epicenter of the resurrection of painting in Brazil. Since then, his work has evolved into a robust and colorful explosion of a fantastic nature. Like other artists who flourished at this time, Nunes continues to investigate alternatives to painting in his own time, free of collective principles; as the artist that found his own pictorial system.

Gilvan’s art is a vigorous painting that erupts without a project, whose results of the procedure suggest floral motifs and landscapes. The beauty of these paintings despite their trivial reasons does not contradict the complexity of the true pictorial action of his work. The manual process is, therefore, for the artist today, the way he expresses his visual thought and lets his poetic sense flow, resulting in his poetic works of art.”

- Fernando Cocchiarale Art critic and curator, Director of the Rio de Janeiro Museum of Modern Art (MAM), Rio de Janeiro, Brazil “The eggshell, resilient and fragile at the same time protects the egg inside for its development. Full of symbology, the egg represents (re)birth, the new beginning. It raises the curiosity of what is going to come up next. The perfect shape of the egg has no starting point and no end, I see in it the continuous resurrection,” Gilvan Nunes.

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InLiquid.org | GilvanNunes.com

Gilvan Nunes Abandoned Nest / Resurrection, 2021 Ratan, kindling, hay, mixed media with 3 concrete mixed media eggs 3.6’ diameter $2,000

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Amy Orr Amy Orr is a studio and street artist whose multi-media practice involves the reinvention of found materials. Orr was educated in Philadelphia and Israel. She is a former tenured professor, arts administrator, designer and publisher.

Amy Orr’s work has evolved out of a background in textile concepts and practices. She pieces together found plastic scraps to create something of unexpected beauty, that raises questions about the environment, art and value.

“I am drawn to materials for their color, abundance and purpose.

Whether I am constructing a patterned surface or accumulations of ephemera, I use the material fragments to create a sparkling wasteland of personal histories and common stories. Where my work with plastic was once a lighthearted narrative about consumerism and culture, the lens is now on the environmental disaster that plastic is causing,” Amy Orr. “RX #5: Prescription for Disaster Most RX Vials are translucent orange to mimic the amber-colored glass bottles that were used in the past.

The orange coloring helps keep UV light from damaging the medications stored inside. The problem with standard orange prescription bottles is they can’t be recycled by the curbside services, because of the type of plastic they are made from.

A #5 inside the triangle at the bottom of a container indicates the plastic is polypropylene or PP. It is commonly found in medicine bottles, straws, bottle caps, condiment bottles and some yogurt containers. #5 plastic is often chosen for containers that must accept hot liquids, as it has a high melting point.

An estimated 4 billion prescriptions are filled in the US each year. While there’s plenty of other plastics being used by Americans, RX containers are piling up. The amber glow will fade but the vials will be around forever as they dry, crumble into micro-plastics which then fall into the soil and make their way into our crops and water sources.

The amber vials are mesmerizing in abundance. What kind of drugs will we need as the plastics particles build up in our bodies? Will the packaging continue to be harmful to our health?”

-Amy Orr on RX #5: Prescription for Disaster 50

InLiquid.org | AmyOrr.net

Amy Orr RX #5: Prescription for Disaster, 2021 #5 and other plastics, wire Dimensions variable $495 per component

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Heather Ossandon Heather creates ceramics that reflect her distinct background. Throughout her career, she has traveled through Asia, Central America, Europe and the United States. These experiences have cultivated techniques and methods that are incorporated into her studio practice. Focusing on functional pottery, and sculptural still lifes; traditional practices and everyday objects are the spotlight of her work. Ossandon operates HEOS Ceramics in Philadelphia, PA, and is a Visiting Assistant Professor and 3D Area Coordinator at Delaware State University. She has shown her artworks both nationally and internationally.

“Everyday things that get left behind have their own story to tell. While making dinner one night, I noticed eggshells, cartons, and kitchen scraps on the counter. “Catch” is a sculptural nature morte. It is influenced by vanitas, historic tableware, time spent in France, cooking at home during a pandemic, and studying the collect of the Winterthur Museum.

Catch uses the familiar to create an assemblage of objects to recollect the story of the past year. Plates, fruit, masks, pies, all things from the domestic spaces that we inhabited bundled together in a net of memory,” Heather Ossandon.

