Chris Bennett

April 16, 2013, 1:25 am

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Chris Bennett

Chris Bennett is an Australian artist currently living in Hobart, Tasmania. He completed his Bachelor of Fine Art in 2006, and continued in 2007 to obtain first class honours at the Queensland College of Art in Brisbane. Chris has been developing his current series over the last five years, focusing on themes of urban alienation, entropy and social decay, and the slow death of personal aspiration.

Education

2006   Completed Bachelor of Fine Art, painting major
           Queensland College of Art

2007   Completed Bachelor of Fine Art, Honours 1st class
           Queensland College of Art

Prizes/Publications/Awards

2007    Untitled (reading man 2)
            Theiss Art Prize
            Finalist

2008    Solace
            Stanthorpe Art Prize
            Finalist

2008    Untitled (reading man 2)
            Redbubble.com 'In The Moment' Competiton
            Finalist, published

2009    Saturday
            Clayton Utz 'Launch' scholorship exhibition
            Finalist

2011    Smokescreen
            Glover Prize
            Finalist

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Chris Bennett

April 16, 2013, 1:43 am

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Chris Bennett

I have always been curios about manipulating or re-constructing discarded objects into other things of interest or use; (some were of less interest and use). This curiosity quite often got me into trouble with my parents having virtually made a scrap yard out of their well tended garden. However, my experiences led to a very practical “hands on” approach to jobs and projects, learning how to be very creative with ideas and thoughts. Over this period of time I have amassed a large collection of skills, which eventually led me into engineering and then into the creative world of Graphic design in the late 80s, which was just embracing the world of modern computers and digital imaging.

I photograph many everyday objects I see on my travels and around my home, I feel it is important to keep all the imperfections and unique flaws in each object (which would be very easy to remove using the computer). I like the idea of objects being "slightly out of proportion" or contrasted forms merged to form something entirely new, suggesting an almost alternative world of these juxtaposed forms. I’m not interested in creating disgust or shock as this would be too easy with this method of art creation, I am more interested in creating unusual images that are slightly ironic with a subtle blend of humour and which also illustrate elements of human oversight as in my series of images titled “Observers” and to an extent in “Circus Animalus”.

All of my illustrations are made up from specific collections of photographs containing textures, tones and colours that I feel best represent the subject, mood or title of the piece. The completed pictures can take many months to create from a large collection of digital images, most taken by myself over many years, each image then being carefully cut out and positioned, coloured or toned to fit “jigsaw like”. I take great care not to change too much of the original photographs except where it is merged or joined with another or necessary for the concept. The end results are very large digital photographs that keep the style of a normal photograph where no special filters or effects are used, nor are they “computer generated”, (I leave that to the experts in that particular field).

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Chris Bennett

April 16, 2013, 3:10 am

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Chris Bennett

Chris gained a B.A.(hons) at Sheffield School of Art and Design where her figurative work, executed mainly in oils on canvas, are of life studies and still life.
Some paintings were of discarded or broken items where she sought to highlight the intrinsic beauty of something rejected and give it new meaning.
Other pieces encouraged the viewer to see afresh the ‘humdrum and accepted’ with a new perspective and sometimes a sense of humour. We notice this in her studies of women.

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Elizabeth Barlow

April 16, 2013, 5:03 am

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Elizabeth Barlow

In my current work, I am exploring the portraiture tradition by using objects -- or belongings -- rather than faces to explore the human experience. I think of these paintings as "portraits in absentia." For me, all personal objects tell a story of their owner, in the process revealing so much about that individual’s psyche and life experiences. A pair of shoes, for example, might speak of the desire for luxury and adornment, the need for protection or the simple utility of a working life. Each of my recent paintings is a portrait of a person I know or have met, and by using their shoes as a stand-in for the self, I am revealing something truthful about their personalities, choices and journeys.

I have long been intrigued by the power of a solitary object—a luscious pastry, a pair of stiletto heels, a ripe pear—to ignite the imagination. I find a lone item challenging; it pushes me to delve more deeply into an exploration that uncovers and conveys the details of its owner’s narrative.

In the tradition of my heroes Vermeer and Zurbaran, I use light to create aura. I place my subjects under a spot light, as if they are on “center stage,” to heighten the air of mystery and grandeur I see in the story I want to describe.

In the past year, I have become fascinated with shoes as emblems of the person who wears them. The deep emotional content inherent in these very personal objects presents rich opportunities for storytelling.

