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Clare Toms

November 18, 2013, 1:34 pm
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Clare Toms



Clare Toms is a visual artist based between Victoria and Mexico.
She completed a Bachelor of Fine Art through the Queensland College of Art, Griffith University in Brisbane.

Whilst frequently experimenting with photography and installation, she majored in Oil Painting which is her main area of practice. Conceptually her work explores themes of intangible and physical transience and our interconnectedness with the environment, through the creation of secular memento-mori pieces.

Travel and transience are important themes in Clare’s work, with travel playing an integral part in the process of conceptual development.
Clare has exhibited in Australia and Internationally including Mexico, Los Angeles and the Trans-Siberian Railway (Beijing to Moscow).

She has recently held a successful solo show and has been a finalist in notable prizes such as the South Australian Museum’s Waterhouse Prize, a Highly-Commended finalist in the Stanthorpe Regional Art Gallery Prize judged by Davida Allen, the Lethbridge 10000 and the ‘Bowness Photographic Prize’ at the Monash Gallery of Art, Victoria.


Clare Toms









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Anne Smerdon

November 18, 2013, 1:51 pm
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Anne Smerdon


Anne Smerdon is an architecturally trained artist from Australia.


EDUCATION
Bachelor of Architectural Design, University of Queensland


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Ryuzo Kojima

November 18, 2013, 4:25 pm
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Ryuzo Kojima



I am a Tokyo-based artist who graduated from Zoukei University, Tokyo and have exhibited
extensively around Tokyo, including Ginza Saegusa Gallery, Tanaka Yaesu Gallery, Akasaka Sanko,
Ginza Saegusa Gallery and Koshindo Gallery. This solo show will be my first Australian exhibition.





ARTIST'S STATEMENT

My concept of this show is fusion of the nature and my expression. I have produced art-works for this
show through respect for distinctive feature of natural materials...wood, cloth and paper. Human
beings have been improving incredibly on civilization and lifestyle during the last 100 years. But we
have misplaced nature’s ability to show us space and time. I believe it is the time to re-consider what
we have done in the past and re-connect and admire the space and time nature’s beauty and
simplicity has offer.


ACHIEVEMENTS AND EXPERIENCE

2003 Winner of The 23rd Japan Art tournament
2002 Prized at New Artist & New Products Award
2002 Prized Artist show in Goraku Gallery Ginza - Tokyo
1984 The first win of New Artwork Competition. Won each year since then

Ryuzo Kojima is a Japanese artist who has exhibited extensively throughout Tokyo. His mixed media works are so unique and peculiar; highlighting poignant interactions between nature and humans. The exceptional thing about Ryuzo is the textual, layered feelings of his works; sometimes they will be on a structured board that he has shaped and carved or 3-dimensional behind a class frame. Ryuzo says we have misplaced the beauty of nature and its ability to show us space and time in our 21st century life and this is what his works aim to capture.
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Svetlana Kondakova

November 19, 2013, 1:31 am
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Svetlana Kondakova

Svetlana Kondakova is a Russian-born artist that grew up in Scotland and graduated from the Edinburgh College of Art in 2011. She spent five months in Greece on exchange, resulting in Greek mythology being a major inspiration for her paintings. After graduating, she spent four months on an artist residency in Bolivia, where she realised a project and public exhibition with local artists based on the coca leaf and its many uses. Svetlana has exhibited in Greece, Bolivia, Belgium, Russia and the UK.






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Paul Mowat

November 19, 2013, 1:44 am
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Paul Mowat



I am an artist concerned with the human condition. I am based in Edinburgh where I paint and teach. I am interested in what makes each of us unique, the ageing process, our relationships with one another and the remnants from that: writing, photographs and other artifacts of use as a source material. I am constantly amazed at our uniqueness, what makes you, you and me, me. People can be beguiling, beautiful, terrible, banal and surprising. We are all here, now and for a short time. I attempt to record some sort of trace.