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InLiquid.org | HeosCeramics.com | HOssandonArt.com

Heather Ossandon Catch, 2021 Ceramics, netting Dimensions variable $1,000

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Christopher Poehlmann Christopher Poehlmann has been designing and fabricating chairs, tables, clocks and decorative light fixtures since 1989. In that time he has garnered an international reputation by pushing the boundaries between art, craft and design primarily through the portal of the design world as opposed to the art world. This innovative approach was rare in the mid 90’s when he launched CP Lighting at the ICFF but now increasingly more understood as a logical meeting point between these disciplines. Poehlmann works full time from his studio in West Philly, building work from his catalog and custom commissions for residential, hospitality and commercial jobs throughout the US and abroad.

A drive to pursue unique and personal designs has led Poehlmann to be a trend leader. Founding his company CP Lighting in 1995, he launched his first lighting collection at the International Contemporary Furniture Fair (ICFF) that year to great acclaim. Since that time, Christopher Poehlmann has worked tirelessly across the boundaries of Art and Design. Always equally interested in the disciplines of Studio Craft and Industrial Design, he has staged 16 solo gallery exhibitions, been part of numerous group exhibitions throughout the country in private galleries, scholastic galleries and museums, and has had his work published in sourcebooks, magazines, newspapers and blogs worldwide. This recognition has led him to curate shows since 2003 at a variety of museums, galleries and trade shows as well as writing essays about design for show catalogs, magazines and blogs. 2018 marked his 26th consecutive year as an exhibitor at the ICFF in NYC where he made his mark on the design world through the then uncommon use of recycled materials as well as being a very early proponent of what we now think of as Organic Design.

“Most of my work ends up indoors, though working with aluminum as my primary medium allows me to create sustainable outdoor work as well. This year I am featuring another of my RoughHewn benches for SITG. The RoughHewn bench is fabricated from aluminum which I carve to represent rough cut lumber and then powder finish to push the abstraction further. I find it quite interesting to use industrial materials in a way that requires discovery to determine their true nature.

The other piece on display this year is my Red Rocker, a vintage piece from my collection that I built for a solo show in 2001. This sculptural rocking chair has been featured in a couple of international source books of modern furniture, a show catalog and numerous magazines.

54 I will be accepting custom commissions related to either of these objects,” Christopher Poehlmann.

CPlighting.com

(Above) Christopher Poehlmann RoughHewn Bench in Blue, 2020 (photo will be updated) Welded and carved aluminum with powder finish 1.5 x 4 x 1.5’ $3,600

(Left) Christopher Poehlmann 55 2001 Red Rocker, Welded aluminum with distressed paint finish over powder coat 3.3 x 4 x 2’ NFS but will accept commission

Diane Deery Richards Diane Deery Richards is a land artist, living in Philadelphia, PA. She is an innovator with fibers and natural elements; it allows her the freedom to explore and play. Water is her vehicle to explore the relationship between colorful dyes and material. She is fascinated by the subject of water itself; her desire to explore these elements is a central part 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 Educations from Moore College of Art and Design (1993, 2008). Currently, the Chair of the Art Department at The Hill School, a private boarding school, she teaches digital photography and woodworking.

“I am a land artist. 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,” Diane Deery Richards.

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InLiquid.org | DianeDeery.com

(Above) Diane Deery Richards Shelter from the Wind, 2021 Fabric, wood and lights (4) 23 D x 42”, 23 x 50”, 23 x 58”, 23 x 64” $3,600

(Left) Diane Deery 57 Richards Washed Away,2021 Silk and resin 12 x 10’ $3,000

John Schlesinger John Schlesinger born in Topeka, Kansas is a veteran photographer turned sculptor and installation artist living and working in Philadelphia.

He recently completed a CFEVA fellowship and other awards include a Rome Prize, Louis Comfort Tiffany Award, an Aaron Siskind Fellowship and two National Endowment for the Arts Fellowships. His work has been reviewed in periodicals including; 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 institutions including 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. Residencies include five stays at MacDowell, VCCA (2), Blue Mountain Center (4), and Yaddo.

Schlesinger, often collaborates with Tra Bouscaren as 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). He recently completed “After the Fall” an evolving installation at the Cherry Street Pier on the waterfront in Philadelphia.