BIBLIOGRAPHY
Honorable Mention Award Winner, Southwest Art Magazine's Artistic Excellence competition
December, 2011 view

Featured artist in Professional Artist Magazine view pdf

“Family Connections”, Artist Focus: Philip Barlow and Elizabeth Barlow
American Art Collector Magazine view pdf

“Double Take”, Artist Focus: Philip Barlow and Elizabeth Barlow
American Art Collector Magazine view pdf

“Dad, Daughter Share Exhibit” Park Record

AFFILIATIONS
Salmagundi Club, New York City;California Art Club; Oil Painters of America

EDUCATION
Art Students League of New York

Art Studio Certificate, UC Berkeley Extension, Awarded with Distinction in 2007

Master of Arts, History, University of Virginia

Bachelor of Arts, University of Utah

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Alin Varticeanu

April 16, 2013, 8:53 am

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Alin Varticeanu

Born 12 may, 1981 in Stefan Voda. Republic of Moldova

studied at the High School of Fine Arts Fine "Igor Vieru", Chisinau
and the Academy of Fine Arts, Music, and Theatre, Chisinau
debuted in 2003 with the exhibition The Bibliotheque Nationale, Chisinau, Republic of Moldova
is represented by Red House Gallery, St. Peterzburg, Russia and Sharp Art Gallery

EDUCATION
1997-2001 High School of Fine Arts Plastice “Igor Vieru”, Chişinău

2001-2006 Faculty of Fine Arts, Academy de of Fine Arts, Muzic, and Theatre, Chişinău

ACKNOWLEDGEMENT
2003 Debut, The Bibliotheque Nationale, Chisinau, Republic of Moldova

NATIONAL GROUP EXHIBITIONS
1997 "For children" The Bibliotheque Nationale, Chisinau, Republic of Moldova
2000 "Copies" Liubici Gallery, Chisinau, Republic of Moldova
2001 "Plein air "ARS DOR, the Academy of Arts, Chisinau, Republic of Moldova
2002 "Nous" The Brancusi Gallery, Chisinau, Republic of Moldova
2002 "Young Artists" The Brancusi Gallery, Chisinau, Republic of Moldova
2002 "The Mirror" ARS DOR, the Academy of Arts, Chisinau, Republic of Moldova
2004 "15th anniversary", The Museum of Ethnography
2005 "Young Artists" The Brancusi Gallery, Chisinau, Republic of Moldova
2005 "Autumnal"The Brancusi Gallery, Chisinau, Republic of Moldova

PERSONAL EXHIBITIONS
2003 The Bibliotheque Nationale, Chisinau, Republic of Moldova
2012 Red House Gallery , Sankt Peterzburg , Russia

NATIONAL/INTERNATIONAL CREATIVE CAMPUSES
2001-2010 Vilcov (Ucraine), Orheiul Vechi, Saharna, (Moldova), Repino,Sankt Peterzburg (Russia)

PRIVATE COLLECTIONS
Ethnographic Museum in Chisinau

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Carlo Modì Caravagna (Carlo Caravagna)

April 16, 2013, 10:55 am

≫ Next: Kathy Venter

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Carlo Modì Caravagna (Carlo Caravagna)

Pittore Grafico Serigrafo Illustratore
Italy

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Kathy Venter

April 16, 2013, 3:31 pm

≫ Next: Kurt Weiser

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Kathy Venter’s life-size, figurative ceramic sculpture has received widespread international acclaim.

Venter has developed a unique hand-building method to sculpt her ceramics without the use of moulds or armatures.

Her work has been published in books and art magazines on ceramics and sculpture in the U.K., the U.S.A., Canada and South Africa. She exhibits in leading contemporary fine art galleries in San Francisco, Sonoma, Palm Desert, Seattle, Toronto, Montreal and Vancouver.

Her sculpture can be found in national museums, as well as public and private collections internationally.

The Gardiner Museum of Contemporary Ceramics in Toronto and the Bellevue Arts Museum in Washington will be mounting installations of her work in 2010/2011.

Venter lives and works on Saltspring Island, British Columbia.

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Kurt Weiser

April 17, 2013, 3:19 am

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Kurt Weiser

In the hands of Kurt Weiser, (b. 1950) the centuries-old tradition of china paint on porcelain is given new life. Weiser’s sumptuous, provocative teapots and jars, resplendent with lush jungle scenes, can be both alluring and unsettling. Detailed depictions of tropical splendor become wayward reveries as radiant colors and subtle distortions transform classic porcelain vessels.