* WORKING PRACTICE

I am a painter. I work mainly with oil on canvas, linen or panel. I
work in both natural light and using daylight bulbs ( I am based in
Scotland after all) and work in series. Other than oils I use inks,
acrylic and watercolours, collage, digital imaging amongst other
drawing materials. I vary physical and time scales. some work
might take a day, week, months or longer.

* EDUCATION/EXPERIENCE

* HND Graphic Design and Printmaking
* BA HONS Painting ECA


1999-present Lecturer (pt) in drawing and painting at Edinburgh
College of Art ( University of Edinburgh)

I have over ten years experience of teaching drawing and painting
techniques in higher and further education and have taught
numerous workshops and master classes.

Private tuition available.









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Yuri Leonov

November 19, 2013, 2:11 am
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Yuri Leonov


Born 1987, St Petersburg, Russia.
Lives and works in New York City.

EDUCATION
School of Visual Arts, BFA 2011












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Sandra Filippi

November 20, 2013, 12:42 am
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Sandra Filippi



"Pintora, Lic. en Ciencia Política, Cocinero Profesional, alma viajera, ecléctica, lectora empedernida, buena para algunas cosas, pésima en otras, casi esto, casi aquello...por suerte perfecta en nada."


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Chris Klein

November 20, 2013, 1:02 am
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Chris Klein



Chris is a British artist, currently sharing his time between Quebec and Ontario in Canada.
Exhibiting his own work in the UK, Europe, Montreal and Toronto.His work varies from abstract to "hyper realism"and uses differing media. In 1983 Chris had his work accepted by the Royal Academy of Arts in London, UK for their prestigious Summer Exhibition. Before coming to Canada he was also an associate member of the Guild of Motoring Artists.
As well as producing his own work, he is also a scenic artist for film and theatre. He is presently serving as the head of scenic art at the Stratford Shakespeare Festival of Canada in Ontario. Chris has worked on many sets, creating backdrops and related artwork and has contributed to major productions in London's West End and Broadway. In Canada, he has painted for many major Hollywood films and many shows for the Cirque du Soleil.










The costume series
This is the costume series of paintings. Chris has been studying the costumes housed at the Stratford Festival (perhaps the largest costume warehouse in North America) and painting many of the costumes as they hang on the racks. He has also painted sets of costumes specific for particular shows that perform on the Festival stages. All paintings are for sale unless otherwise stated.


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Luis Meléndez - Luis Egidio Meléndez (1716–1780)

November 20, 2013, 1:50 am
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Luis Meléndez

Luis Egidio Meléndez (1716–1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Meléndez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images.





Luis Egidio Meléndez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Meléndez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Meléndez (1679–1734) in pursuit of artistic instruction.Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother José Agustín, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King’s Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707–1771), a Frenchman who had been made royal painter of Philip V of Spain. Between 1737 to 1742, Meléndez worked as a part of a team of artist dedicated to copy van Loo's prototypes of royal portraits for the domestic and overseas market, but at least he had a foothold in the palace. He had his artistic sights on a distinguished career as a court painter.
When the Real Academia de Bellas Artes de San Fernando was provisionally inaugurated in 1744, his father, Francisco, was made an honorary director of painting and Luis was among the first students to be admitted, he achieved outstanding results in drawing. The Academy was progressive in that it not only tolerated but also encouraged the 'lesser' genres, including still life. At this time, he was already an accomplished painter as proved by his self-portrait at the Louvre signed in 1747. However, this opportunity was marred by a petty quarrel; Luis’ father, Francisco, openly attacked the director of the Academy and claimed for himself the honor of being the founder. He had his son Luis personally delivered the inflammatory material to the Academy. Francisco was relieved of his teaching position and Luis was formally expelled from the Academy on June 15, 1748. Unlike his father, Luis professional status was precarious. Young and self-righteous, he now lacked the support of the Academy and his reputation suffered. Subsequently the young artist left for Rome and Naples to pursue other opportunities, he stayed in Italy from 1748 to 1752, painting some works, now lost, for Charles III of Spain,who was then King of Naples.
After a fire at the Alcázar of Madrid in 1753 destroyed scores of illuminated choir books, Francisco Melendez coaxed his 37-year-old son to come back to Spain to help paint new miniatures. Though Luis Meléndez eventually executed scores of still lifes for the royal household, he was never able to secure an official appointment to serve the king.