“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 interrogates 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 auto-cannibalistic 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 rubble58like 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,” John Schlesinger.

InLiquid.org | JohnSchlesinger.net

John Schlesinger Untitled, 2021 Cast stainless steel, cast bronze, resin, encaustic photographs, presciption pill bottles, lab clamps, neon embedded in silicon, rubber glass Dimensions variable Site-specific | Comission available

John Schlesinger Untitled (retinal), 2021 Recycled commercial sign, letters, recycled transformers, solar power panel Dimensions variable $4,000

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Maria R. Schneider Schneider’s art is characterized by graphic simplicity and conceptual undertones. A native of Madrid, Spain, Schneider studied at The Arts Student League in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia. She became a member of NextFab, a makers-space in Philadelphia, where she works with lasers, LED lighting and other technologies which she incorporates in her artistic practice. Previously, she completed a Law Degree and an MBA, disciplines that now inform her work.

Drawing and experimentation have always been central to her artistic practice. She marries art and technology using basic elements of drawing and simple lighting techniques. Her new ventures into photography use layering ideas to create mystical landscapes of color and shape.

Her work is part of several corporate collections – CubeSmart, Price Waterhouse Cooper, AIMCO, Rhino Investments, Raynes-Lawn- Hehmeyer, Lincoln-Harris, myCIO, as well as private collections. She has exhibited at the Barnes Foundation (group exhibit), Rowan University, Pennsylvania State Museum, Philadelphia City Hall, CFEVA, Philadelphia downtown galleries as well as Art Prize in Grand Rapids, Michigan, and Samara Gallery in Houston, Texas.

“Through digital manipulation of images, I expose hidden realities, the past and present bringing tension to search for a new future,” Maria R. Schneider.

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InLiquid.org | MariarSchneider.com

Maria R. Schneider Nature’s Chapels I-IV, 2021 I: Plexiglass, metal, acrylic sheets | $8,500 II - IV:Plexiglass, cement, LEDs | $2,000 each 4.5 x 1.5 x 1.5’ 61

Emily Selvin Emily Selvin’s sculptures evoke a dreamworld of her unconscious. At once nurturing and frightening, Goddesses and Oracles of My Dreams represent the uncomfortable truths of divination. Some come apart at the seams from the burden of knowledge, others mourn human self-destruction. As an outdoor installation, the goddesses and oracles remain unprotected and open to the weather – inviting artifice and nature to find ways to live harmoniously together.

“Goddesses and Oracles of My Dreams explores the vulnerable power of female prophesy by taking the viewer into her dreamworld of divination. If the Delphic Oracle was revered for her insight into the future, Cassandra’s prophetic voice was cursed. Although she could foresee the future, no one would believe her.

Exploring the tension between the ancient figures of the revered oracle and silenced prophetess, her sculptures express the mythical roots of dreams and art. While each figure carries a similar face, they evoke different aspects of awe, fear, strength, fragility, life, death, joy, and grief. Standing without arms on one leg, the Goddess of Childhood Games is a playful figure of Selvin’s imagination. Adorned with cards, jacks and dominoes, the goddess celebrates innocent childlike imagination. While her maternal gaze nurtures the young, she also protects them from the dangers of the adult world.

With her transparent face, limbless torso, and pin cushion as site of supplication, the Oracle of Fertility is the vessel for new life. Standing crucified within a stained-glass altar, the Oracle of Fertility stands defiantly against the power of those who seek to control the female realm of fertility and life.

Reminding us that without water, life ends, the Goddess of the Ocean rises in a tide of grief. As she struggles against the currents of plastic and refuse, her glass skirt reflects the sky and fragile ecosystem that is threatened by human greed. Yet the Goddess is not only grieving but portends the strength of floods and melting ice.

The Goddess of Nightmares and Dreams is a Janus faced being. With flowing red tears, one face looks at the glass village below, while the other glances away. If dreams represent hope for a common future, the other face reveals the nightmare of destruction unleashed from the comfort of our glass houses.

Growing like a tree in the woods, the Goddess of Forest Floors is covered in flora. Her presence in Selvin’s dreamworld evokes the threatened ability of forests to protect planetary life. By providing clean air and a stabile ecosystem, the goddess dares 62us to look inside her to see the narcissistic gaze of ourselves.