Weiser, trained in ceramics at the Kansas City Art Institute and the University of Michigan, originally worked in an abstract, non-representational style with minimal surface decoration. While director of the Archie Bray foundation in Helena, Montana from 1977-88, he began to feel limited by this approach and contemplated new ways of working. Around 1990, he took the first step towards his current style when he covered a porcelain teapot with intricate botanical imagery using black and white sgraffito. After making a series of visits to Thailand, where he was inspired by the region’s luxuriant, intensely colored flora and fauna, a black and white palette no longer satisfied him. Seeking to capture Thailand’s richness, he began to experiment with China paints. Soon his skill as a colorist became an indispensable element of his work.

With the introduction of color into his work, Weiser also began to indulge his narrative impulses by incorporating figurative elements, drawn both from fantasy and art history, into his jungle scenes. Weiser’s figures, often nude and distorted across the planes of his vessels, move through steamy, Eden-like landscapes, interacting with the natural world they encounter. Themes of lust, predation, scientific curiosities, and the vulnerability of both man and nature abound in these scenes, resonating curiously with the cultivated vessel forms and refined medium Weiser has chosen.

Although Weiser has worked in this style for more than ten years, his work continues to evolve. The technical challenge of the overglazing process he uses, which requires multiple firings for each vessel and careful attention to the order in which colors are applied, forces him to thoroughly consider each piece he creates. Through refining this method of working, he has learned to take full advantage of the three-dimensionality of his surfaces by extending his scenes to fully encompass each vessel. In his recent work, he says that the softened, amorphous forms of his vessels should blend with their seamlessly painted surfaces so that the pots fade from view and “the painting is the three dimensional reality” floating in space as would a dream or reverie. Whether Weiser’s work is interpreted as three-dimensional painting or sensuously decorated porcelain, the pots he creates are among the most vivid and decadent of modern ceramics, providing a distinctive contribution to the ever-expanding medium.

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Dirk Staschke

April 17, 2013, 3:49 am

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Dirk Staschke

Canadian resident, US citizen

Education
1998
Alfred University, Alfred, NY, Master of Fine Arts Degree
1995
University of Montevallo, Montevallo, AL, Bachelor of Fine Arts Degree

Teaching Experience
2007-2011
Emily Carr University, Vancouver, BC, Canada, sessional
2006
Wayne Art Center, Philadelphia, PA, Art faculty
2005
Alfred University, Alfred, NY, Visiting Assistant Professor fall semester
2003-04
Burlington City Arts, VT, Art faculty
2002-03
New York University (NYU), New York, NY, Adjunct professor Sculpture (2 years)
2000-03
Nassau Community College, Garden City, NY, Adjunct professor Ceramics (3 years)
1999-03
92nd Street YMHA, New York, NY, Art Faculty (4 years)
1998-03
Greenwich House Pottery, New York, NY, Faculty (5 years)
1999
Alfred University, Alfred, NY, Visiting professor for summer school

Grants and Awards
2012
Virginia A. Groot Foundation Grant, third place
City of Bellevue Special project grant, Bellevue, WA
2011
Canada Council for the Arts, Production Grant
2010
Bellevue Arts Museum Biennial winner, John & Joyce Price Award of Excellence.

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Clint Neufeld

April 17, 2013, 4:39 am

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Clint Neufeld

Clint Neufeld is a sculptor who works with concepts of masculine identity, currently in the form of ceramic transformations of engines and transmissions.

Neufeld was born and raised in small town Saskatchewan. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military, which included a deployment to the former Yugoslavia in 1994. After a failed attempt pursuing a career as a firefighter Neufeld began his BFA at the university of Manitoba in Winnipeg and finished at the University of Saskatchewan in Saskatoon. In 2006 he completed his MFA at Concordia University. He now lives and works on an acreage near the town of Osler, Saskatchewan.

EDUCATION
2006 M.F.A. Concordia University. Montreal, QC.

2002 B.F.A. University of Saskatchewan. Saskatoon SK.

GRANTS
2010    Saskatchewan Arts Board Independent Artist Grant

2009    Canada Council for the Arts Research/Creation Grant

2009    Saskatchewan Arts Board Independent Artist Grant

2007    Saskatchewan Arts Board Independent Artist Grant

2004    Saskatchewan Arts Board Class C Professional Development Grant

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Maria Rubinke

April 17, 2013, 5:05 am

≫ Next: Gerit Grimm

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Maria Rubinke

( Danish, 1985 )
Ceramic artist.

