PMA Members Show Catalog 2023

THE 69TH ANNUAL PENSACOLA MUSEUM OF ART

This years Members Show Identity was created by UWF students Megan Haytack and Karla McMillan who are a part of the student-led design group called TAG Team. With the help of their mentors John Dougherty and Richard Rodriguez, the students created, designed, and installed all collateral invloved with the 2023 Members Show, including this catalog. Images featured on this spread are courtesy of UWF Historic Trust Archives.

FROM THE DIRECTOR FROM THE DIRECTOR

This catalog was created in celebration of the 69th Annual Pensacola Museum of Art Members Show to honor and celebrate the relationship between Gulf Coast artists and the institution.

The Pensacola Museum of Art was originally built in 1906 as the Pensacola City Jail. In 1954 the building was transformed into an art center under the leadership of the American Association of University Women. The AAUW introduced The Members Show during the art center’s inaugural year and it remains a vital part of our museum community. The exhibition continues to fulfill our mission, sixty-nine years later, by promoting an inclusive space of discovery and dialogue rooted in art, ideas, and culture.

The 2023 exhibition showcased the talent and creativity of over fifty artists working in a diverse range of media and reflects our current support role as part of the University of West Florida Historic Trust. Prizes awarded this year included 1st, 2nd, and 3rd place, an honorable mention, and a special People’s Choice winner voted on by visitors during the opening reception. In 2024, we are excited to celebrate The 70th Annual PMA Members Show which will be on view from March 8 - May 25, 2024.

“SIXTY- NINE YEARS LATER THE EXHIBITION CONTINUES TO FULFILL OUR MISSION BY PROMOTING AN INCLUSIVE SPACE OF DISCOVERY AND DIALOGUE ROOTED IN ART, IDEAS AND CULTURE.

NONNEY ODDLOKKEN 2022 WINNER & 2023 JUROR

The 2023 Members Show was judged by 2022 Best in Show winner Nonney Oddlokken. Oddlokken is a contemporary artist who utilizes fiber and collage techniques to create engaging mixed-media artworks. Her solo exhibition at the PMA, on view during the same time as the Members Show, was titled Tiny, Little Fables. The references in this body of work mix elements from her own childhood “fables,” Catholic references, Cajun folklore, New Orleans Voodoo, and the indigenous flora and fauna of Louisiana swamps and bayous. Her work employs a unique process that consists of handmade paper substrates and collage elements that are finished with hundreds of yards of hand-stitched gold thread embellishments.

The Nesting thread on paper collage 2019

60” x 42”

Chansong Woo

A silent witness ink 2022

Dwelling Fossil silverpoint, goldpoint, acrylic

2021

Nicholas Croghan

Lawrence Lazare

Laura Grace Thompson

2021

Reverse Flood Stage

water-based oil paint, natural solvents

2022

Lilly Stark

Brooke VanWye Penguins on Boulder Beach oil

Ryan

Abstracted Revival

chalk pastel

2023

2021

Michelle Luther

The Backyard oil on canvas

Crystal

Angelina Gemuend

Gila Rayberg Ornithologista mosaic 2022

Angelina Gemuend

Jeff crochet lace thread

2022

Crystal Marshall Wool IV mixed media 2020

Yvonne Christine

Ascension of Lilith

india ink 2022

Judy Otero

Spanish Mackerel

gyotaku print 2022

Lacey Berry

Ground Control

acrylic on canvas

2022

Mary Anne Staples

Times Gone By watercolor 2022

Linda

Trophy Wife (boys will be boys)

mixed media wearable sculpture

2022

Angelica Neyra

Loren Miller

purgatoire de grenouille

acrylic on canvas

Kissing Fish mixed media

2022

Joseph Romero

Samantha Earley

Web

watercolor on paper

2023

Art???

watercolor on paper

2022

Ashley Rafferty

Ashley Rafferty

Lee Jessen

Wave Study 10

water-mixable oil, mineral powder 2023

Show

Julia Joy Sorrie

Lindsay Keeling Coastal Calm acrylic

Katherine Romano

Long Cat

mixed media collage

2021

Cheryl Vernon Fox

Aquarium

textile 2020

Randy Morris Cahaba River Lilies

Maria Hoch Palm oil on canvas 2023

Alaina Forehand

Ava

oil on wood

2022

Racheal Homack

Puffer Fish Love

mixed media

2022

Jimmy Rhea

Bubba Quixote

steel, plywood, turf, chinstrap, oil rigger helmet, stop sign, antler

2019

Sea Sick

plywood, steel, poplar wood, hand drill, paint

2023

Jimmy Rhea

Julia Farina

Katalina

oil pastel, colored pencil

2022

Tulips

acrylic on canvas

2022

Kimberly Sorrie

The Divide acrylic 2022

Madeline S. Heflin

Lord COMPHET

acrylic, gold leaf foil

2023

Ashley Jordann Krieger

Amy Kuniyoshi

Flutter

acrylic 2023

Madailein AnzaldoSatterwhite

Desktop Clutter

alcohol markers

2022

Geza Brunow

Release the Kraken (Kaiju)

acrylic, casein on canvas

2023

Roofs of Corfu

pastel

2021

Offers Sparkling Origin

Myths

ceramic

2021

Diana Rell Dean

Barbara Balzer

Andy Thorne

Sea Dog

cold cast bronze 2021

Trey Peaden

Race to Win

oil on wooden panel 2022

Racheal Braley

Gilded Garbage. plastic on canvas

2023

1ST PLACE WINNER KELLY ANN MUELLER

How long have you been a member of the Pensacola Museum of Art?