Still Life with Melon and Pears, oil on canvas, Museum of Fine Arts, Boston
Luis Meléndez worked out of Madrid and initially painted an array of subjects. In 1760 Meléndez' petition for the position of court painter was refused, despite the caliber of his early works. He painted some religious works but after 1760, he began specializing in still life, a decorative genre that could be produced without commission and was therefore lucrative for artists without royal patronage or the support of the Academy. Between 1759 and 1772, he created at least 44 still lifes for the private museum of natural history belonging to the Prince of Asturias, who later became King Charles IV of Spain.Of these paintings thirty nine are today in the Museo del Prado, and it is rare to find his work outside of Spain.
Despite his talent, Luis Meléndez lived in poverty for most of his life, and in 1772 in a letter to the king he declared that he only owned his pencils. Unappreciated in his time, when he died in Madrid in 1780, he was indigent.




Luis Meléndez updated and enriched the austere tradition of Spanish still life painting, which had been initiated by the 17th-century masters Juan Sánchez Cotán and Francisco de Zurbarán. Like them, Meléndez, studied light effects, texture and the color of fruits and vegetables as well as the earthenware, glass and copper pots beside which the fruit is displayed. Unlike the 17th-century masters, however, his subject matter is presented physically closer to the viewer, at a lower vantage point, encouraging the spectator to study the objects for themselves. This exploration was in keeping with the growing spirit of Enlightenment and the king's interest in natural history.
Meléndez painted his still lifes with a serious sense of reverence. The grand themes did not attract him, but the ordinary stuff of every day life, which he studied with an enormous visual interest in the every day normality of form. Each still-life painting by Meléndez is visually arresting and compelling and reveals a wonderful technical skill at constructing compositions. Meléndez conveyed the solidity and precise texture of objects in artful compositions of great sophistication. He employed a low vantage point and close-up view of objects placed on a tabletop to give his forms an unprecedented monumentality. The use of strong lighting to bring out the volume of the objects enhanced his extraordinary descriptive skill.
Meléndez seems to have spent more time lighting his scenes than preparing pigments for his palette. He loved painting reflections on the surfaces, edges, and rims of lemons, copper pots, ceramic bowls, plums, and melons. This contributes to the lively character and rhythm of his work. Luis Meléndez described his works as 'an amusing cabinet with all types of foodstuffs that the Spanish climate produces'
Among his works outside el Museo del Prado are: Still life with Oranges, Walnuts and Boxes of Sweetmeats (National Gallery, London); Still life with a Plate of Plums, Pears and Fruit Basket (Masaveu Collection, Museo de Bellas Artes, Asturias) and Still life with Red Breams and Oranges (Private Collection).












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Darcie Copeland

November 20, 2013, 6:47 am
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Darcie Copeland


From a very young age, I began to pursue my passionate interest in drawing. Without the aide of teaching, I sketched all manner of subjects from real life scenery to still life. At age ten, I had my first lesson in painting with oils.
After years of personal development, I decided to incorporate my skills into a business endeavor. Therefore, in 1985, I launched my own company and began my career in the art of custom hand lettered signs. Already accustomed with painting oil and acrylics, I acquired experience in pinstriping, Gold Leaf and airbrush. By applying my creative techniques and designs to various materials such as canvas, foam, plastic, wood and glass, my custom lettering and painting methods quickly gained customers from the Commercial/Retail market and the Racecar industry. Later, as my direction shifted from commercial graphics into Fine Art, I began studies in Color Theory and various techniques of the Old Masters.

Today, my passion for art continues to flourish. My personality lends itself to the humorous side of life, which allows me to express myself through my work, while I continually strive to stretch the boundaries of my viewer's imagination.