Cracks in the glazing – surreal object displacement

Maria Rubinke (b. 1985) is Danish and studied at the Glass- and Ceramic school Bornholm. Since graduating in 2008 she has attracted an enormous amount of attention with her sculptures, which break with the traditional aesthetic one associates with small, charming porcelain figurines. Their inherent innocence is put at risk in the artist's works, where various catastrophes have resulted in fragmentation and deformation. In one series of objects the traditional porcelain doll is removed from its idealized world and placed on the battlefield of subconscious desire. Here violence and aggression are played out in bloody tableaux in sharp contrast to the decorative delicacy of the material.

The figures are composed in a way that gives them psychological content, playing on burlesque and humoristic associations. One such is “Eat me!” where the soft heads of the babies replace the ice cream, and a couple of extra swirls on top function as horns growing from the forehead. The fragile material, the soft skin, as well as the helplessness of the babies in their role as the objects of desire, suggest a theme of victimhood, albeit with humorous undertones. The series can also be interpreted as a critical commentary on our consumer society, where a human can be confused with a consumable item. Making the skin of the baby seem so edible is also a way of visualizing a spontaneous reaction we often have to babies: "Oh, aren't you lovely! I could just eat you up!" Help yourself, says Maria Rubinke. But as we move between the temptations of ice cream and a baby's soft skin we are disturbed by the trickle running down the face, with associations to both strawberry topping and blood.

This movement between the aspect of victimhood and desire introduces an interesting psychological perspective. Maria Rubinke's works can be seen in relation to the object strategies of surrealism, which in great part were inspired by Sigmund Freud's Das Unheimliche. Concepts such as castration anxiety and infantile complexes were assimilated by surrealists through their fascination with the subconscious. Maria Rubinke tears her objects loose from their normal meaningful and rational contexts. By subjecting everyday objects to a displacement, in some instances creating a new eroticized hybrid, the artist summons up the sinister. A spine-tingling disquiet is created by the weaving together of a dead object (ice cream) and a living subject (the baby heads).

In “Model child” the artist considers the current fashion for humanizing our pets. The subconscious desire is projected onto the hybrid expression of the chihuahuas. The hybrid anatomy of baby and dog reveals our position of libidinous desire, before the censorship of our reason falls across it, and shows us the hidden and taboo-laden. The dogs are clothed as children and function as a substitute for intimacy and physical contact, or, as the title suggests, the dream of having a baby. The dogs' baby costumes and anatomical helplessness can suggest subjugation and objectification. The desiring eye transforms the creatures into helpless, innocent victims.

In applying gold to details of her works Maria Rubinke is in a long historic line stretching back to ancient Chinese porcelain traditions. In the nineteenth century British china dogs were a common element of fashionable interiors. The glazed figurines were often purchased by sailors in British ports and brought back to the mantelpieces of Scandinavia and Northern Europe. This feature of British porcelain production took as its model the ancient Chinese Fu dogs, porcelain figures that stood guard by the altars of Buddhist temples in China.

Maria Rubinke reminds us that catastrophe, taboo subjects, and destruction often find their way into the innocent world of toys. Children will bring to their sense of play a freedom that also encompasses brutality and death, thereby flying in the face of the norms ascribed to the toy by its maker. Children who crash planes and cars, or give their Barbie dolls a crew cut, are expressing a spontaneous and unpredictable creativity. Maria Rubinke employs the same ethic, challenging the expectations we bring to the grammar of toys. The artist wrestles from the toy its innocence, purity, and didactic function, in order to dive headlong and with a constant smile into taboo subjects such as existential estrangement and the subconscious displacements of desire.

Beside the remains of a full-grown cod rises a porcelain doll, shorn of all her innocence. The moment of birth is magical and her rush upwards is caught in the swirl of her hair. This bloody metamorphosis would have us recall the world of myths where gods are born of animals. The biblical legend of Jonas and the whale relates the moment of regurgitation as a symbolic tale of cleansing and conversion.

Maria Rubinke's works are also about contradiction, the desire's moment of victory trumped by Death's ironic smile. Humans are never fully in control of these deeply serious and potent forces, which perhaps explains their constant recurrence in the great themes of world art. The number of myths and dramas that describe how a Dionysian chaos, once devoid of any Apollonian clarity, dissolves into decay and destruction, are beyond count. Energy, powerlessness, desire, death – the ground is constantly shifting in her works, but never without a humoristic smile. The serious is counterbalanced by burlesque laughter, by gaping skulls that invite you along to life's great steeplechase. The formal elements mirror a world of pleasure.