I’ve been a member for just 2 years.

Can you tell us a little more about your submission to this year’s exhibition?

NEST is a work from my series “Survival Paradoxically Involves Surrender”. Nothing in nature exists in isolation; everything is part of a larger complex, universal system. Author/Biologist David George Haskell writes, “Survival paradoxically involves surrender, giving up the self in union with its allies. We’re all- trees, humans, insects, birds, bacteria- pluralities. Life is an embodied network…where ecological and evolutionary tensions between cooperation and conflict are negotiated and resolved. These struggles often result not in the evolution of stronger, more disconnected selves, but in the dissolution of the self.” I’ve long utilized rope/string as a metaphor for that interconnection, for all the push, pull, connection and slack it encompasses. More than ever, we work to separate ourselves from our ties that bind, and each move away from our centeredness pulls everything an inch closer to oblivion. A nest, however- a close network of interconnectedness- this is home, rest, restoration and regeneration. Works on collaged, papered quilt stemmed from my desire to work large without all of the transportation and storage difficulties, and immediately I was hooked on the physicality of the textured surface. The edges of the work, disintegrating into orange fluorescence, are a nod to the disappearing Gulf coastline. A viewer mentioned a likeness to the bright pink-orange egg clusters of the invasive apple snails we find in our waterways. I loved that comparison.

What’s the best art-related advice you’ve ever been given?

As cliche’ as it may seem:

To show up. Life gets busy, gets crazy, and it can be so easy to deprioritize studio time. If you don’t feed the studio regularly though, your studio practice atrophies, and it gets that much more difficult to get the work rolling again. Show up. Make the good work. Make the bad work. But show up.

JOHN DOUGHERTY

To Whom it may convert,

I am writing to apply for the position of Cardboard Shredder at your company. I believe my unique mix of skills makes me the perfect candidate for this role.

I have experience in all of the required skills, including destroying, creating piles, making confetti, eating trash, performing alchemy and turning gold into absolute messes. I also have a knack for making magic out of crap and a strong ability to decompose anything into tiny pieces.

In addition to my experience and qualifcations, I also bring enthusiasm and a passion for cardboard shredding. My colleagues would describe me as an absolute pro when it comes

How long have you been a member of the Pensacola Museum of Art?

I’ve been a member of the PMA since February 10th, 2023.

Can you tell us a little more about your submission to this year’s exhibition?

Cardboard for cardboard’s sake is a sculptural installation consisting of a large pile of shredded cardboard. I shredded this brown matter along with the help of my trusty paper shredder, and then when that one caught on fire, another paper shredder that was purchased through a local online marketplace, Book of Faces. I enlisted the help of AI to help me write some cover letters for the role of “Cardboard Shredder” a job which I performed over a time. This writing triptych accompanies my little pileland. I really enjoy talking and thinking about all kinds of art and so in some ways this piece is a rejection of the artist’s quiet indifference. I think art is sometimes judged based on how much it looks like it’s worth, rather than how much it makes us think or feel about ideas outside of the quantifiable output of labor. So making an Art in itself is a statement of labor or utility in that regard. I would have loved to have made a much more eloquent piece about those feelings but I’m tall, and clumsy like a stork and therefore I’m only capable of working in one medium which is absurdity.

What’s the best art-related advice you’ve ever been given?

Hello, come again, come again, stay, stay awhile, stick around a while, stick around, as long as you can, heaven help you, god help you, jesus help you, everybody else help you, everybody, everybody make happy, make everybody happy, be a comedian.

Cardboard Shred: Cardboard for Cardboard’s Sake Cardboard, Paper 2023

BARBARA BALZER

How long have you been a member of the Pensacola Museum of Art?

I have been a member off and on for several years.

Can you tell us a little more about your submission to this year’s exhibition?

My figures offering alphabets, symbols, and scrolls were sculpted in response to witnessing a kind gesture during a divisive time. I watched a political candidate visit a talk show that espoused views antithetical to his own. Although the show hosts either interrupted or ridiculed him, he remained poised and kept returning. Soon, the hosts not only let him finish talking, they thanked him for stopping by. When asked why he’d kept returning after being treated so poorly, the man answered that he’d hoped to offer nice people ideas they might not otherwise be exposed to and vice versa. I thought his reason was kind: more important than the content of the offer was the gesture of offering itself. In response, I began sculpting this series of figures offering letters and symbols from alphabets, past and present, of different countries and tribes: cuneiforms, hieroglyphs, Arabic and Chinese characters, Babel-like inscrutable gold-trimmed scrolls. They come by horse and longboat into a wilderness, emboldened by a belief that ideas, manifested by colorful polka-dotted alphabets, symbols, and scrolls, can be shared.

What’s the best art-related advice you’ve ever been given?

The best art related advice I was given was the observation that Art is over 50% stubbornness and less than 50% talent.

HONORABLE MENTION

AIDAN GARCIA

How

long have you been a member of the Pensacola Museum of Art?

I’ve been a member at PMA for the last three years.

Can you tell us a little more about your submission to this year’s exhibition?

My submission to this years exhibition is a painting that I made over the last two years (‘21-‘22). I created this piece during a period of great change and betterment in my personal and professional life which resulted in something I find directly representational of this period. The central two figures are the embodiment of duality. Surrounding these figures are many different characters, settings, and symbols which are meant to speak on my own personal philosophies, desires, crutches, sacrifices and oppositions.

What’s the best artrelated advice you’ve ever been given?

The best art related advice I was given was the observation that Art is over

50% stubbornness and less than 50% talent.

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