My method of expression is through Rebuses... (ree-buses) puzzles or riddles in which pictures represent words or phrases.

I invite you to play the game of solving each Rebus by the obvious and hidden clues within each of my works.

Memberships include International Guild of Realism, Oil Painters of America, Women Artists of the West (WAOW Signature member), California Art Club and Laguna Beach Art-A-Fair. My work is exhibited nationally, and has won awards in various juried shows including the International Museum of Contemporary Masters Salon International.










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Jim Holland

November 21, 2013, 3:19 am
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Jim Holland


Jim Holland is an artist working in oils and watercolors. Jim was born in 1955 in Schenectady NY. He attended Dutchess Community College in Poughkeepsie NY where he received a degree in graphic design. While in college he began painting with acrylics and received some valuable instruction in watercolors.
Jim worked in graphic design for 15 years while using his spare time developing his artwork. He started refining the elements that would become his style, marked by stripped-down realistic depiction and a sense of solitude often found in the work of Edward Hopper—an artist for whom Jim has had lifelong admiration. The enduring themes in Holland’s paintings are the light and space near the ocean.
Jim works in his studio in Orleans MA and lives in Brewster MA with filmmaker Allison Argo. His work has been exhibited throughout the Northeast in various one-person and group shows, and is included in numerous private and institutional collections in the United States and Europe. Jim and is represented by Left Bank Gallery in Wellfleet MA, Powers Gallery in Acton MA and Quidley & Company in Nantucket and Boston MA.


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Jeremy Miranda

November 21, 2013, 4:02 am
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Jeremy Miranda


Jeremy Miranda is a painter based in the Seacoast area of New Hampshire. His work ranges from loosely painted narratives on paper to more heavily worked, atmospheric compositions on canvas. He is interested in the landscape and how people control, fetishize and dwell with in it.

Born In Newport, RI
Received a BFA in painting from Massachusetts College of Art.

























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John Neville

November 21, 2013, 4:49 am
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John Neville



John Neville has been described as a folk artist, a master printmaker, a professional storyteller, and an “original” Canadian artist. He was brought up in the tiny village of Hall’s Harbor, Nova Scotia, in a distinctive home built by his grandfather in the late 1880s. Neville’s painting is more than simply fascinating art. It is a thoughtful and realistic record of a fast vanishing way of life, that of the fishermen, a life lived by both his father and his grandfather.

Born in 1952, Neville grew up where physical work was taken for granted and folk memory was celebrated by stories about people’s loves, hates, rivalries, hopes, and, most of all, their complex relationship to the sea and its creatures.

During the early 1970s, Neville left Hall’s Harbor to attend the Nova Scotia College of Art and Design in Halifax. He put aside the drawings of his childhood to study photography and printing. Neville gravitated to the art of printmaking, concentrating on the intaglio process of engraving. After graduating in 1976 from the Centre de Gravure Contemporain in Geneva ,Switzerland, Neville returned to Canada, where his art evolved and matured to the point where he won several national awards. Stateside, Neville has enjoyed solo exhibitions in New York City and at the South Street Seaport Museum.

Today, John Neville splits his time between his native Canada and the midcoast Maine river village of Damariscotta.
















John Neville (b. 1952) paints nostalgic portrals of bygone days which chronicle the folklore and daily lives of the local fishermen and their women from his childhood village. This popular Canadian artist, who splits his time between Nova Scotia and Maine, is a painter, printmaker, and story teller, who has engaged collectors throughout his long career with his exceptional etchings, and more recently the bold pallete and modern compositions of his impressive oil paintings.

A native of Nova Scotia, Neville was born in Halls Harbour, on the Bay of Fundy, to a family of boat builders and fishermen where hard work was taken for granted. He grew up fishing with his father, building boats, and listening to the tales of men and women in the local villages. There were stories about bootlegging, bad luck, record catches, rivalries, and drunken husbands—all of which became the basis for his rich pictoral language.