In “Wannabe Mermaid” (Selfish) the beard of the cod and its bones are echoed in the flailing hair. The technical possibilities of the porcelain are pushed to the limit to achieve this play with motifs, as it is again in the perforation of Bambi-trophies by bullets and entry wounds. A masochistic game where both hunter and hunted are victims? The feminine Bambis wear their entry wounds decoratively, almost like a gold necklace, a point emphasized by the ornamental gold trimming. Two revolvers decorate the phallic form of the antlers, a crowning which perhaps can be interpreted as an ironic comment on the heroic rituals of the hunt. The play on gender constructions and mythologies can refer us also to erotic symbolism of the phallic and the perforated. This Bambi, with her pistol power, is all ready to even out the odds in the final reckoning.

Tone Lyngstad Nyaas, Curator, Haugar Vestfold Kunstmuseum.

Scholarships and awards:
Nationalbankens Jubilæumsfond - 25.000 kr
For one graduating student - Biggest Talent 2008
Scholarship - Vestfyns Bank

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Gerit Grimm

April 17, 2013, 7:18 am

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Gerit Grimm

Artist Statement
“Born and raised into a socialist East German society, which transformed in front of my eyes into capitalist West Germany mesmerized my senses of reality. East Germany got flooded with consumerism, lies and illusion. Truth can be discovered in folds and layers. I create layers of dialogue by constructing nostalgic visions from recycled patterns and ideas and present them to the audience in theatrical dioramas; child hood like dreams for the grown up. Each piece is a slice of life freeze framed and manifested. The captured scenes direct the viewer to imagine the frame in its animated whole. There the truth can be discovered.”
-Gerit Grimm

Biography
Gerit Grimm was born, and grew up in Halle, German Democratic Republic. In 1995, she finished her apprenticeship, learning the traditional German trade as a potter at the “Altbuergeler blau-weiss GmbH” in Buergel, Germany and worked as a Journeyman for Joachim Jung in Glashagen, Germany. She earned an Art and Design Diploma in 2001 studying ceramics at Burg Giebichenstein, Halle, Germany. In 2002, she was awarded with the German DAAD Government Grant for the University of Michigan School of Art and Design, where she graduated with an MA in 2002. She received her MFA from the New York State College of Ceramics at Alfred University in 2004. Grimm is a widely traveled artist, and her work has been exhibited in America, Germany, Japan, and China.

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Meg Murch

April 17, 2013, 10:54 am

≫ Next: Roy Kanwit - Taconic Sculpture Park

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Meg Murch

I make sculpture modeled in clay.   I am working with the human figure and face, both abstractly and realistically. Currently, I paint my pieces after firing. Both my sculpting and painting approaches are flexible; I like variety and experimentation more than a guaranteed outcome.

     I’m drawn to the exacting nature of sculpting from life. A model brings a wealth of detail, gesture, emotion, anatomy that I try to capture in my work. Time is always limited, models are restless and light can obscure the form. Staying focused to create an engaging likeness or dynamic form is the challenge.

     Recently I have been creating moderate to life size figures with clay slabs. I enjoy the engineering and construction aspects of building a piece. After my slabs and joins firm up and will bear the weight, I model by adding and subtracting clay. I am learning mending and hollowing techniques so I can make major or minor revisions to my work as I go. This slab building allows me to build quickly, maximize the time I have to focus on my model and to decrease my finish work.

      After firing my piece, I give myself another goal - to revise with paint. I think about the complexity of the sculpture, the dynamism in the form and the piece’s mood, if it is tangible, then I decide whether to play up or down these aspects.    I ask what the sculpture reminds me of, a period in art history, a particular artwork, an aspect of the model’s own history. Using these associations, I think about color and mark making. Some sculptures have no strong suggestions to make and I feel free to have fun, play, try stuff out.

      As my painting progresses, I struggle with the sculptural information, texture, line and feature that can be lost, reshaped or dominated by color. Colors and lines have to be softened or muted to work with the sculpture. The sculpture has to be considered in the round. The painting is a panorama and has to wrap the piece. My challenge is to make the sculpture integrated as a painting and readable as a sculpture. It is all good mind bending work.

     I like to check out people looking at artwork in museums and galleries. Where do they stop, what details deserve scrutiny? Showing locally, I have discretely watched viewers of my own work. This combination of painting and sculpture lures some viewers to a closer and longer look. Ah, success.

Meg Murch is a longtime Seattle resident. Her fascination with portraiture began in high school. She attended Evergreen State College in the 70s when realist artwork was not the thing. Her early efforts were self taught. She worked 30 years at Boeing in a skilled blue collar trade. She has taken advantage of the art schools of Seattle especially Pottery Northwest and the Gage Academy of Art. She has worked extensively with both painted and sculpted portraits over the last 15 years. She's received a number of local awards and was included in January 2011 Ceramics Monthly. She is currently a resident at Pottery Northwest.