Goddesses and Oracles of My Dreams ends with the Goddess of Cicadas, who invokes the cyclical nature of time. With their chorus of violins, cicadas sing the song of summer. As a marionette, this goddess is the only figure created with arms. By playing with the cicadas like a puppeteer, the Goddess of Cicadas controls time.”

-Emily Selvin on Goddesses and Oracles of My Dreams

InLiquid.org | SelvinGlass.com

Emily Selvin Goddesses and Oracles of My Dreams: Goddess of Childhood Games, 2021 Papier-mâché, mixed media Dimensions variable $3,200

Emily Selvin Goddesses and Oracles of My Dreams: Oracle of Fertility, 2021 Papier-mâché, stained glass, mixed media Dimensions variable $7,400

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Emily Selvin Goddesses and Oracles of My Dreams: Goddess of the Ocean, 2021 Papier-mâché, stained glass, mixed media Dimensions variable $7,400

Emily Selvin Goddesses and Oracles of My Dreams: Goddess of Nightmares and Dreams, 2021 Papier-mâché, stained glass, mixed media Dimensions variable $5,800

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Emily Selvin Goddesses and Oracles of My Dreams: Goddess of the Forest Floor, 2021 Papier-mâché, mixed media Dimensions variable $8,000

Emily Selvin Goddesses and Oracles of My Dreams: Goddess of Cicadas, 2021 Papier-mâché, mixed media Dimensions variable $5,000

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Melanie Serkes Melanie Serkes is a multidisciplinary sculptor and installation artist working in metal, wood, stone and other found materials. She also explores ideas using drawing and printing techniques. Classically trained at Boston University, from 2002 to 2006, she uses this knowledge of figurative sculpture and drawing to abstract from life. She seeks to highlight and interpret the beautiful aspects of nature. In 2020, she installed her first large scale permanent sculpture titled, Phases, at The Bower: A Native Garden & Sculpture Park in Shermans Dale, Pa. Her work has been part of select exhibitions at the New Hope Arts Center, Delaware Center for Contemporary Arts and Fleisher Art Memorial. Outdoor exhibitions include Sculpture in the Glen in Gladwyne, Pa, ArtPaths in Cresco, Pa and an installation at the Stevens Points Sculpture Park in Stevens Point, Wi. She has a career in a bronze fine art foundry, mastering skills such as welding, metal finishing and patina application. Serkes lives and works in Philadelphia, Pa. “I have always considered myself an object-maker; affected by an intrinsic restlessness, I find great satisfaction in the manipulation of different materials. Inspired by the way bodies exist in and move through space, my creations are derived from the human figure and my work conveys those precarious moments that occur between fragility and stability. My work investigates universal themes surrounding life, growth and death.

Rhythm and repetition are a large part of my process. Spheres, circles and lines are the recurring vocabulary. Arranging elements in different formations, I create spaces and objects that strike a balance between dynamism and quietude, the grounded and the weightless. I integrate mechanical and organic concepts into each work. It is essential that the craftsmanship of each piece be held in as high regard as the concepts and that the work be as much about its inception as about its existence thereafter,” Melanie Serkes.

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MelanieSerkes.com

Melanie Serkes Tapestry, 2021 Coated steel 5.5 x 2.6’ $11,500

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Peter Slavin Peter Slavin has been a professional ice sculptor for the last 28 years, traveling to over 50 countries creating his art in ice. Over the past 7 years Peter had been creating steel sculptures that live in your garden. Interactive and immersive is the direction Peter has been focusing on. He welcomes those who are interested to visit his studio in west Philly and see alot of works in progress.

“I enjoy creating sculptures of all mediums, that are interactive, fun,and can live in clients gardens either permanent or temporary,” Peter Slavin.

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IceSculpturePhilly.com

Peter Slavin The Throne of Contemplation, 2021 Steel and wood 7 x 3.5’ $3,800

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Zachary Steinheiser Zachary Steinheiser is a sculptor & blacksmith from Philadelphia, Pennsylvania. He earned a BFA at Rhode Island School of Design in 2012. Zachary has worked professionally in monument conservation for the City of New York. He then further developed his metal working practice at Holzman Iron Studio where he served as a fabricator and assistant blacksmith. In 2019, Zachary founded Carriage Creative Company, a design & fabrication studio in the Callowhill neighborhood of Philadelphia.