At a young age, Neville began drawing boats and other subjects on the backs of advertisement broadsheets given to him by his grandfather, the village postmaster. In 1972, Neville left Halls Harbor to attend the Nova Scotia College of Art and Design in Halifax where he studied photography and printmaking. After graduating with a BFA in 1976 from the Centre Gravure de Contemporaine in Geneva, Switzerland, he returned to Halls Harbour to set up a printmaking studio. Using the stories from his childhood, Neville engraved his images on copper plates, then hand inked and pulled them in the traditional manner using the intalglio process. Neville uses the technique’s many personalities to offset strong, architectural lines with tinted grounds of color, and though his subject matter is nostalgic, his clean graphic representations are clearly contemporary.


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David Witbeck

November 21, 2013, 5:18 am
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David Witbeck






Although the Hudson River is tidal for over a 150 miles, all the way to Troy, NY, a few miles from the suburb where I grew up, in the first 18 years of my life I probably spent no more than a three or four weeks, on family vacations, anywhere near salt water. Yet I always drew pictures of fishing boats, lighthouses and stormy seascapes and read every sea story I could find in the school library.

When studying at Pratt Institute, I’d often bunk my morning painting classes to hang out at the Fulton Fish Market and take photographs of fishing boats with the Brooklyn Bridge looming behind them and of longshoremen pushing handcarts loaded with crates of iced fish over the cobbled streets. I got hooked by photography which, with all the social turmoil of the late ‘60s, seemed to be a much more relevant pursuit than the seeming inanity of the ‘60s New York art scene. After dropping out of Pratt in 1968 (it didn’t have a photography program at the time) I moved 400 miles inland to study photography and didn’t see the sea again for another ten years.

Harbor PointLife got in the way of that study and shortly after moving to Rochester, NY I again dropped out, this time from RIT, and had a checkered job history for the next ten years, the last six of which were spent as a Teamster driving tractor-trailers. When I decided it was time to return to college, in 1980, Rhode Island School of Design was my first choice largely because of its proximity to salt water. I was a free-lance photographer for 25 years after graduating from RISD and used my camera to open a lot of doors. The excuse of shooting a photo-essay is a great way to get into situations that I otherwise couldn’t, such as getting aboard tugboats, lobster boats and commercial fishing vessels. Photography, though a great documentary medium, doesn’t interest me as an expressive medium.

Oscar In 1991 my wife and I met Leo Brooks, a painter, who was working on Monhegan Island that summer. I loved his childlike drawing, bold colors and complete disregard for objective reality. I hadn’t painted since 1968, but Leo’s work struck a chord and started me thinking about painting again. The watercolor we bought from him, a fisherman very different from my own, is one of our most prized possessions. Being the procrastinator that I am, it was ten years later, 2000, thirty-two years after quitting art school, that the need to paint finally overwhelmed me and I signed up for a continuing ed painting class at RISD.

Having been a photographer for the more than three decades, the greatest joy I have as a painter is freedom from “reality”. While subject matter is still important to me, I can bend, twist, stretch, exaggerate and simplify the things I see. I can put things in and leave things out. I can even completely make things up. I can paint how things make me feel instead of simply what they look like.

trioAs a young art student I took myself and Art way too seriously. Having come back to painting relatively late in life I now understand that few artists have anything earth-shaking to say. In the paraphrased words of the late Edgar Whitney, a respected art educator and watercolorist, an artist is a shape-maker, a symbol-finder and an entertainer. I still take my art seriously, but my serious intent is to create something that’s well designed and entertaining to look at.

~ David Witbeck
Providence, RI



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Bruce Habowski

November 21, 2013, 6:13 am
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Bruce Habowski




ARTIST STATEMENT

Inspiration for my oil paintings comes from many sources such as music, media, books, etc. Ideas for paintings seem to be limitless. The goal for me is to construct paintings that reflect the subject and my interpretation of the subject. While some paintings are a straightforward response (i.e. painting what I see) others can be more complicated. The challenge then becomes a process of deconstruction and rebuilding.