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Roy Kanwit - Taconic Sculpture Park

April 17, 2013, 12:33 pm

≫ Next: Mark Chatterley

≪ Previous: Meg Murch

Roy Kanwit - Taconic Sculpture Park

Roy Kanwit is one of those people. He has gone his own way and the motivation for his art comes from within. It has not been stifled or discouraged by approval or reprimand, or wealth or poverty, or companionship or loneliness.
For almost 30 years Roy has made it his endeavor to bring to form the images that flood his mind. They are sometimes disquieting and fearful; more often they are harmonious and peaceful.
Roy's hands reflect clearly in marble, and steel and cement what he sees in his mind's eye. His life's work is simply to express the wonder and awe and fear and joy and love and fascination experienced in living life and confronting death.
What follows are thumbnails of a small sample of Roy's work. Click on the images to see a larger photo and description of any piece. Many of these pieces are visible by taking a walk through the park. Others are sold or in the studio and only available for viewing by appointment or when the studio is open to guests.

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Mark Chatterley

April 17, 2013, 1:44 pm

≫ Next: Aron Hart

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Mark Chatterley

Mark Chatterley creates larger-than-life ceramic figures with lava-like glazes. Seeming to have emerged from the earth's crust, the creations of a fire god millions of years ago, his sculpture possesses a primordial presence that transcends time and geography. One might expect to find a silent grouping of his work on a South Pacific island, in an African savanna, or perhaps atop an Irish knoll. The figures are not "pretty," and they sometimes have an edge of intensity, not unlike Magdalena Abakanowicz' works. Yet, their power is expressed through an astonishing, primitive grace. After building a kiln to accommodate his seven-foot tall, one-piece, free-standing figures, he set himself free to explore "the archetypal images that go beyond culture and time that Jung wrote about."
Chatterley has emerged as one of the strongest ceramic sculptors of our time. He has contributed to the force taking ceramics from the level of craft to that of high art. In recent years, he has cast several of his large works in bronze.

Curriculum Vitae
Education
Master of Fine Arts, Department of Art, Michigan State University, East Lansing, MI, June, 1981
Bachelor of Fine Arts, Department of Art, Michigan State University, East Lansing, MI, June, 1979

Awards
2003 "Merit Award," Cherry Creek Arts Festival, Denver, CO
2003 "Best of Show," Fine Art at Meadow Brook, Rochester Hills, MI
2002 "First Place Sculpture," Festival of the Masters, Walt Disney World, Lake Buena Vista, FL
2002 "First Place Sculpture," Crosby Festival of the Arts, Toledo, OH
2002 "Second Place 3-D Non-Functional," Fountain Square Art Festival, Evanston, IL
2002 "Distinguished Award for Clay," Royal Oak Clay & Glass Art Show, Royal Oak, MI
2000 "Silver Purchase Award," The Sixth Taiwan Golden Ceramics Awards, Taipei County Yingo
Ceramics Museum, Taipei, Taiwan
2000 "Award of Distinction," Art Festival Beth-El, Temple Beth-El, St. Petersburg, FL
1999 "Second Place," National Ceramic Competition, Kennedy-Douglass Center for the Arts, Florence, AL
1998 "Award," Lakefront Festival of the Arts, Milwaukee, WI
1998 "Award of Merit," Fletcher Challenge Ceramics Award, Auckland Museum, Auckland, New Zealand
1998 "Best of Show," Art Festival Beth-El, Temple Beth-El, St. Petersburg, FL
1998 "Purchase Award," Art Festival Beth-El, Temple Beth-El, St. Petersburg, FL
1997 "Award," Lakefront Festival of the Arts, Milwaukee, WI
1996 "Purchase Award," Art Festival Beth-El, Temple Beth-El, St. Petersburg, FL
1996 "Award of Honor," Art Festival Beth-El, Temple Beth-El, St. Petersburg, FL
1995 "Award," Art on the Green, Franklin, MI
1995 "First Place," "Michigan Ceramics '95," Michigan Potters' Association, Habatat-Shaw Gallery, Pontiac, MI
1994 "Best of Show," East Lansing Art Festival, East Lansing, MI

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Aron Hart

April 18, 2013, 7:35 am

≫ Next: Sharon N. Weilbaecher

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Aron Hart

What I create has the potential to bring people joy for lifetimes. This is an honor to be a part of and a motivation to continue to do my best.