“Structures fascinate me, natural and human made alike. Urban architecture is of particular interest.

Buildings and infrastructure are taken for granted, but their forms and compositions have a deep history. Raw materials are collected, refined and installed for purposes of habitation and industry.

After completion, buildings experience a cycle of life, death and re-birth as the fortunes of cities wax and wane.

In my sculpture, I work from the premise that a structure acquires a kind of inanimate soul as it is built, experienced and abandoned. The materials I use to accomplish this are primarily steel, wood, and concrete as they are familiar to a post-industrial urban landscape. In contrast to these heavy, structural materials, I include an element or idea that doesn’t quite fit. This is usually something vibrant in color or unrecognizable in form and serves to create a scene imbued with an unknown and undiscoverable history. The intersection between what is structural, familiar, understandable and that which is strange and unknown is where I intend my work to inhabit,” Zachary Steinheiser.

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ZacharySteinheiser.com

Zachary Steinheiser & Erica Ehrenbard Reliquary Remains, 2021 Cross-laminated timber, welded steel, cast bronze Overall site: approx. 10 x 18’ | Obelisk: 14 x 3 x 3’ | Pillars: 6 x 1.5 x 1.5’ $61,500 (Obelisk $43,500 | Pillars $9,000 each)

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Jonathan Stemler Jon Stemler lives in Montgomery County with his wife Kimberly and their three sons. He owns and runs a manufacturing facility in Perkasie, PA and is also a consultant for a movable bridge engineering firm. In addition to this, Jon designs, fabricates, and installs large scale work for other artists. Examples of such works were “Portal” created by New York artist Tomie Arai and “Chinatown eyes” by Mei-Ling Hom, both having been temporary installations in Philadelphia. “The Public Utterations Machines” for artist Rebecca Hackemann was installed for two weeks in both Long Island and Brooklyn, New York. Onsite machining is also part of his skill set such as his field work on “Oculus”, a permanent installation by Santiago Calatrava at the World Trade Center in New York.

Recent invitationals include “Dear Fleisher,” Fleisher Art Memorial in Philadelphia, “Salon of Small Works”, NAP in Kutztown and “Til Death Do Us Art”, Studio B in Boyertown. Temporary site specific work includes previous exhibitions at the James A. Michener Art Museum in Doylestown and Eastern State Penitentiary in Philadelphia with Matthew Stemler and “little red string” through the Asian Arts Initiative in Philadelphia with Kimberly Stemler. Permanent Installations with Kimberly consist of “alpha & omega” NHUMC in Gilbertsville, PA and “Windows of History” located at Univest National Bank in Souderton, PA. Much of his work is kinetic; it is playful, significant, and beautiful. It is to be accessible intellectually and artistically to all audiences. Both Jon and his work are absent of loftiness, condescension, and pretense.

Instead, one finds both the artist and his work to be simple, powerful, and humble.

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bit.ly/JonStemler

Jonathan Stemler Probe, 2021 Steel 10 x 22’ $7,000

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Hanna Vogel Hanna Vogel is an artist and educator living in Philadelphia, PA. She grew up in rural Northern California and received a BFA from the California College of the Arts and an MFA from the University of Massachusetts Dartmouth. In her work, she uses craft-based materials and techniques in non-traditional ways to make sculptures and installations that explore aspects of entropy in the natural world.

She has exhibited her work nationally and internationally, including at The Huntington Museum of Art, The Spartanburg Art Museum, Delaware Art Museum, and the Biblioteca Henestrosa in Oaxaca, Mexico. She has presented at conferences and published papers internationally and has received fellowships/ grants from Yaddo, the California College of the Arts, I-Park, Sculpture Space, The Künstlerdorf Schöppingen Foundation, Lighton International Artist Exchange Program, and Philadelphia Sculptors.

“I create imaginary landscapes and growths to investigate the effects of entropy on our environments. I hand weave steel wire to create unfamiliar forms and textures that evoke growth, decay, and the tenuousness of our surroundings. By referencing craft traditions and natural processes of dissolution, my work addresses aspects of existence on the edge of potential destruction. In doing so, it asserts the craft-based primacy of the handmade, grounding itself in the physical world on which we all ultimately rely.