The first thing I focus on are ways to pare down the subject to extract the essential elements that will transfrorm my unique and personal environment into a more universal experience. Next comes selecting a compositon with a strong design of these elements.This new restructured reality becomes a synthesis of message, mood, and method.

No matter what I attempt, however, the viewer will interpret the work through their own filter of experiences, desires, and expectations; thus becoming something different. It has been said "we don't see things as they are . . . we see things as we are."


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David Vickery

November 21, 2013, 6:49 am
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David Vickery


I’ve been working from my Cushing, Maine, studio since 1991. My work is about the merger of nature and culture – an attempt to make sense of our place in the world. I look at interior spaces and our imprint on the landscape with an eye for the imperfect, quirky, and sometimes elegant adaptations we’ve made in order to live here.











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John D'Antonio

November 21, 2013, 8:46 am
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John D'Antonio


Born in Trenton New Jersey in 1954, John D’Antonio is considered by many in the art world as one of the top ten representational artists in America today. John was schooled at the Rhode Island School of Design, the Arts Student’s League in New York and Lehigh University, Pennsylvania. D’Antonio’s art and philosophy have been shaped by a diverse group of influences, from Impressionism and Academicism to the Photorealist development of the 1970s. It was while residing in Hockessin, Delaware near Wilmington, from 1983-86 that D’Antonio became inspired by the subject matter and techniques of the Brandywine School of landscape- portrait painters, particularly through the influence and guidance of George Weymouth, President of the Brandywine River Museum in Chadds Ford Pennsylvania. This association led Mr. D’Antonio to his decision to interpret traditional landscapes in his unique dramatic, idealized manner.

John D’Antonio’s paintings reveal a remarkable eye for telling detail united to a virtuosic facility with color and light. D’Antonio’s work maintains echoes of late 19th Century American and French landscape painters, while his precision and clarity give the work a contemporary feel. Mr. D’Antonio’s subjects include the pastoral landscapes of his home in Washington’s Crossing, New Jersey, the canals and countryside of Holland, the brilliant light of Taos, New Mexico and sailing on the high seas. Whether amidst a peaceful bucolic American landscape or rounding the Horn through stormy waters, D’Antonio has a rare talent for capturing the essence of his surroundings and making us feel and experience them with startling immediacy.

The artist did not arrive on the contemporary art scene without the impact of some of the most prominent artists in modern time. Early in his career at the Hun School of Princeton (1970), John was introduced to a classmate’s father, Roy Lichtenstein, one of the most widely known pop artists in the world. D’Antonio immediately got a sense of how creativity and interpretation of stereotype subjects could be used in extraordinary ways. Mr. D’Antonio then attended the Rhode Island School of Design, (1971), where as a student, he was exposed to the techniques of noted graphic designer Richard Merkin, shown in the crowd scene in Peter Blake’s design or the Sgt. Peppers Lonely Hearts Club Band album cover (1967). At RISD, D’Antonio met with internationally acclaimed sculptor Louise Nevelson, pioneer of environmental sculpture and one of the most important American sculptors of the twentieth century, who visited with him during classroom instruction. She left a lasting impression of how scale could be used to effect of aura of mystery that captured the public imagination for years. It was also at RISD, he painted with colleague David Savage, grandson of Man Ray, internationally acclaimed Cubist, Dadaist, and Surrealist. After seeing a private collection of Man Ray’s work, D’Antonio was immediately struck by the artist’s lack of concern with the traditional and “Craft”. Man Ray is the most significant maker of camera-less photographs in the 1920s and 1930s. D’Antonio graduated from Lehigh University in 1976. He attended the Art Students League where he studied under Xavier Gonzales a leading instructor known for his large mural paintings; as well as mentoring past students and friends, including Jackson Pollack and Leroy Neiman, (1980).