Aron Hart is an award-winning Portrait and Fine Artist, living in the Seattle area. He specializes in oil paintings and drawings.

Aron's talent for art came to light after a childhood accident that left him bedridden for three months.

His mother gave him paper and colored pencils to entertain him and his passion was ignited. He has been drawing and painting ever since.

Dedicated to learning, Aron has continued to develop his skills over the years, studying locally and abroad, and most recently completing three years in the Drawing and Painting Atelier program at Gage Academy of Art. He also teaches at Gage Academy of Art.

Awards & Honors

3rd Place - Painting, Edmonds Art Festival, June 2012

1st Place - Drawing, Edmonds Art Festival, June 2011

1st Place - Portrait, Best of Gage, Gage Academy of Art, June 2011

1st Place - Burien Arts Annual Juried Exhibition, November 2010

Peoples Choice Award - Best of Gage, Gage Academy of Art, June 2010

Puget Sound Group of NW Painters Scholarship, 2010

3rd Place - Figure, Best of Gage, Gage Academy of Art, June 2008

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Sharon N. Weilbaecher

April 18, 2013, 7:45 am

≫ Next: Robin Siegl

≪ Previous: Aron Hart

Sharon N. Weilbaecher

Biography
Born in Fort Smith, Arkansas, Sharon N. Weilbaecher has lived in New Orleans, La. since 1967. She received her BFA degree from the University of Colorado at Boulder and her MA in Medical Illustration from the Johns Hopkins Medical School, Baltimore, Md. She has been on the faculty of Johns Hopkins Medical School in the Medical Art Department and was Director of Medical Illustration at both the Tulane Medical Center and Alton Ochsner Medical foundation in New Orleans, Louisiana until l976. Sharon has had more than 800 illustrations published in medical and surgical journals and textbooks. She has been exhibiting her art since l976.

Her work has been shown in galleries and museums throughout the United States including: The Forbes Magazine Galleries in New York City; the New Orleans Museum of Art, New Orleans, La.; the Windsor Court Hotel (solo), New Orleans, La.; the West Baton Rouge Museum in Louisiana; Southeastern University, Hammond, La.; The Crescent Gallery, New Orleans, La.; Wyndy Morehead Gallery, New Orleans, La.; Casa 'Arte, Shreveport, La; World Trade Center, New Orleans, La; Leslie Levy Gallery, Scottsdale, Arizona; Downtown Gallery, New Orleans, La; The John Pence Gallery, San Francisco; Grand Central Art Galleries, New York City; Percy H. Whiting Art Center, Fairhope, Alabama (solo); Zigler Museum, Jennings, La. (solo); Reinike Gallery, New Orleans, La.

Weilbaecher has received numerous awards and honors in national competitions: The New Orleans Museum of Art selected her as one of 10 artists honored at the Love in the Garden Fund Raiser, September 2010. Other awards and honors include: The Presidents’s Award for “Ruffled Feathers”, National Arts Club’s Open Online Exhibit, New York, 2008; The House of Heydenryk Award, National Arts Club, New York, NY; Exhibiting Members Show, 2006; The Grumbacher Gold Medallion, National Arts Club, New York, NY; Exhibiting Members Show, 2004; Finalist in AMERICAN ARTIST's "Realism Today" National Art Competition, 2000; Tara Materials Award, AMERICAN ARTIST's Golden Anniversary National Art Competition 1987; Norma Shumate Memorial Award, National Watercolor Oklahoma; Muriel McLatchiel Miller/Grumbacher Fine Arts Award, Association of Medical Illustrators, New Orleans, La., 1991;Sampson Feldman Visiting Scholar in Art as Applied to Medicine, Johns Hopkins University School of Medicine, Baltimore, Maryland, l988.

Weilbaecher's paintings have appeared in American Artist and its Watercolor Magazines in The Best of Watercolor 2010. Watercolor Spring 2008, American Artist,” Realism Today”, October 2000, American Artist, April 1998; Watercolor 95 Winter ; American Artist, January 1989 (cover); and American Artist June 1987 (Golden Anniversary finalists).

Weilbaecher's work has also been featured in additional books and magazines, including EASY SOLUTIONS:COLOR MIXING, WATERCOLOR, by M. Stephen Doherty, Rockport Publishers, 1998 ; ARTS QUARTERLY of the New Orleans Museum of Art, Spring 1998; THE BEST OF WATERCOLOR 2, Rockport Publishers, 1997; PAINTING LIGHT AND SHADOW-WATERCOLOR, Rockport Publishers, 1997; NEW ORLEANS MAGAZINE, "Sharon Weilbaecher: Portraits of Amazing Grace" by John Kemp, June 1987.