Combined with this materiality, the scale and visual delicacy of my work allude to spatial and physical considerations of human bodies. The size and placement of these objects compared to the body describe the nature of their relationship. Some works loom down from above as if sitting in judgement or, alternately, being elevated above the destructive reach of human hands. By alluding to their own physical vulnerabilities, these objects underscore the precarity of our surrounding ecosystems. In doing so, my work aims to cultivate compassion for the physical world around us and for our own impermanent selves,” Hanna Vogel.

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InLiquid.org | HannaVogel.com

Hanna Vogel The Rise and Rise, 2021 Steel, fabric, house paint, rope 17 x 8” (length variable) $4,000 75

Dina Wind Dina Wind was born and raised in Israel, moving to the United States in 1963 with her husband Jerry and settling in Philadelphia. There she raised her family while studying at the University of Pennsylvania, the Barnes Foundation, and with Philadelphia artists Sam Feinstein, Tom Gaughan, and Leon Sitarchuk. By the late 1970s she began her own studio practice, first in painting and then welded metal sculpture. She became best known as a fearless lady welder at a time when this was quite unusual. With some 20 solo and over 100 group shows, Dina was active and prolific until she passed away from ovarian cancer in 2014, still young and vibrant at 76.

Her work is in the permanent collections of the Philadelphia Museum of Art, Pennsylvania Academy of Fine Arts, Woodmere Art Museum, University of Pennsylvania, Berman Museum, Reading Museum, Grounds for Sculpture, West Collection, The Bauer Sculpture Garden, Tel Aviv Museum and more, and is represented by the Bridgette Mayer Gallery.

She was also a passionate advocate for the arts and sat on many boards. She believed in the Power of Art to help improve individual lives and society at large. In her memory, her family created the Dina Wind Art Foundation to continue her philanthropy and expand her artistic legacy. All sales of Dina’s art support the Dina Wind Art Foundation and its mission to Empower Differences and Transform Lives.

“In the mid 80’s, I created a series in stainless steel, ranging from large-scale floor sculpture to pedestal works and wall sculptures. I explored a variety of finishes, employing a grinder to achieve Abstract Expressionist brushstrokes, or using a soft buffing process. These assemblages were meant to flow in space with balance and elegance and to be viewed from multiple vantage points. Reflected light adds an element of excitement and strength, as it hits the different planes of each piece. They all seemed light and airy, which of course was not the case,” Dina Wind, 2006.

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(Left to Right) Dina Wind Sail #5, 1998 Stainless steel 3.5 x 3.3 x 2’ $28,000 Dina Wind The Hug, 1990 Stainless steel 4 x 3.3 x 2.5’ $25,000 Dina Wind The Funnel, 1990 Stainless steel 3.75 x 3 x 3’ $22,000

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*all works courtesy of Bridgette Mayer Gallery

Roger Wing Roger Wing is a Philadelphia based sculptor who creates in wood, stone and bronze, as well as sand, ice and snow. His sculptures are exhibited in collections in Europe, North America and Asia. He has competed in world class, championship ice carving events since 1997. Recently he has been featured at large ice and sand carving exhibitions in Germany, including Binz, Usedom, Mainz, Dresden, and Leipzig. He has been awarded medals and top prizes at international ice carving competitions around the world including Gold Medal, Longqingxia, Beijing, China, 2020. Wing’s large outdoor tree carvings dot his home region, including the portrait of Rev George Duffield at Old Pine Presbyterian in Old City.

“I create sculpture, mostly human and animal forms, by direct carving. Using natural materials such as wood, stone, ice, and sand, I prefer hand tools and time honored methods. The process is part alchemy, part dance. Sculptor and material, concept and execution, creativity and tradition, physical effort and dreams, all combine in both deliberate and unexpected ways,” Roger Wing.

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InLiquid.org | RogerWing.com

Roger Wing Mermaid, 2021 Carrara marble 19.5 x 13 x 7.5” $3,000

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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

Left: Drift, Float, Ripple, Ruffle, Glide, Flutter, Annette Cords Back Cover: The Rise and Rise, Hanna Vogel

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