Many of these artists had an impact on D’Antonio’s attitude, point of view, and general philosophy regarding creativity. Yet, it was while residing in Hockessin, Delaware near Wilmington, (1983-86), that D’Antonio was inspired by the subject matter and techniques of the Brandywine School of landscape- portrait painters. These included in particular, N.C. and Andrew Wyeth, and George Weymouth. Unknowingly, D’Antonio had been using Andrew Wyeth’s framer in Chadds Ford, PA who recognized the caliber of John’s art and introduced him to Carolyn Wyeth - Wyeth’s sister who then contacted D’Antonio and recommended that he meet other members of the artist’s family. The influence of Wyeth’s hidden abstract composition within a realistic interpretation of ordinary subjects became an important component to D’Antonio’s approach to composition.


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Laura Wills - Maps

November 21, 2013, 12:14 pm
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Laura Wills


Laura Wills is a visual artist based in Adelaide, Australia. With a Bachelor of Visual Arts and Applied Design from Adelaide Center of the Arts (2003) she practices a diverse range of media from painting, drawing and photography to installation, media arts and community projects. Wills has a strong interest in using found materials, collaboration and basing projects on social/ environmental themes. She regularly exhibits and has received numerous grants, awards and residencies locally in Australia and overseas.

Born 1981 Resides Adelaide, South Australia

Education
2003 Bachelor of Visual Arts and Applied Design, specialisation painting, ACA Arts Adelaide







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Wiola Stankiewicz

November 21, 2013, 12:39 pm
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Wiola Stankiewicz Brak kom




"Completely addicted and infected by browsing the past. Black and white pictures, covered by blanket of dust, are overflowing with mystery, full of undiscovered colours and stories : real ones mixed with imagined fables. in my works I only try to show that what I see."














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Jennifer Mondfrans

November 21, 2013, 1:06 pm
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Jennifer Mondfrans


Bio
Born in Salem, Oregon as Jennifer Wilkinson in 1970–Jennifer Mondfrans lives in San Francisco.

Autodidact by nature, Jennifer created her independent painting classes while studying philosophy at Lewis & Clark College in Portland, Oregon. Her first painting won the President’s Award, the school’s top art prize. She also won a grant to fund the creation of a 4’ x 7’ acrylic painting which was featured on the 1993 yearbook cover and is now in the college’s permanent collection. Jennifer was the second woman in the college’s history to receive honors in Philosophy in 1993 and the only one to do so without taking a class in her thesis topic (metaphysics and Spinoza).

After college, Jennifer continued to paint (sometimes in heated conditions) while working as a residential counselor for teenage girls then as a writer for an adventure travel magazine, traveling to Italy and India on assignment. Working as a temp for the front desk of an ad agency, she was hired as a copywriter. Although it was only eight months until the agency folded, she freelanced for five years– painting in the after-hours while working in all forms of advertising, from print, web, to six-pack beer copy and writing infomercial scripts. On moving to San Francisco in 2002, Jennifer took a myriad of part-time jobs and built a body of work. She has shown in San Francisco, New York City, Portland, Oregon, Hudson, New York, Gold Coast, Australia and the National Steinbeck Museum.



In my work, I do portraiture influenced by the purity of color, as well as by philosophy, science and storytelling.

I use oil, acrylic and wax pastel to explore faces through high-octane color without using the color black. I like juxtaposing complementary colors, layering the medium to create a textural topography of each face.

All my work is drawn free-hand, where I use photographs as a guide. In the mixed medium pieces, I use water-soluble wax pastels and acrylic on unstretched canvas. I like the tension between seemingly incongruent colors and materials and the physical texture of rough surface between mediums. In the oil paintings, I try to maintain the opacity and thickness of pure color by using a dry brush. I like the familiarity between oil and wood that can bring out the colors in unusual textural ways.

I am inspired by true individualism. Especially those whose self-determinism defied odds with a vision that expanded the boundaries of how we think, thereby influencing the cultural mind.

The subject dictates the medium and the form, ranging from traditional portraits, to conceptual, to participatory installation art.


Education
1993, BA in Philosophy with Honors, Lewis and Clark College, Portland OR
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