Her paintings can be found in numerous private and corporate collections including: The White House; Forbes Collection, New York; Collection of Senator and Mrs. David Pryor, Little Rock, Ark; W.K. Kellog Foundation, Battle Creek, Michigan; New Orleans Museum of Art; The Historic New Orleans Collection; New Orleans Opera Association; Pennington Nutrition Center, Baton Rouge, La.

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Robin Siegl

April 18, 2013, 7:58 am

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Robin Siegl

ARTIST STATEMENT

While rowing in between and around the looming hulls of these vessels I contemplate the worn weightiness of the structures and marvel at how they float on the wiggly water. Painting with oil on canvas-wrapped panels, I interpret the shapes, marks and colors observed. The act of painting and the rich feel of the materials are just as seductive as the strange beauty viewed from the rowboat.

BIOGRAPHY

Robin’s lifelong interest in making art culminated in 2006 when she turned seriously to oil painting, inspired in particular by the industrial waterfront of her native Seattle. This followed a career in graphic design, all the while casually working in charcoal and water-based media. Now painting full time, Robin has studio space with two dozen professional artists in Building C, a converted 1910-era warehouse near the Ballard Ship Canal, a waterway connecting Puget Sound to Lake Union and Lake Washington. www.BuildingC.com

Regular excursions in her rowboat to explore the many waterways of the Pacific Northwest sharpen her skills of observation, provide an endless series of ideas for paintings, and continue to inspire the development of her work.

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Deborah Scott

April 18, 2013, 8:17 am

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I work in the genre painting tradition. My work is a mash-up of classically styled figurative painting and contemporary iconography. My narratives are based on biography, tarot, mythology and fairytale. Iconic brands and contemporary imagery support the narrative in my work.

I am a graduate of the Drawing and Painting Atelier at Gage Academy of Art. Prior to my art career, I worked in global brand marketing with familiar brands including Cheerios, Betty Crocker, and Amazon.com. In this role I became fascinated with the power of Jungian archetypes, works by Joseph Campbell, and iconography. Developing my understanding and expression of figurative artchetypes is the cornerstone of my work.

Awards and Honors
     2013
First Place | 3rd Annual Juried Show | Florida Museum of Women Artists
     Juror Professor Emeritus Yrabodra | Florida A&M University

     2012
Inagural Associated Artist | Museum of Realist Art | Pamela Sienna and
     George Kougeas, Curators and Co-Founders, Museum of Realist Art.

     2011    The William Radcliffe Studio Challenge Award | Nominating Panel |
     Greg Kucera, Linda Hodges, Jess Marie, Gunner Nordstrom

     2010    First Place Figure | Best of Gage | Juror Derrick R Cartwright,
     Director Seattle Art Museum

Affiliations
          National Portrait Society
          Artist Trust Member

     Education and Training
     2007-10    Painting and Drawing Atelier | Gage Academy of Art
     2002-06    Master copy painting with Northwest artist Victor Sandblom
     1992    Dartmouth College | Masters in Business Administration
     1986    Seattle University | Bachelors of Arts | summa cum laude

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Julie Barbeau

April 18, 2013, 1:27 pm

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Julie Barbeau

BIOGRAPHY

Julie Barbeau is a contemporary realism portrait, figure and still life painter. She earned bachelor degrees in journalism and German at the University of Missouri, and later studied drawing and painting at Los Angeles Academy of Figurative Art and Gage Academy of Art in Seattle.

She is inspired by many great masters of the Baroque, especially Rembrandt, Titian and Velazquez. Yet, she puts a contemporary psychological spin on her pieces. Many of her oil paintings are multi-layered works based on the classic Venetian technique.

Julie has three grown sons and currently lives in Dallas, Texas with her husband. She formerly lived in the Los Angeles area.

Education:

University of Missouri-Columbia
BA German, BJ Journalism, 1983.
Collin County Community College, Plano, Texas
Studied studio art, 1994-1997.
Los Angeles Academy of Figurative Art
Studied drawing and painting with Tony Ryder, Steven Assael, David Leffel, Dan Thompson, Sean Chetham, Sang Bang, William Rodgers, Richard Morris, Kate Sammons, 2005-2010.
Gage Academy of Fine Art
(Formerly Seattle Academy of Fine Arts
Studied painting and drawing with Martha Mayer Erlebacher, Juliette Aristides, Michael Grimaldi, John Mora, 2004-2010.
Adrian Gottlieb Atelier
Painting the figure in oil, 2009-10.

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