Mainline Art
Professional Artist Members

Main Line Art Center proudly presents the current members of the Professional Artist Membership program.  After an application process, artists were selected based on educational background, exhibition participation, and gallery experience.  Their work will be included in the annual Professional Artists' Exhibition, February 12 to March 12, 2013.  Throughout the year, we will promote their work on our Facebook page in addition to other exhibition opportunities outside the Art Center through various community partners, as well as the Art Center's Annual Professional Artists' Exhibition.

The application process for the current year is now closed.  However, for additional information you can view our most recent prospectus here.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Mainline Art

A:
Abraham, Ellen
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My paintings are a hybrid of the figurative and the abstract. The satire, humor and cartoon imagery of my youthful artwork began to evolve as I grew more familiar with German Expressionism, Abstract Expressionism and American Social Realism.
In between my solitary studio days, I go on mingle and hunt days in hopes of finding interesting subject matter in restaurants, subways, buses, the beach or anywhere I may be. I have thousands of sketches which I've done over the years. These sketches are then scanned into my computer which I later employ in my paintings, drawings, transfer prints or cyanotypes. Sometimes the germ of an idea for an entire painting is the result of a 10 minute sketch. After more preliminary thumbnail sketches and tweaking in Photoshop, a composition and palette is developed. This preliminary process can take weeks to complete and some time to simmer. My work is a synthesis of humor and fine art. I am quite serious about being silly. My goal is to create art that is sown from the depths of comic outrageousness, satirical observation and mild misanthropy.
Anderson, Wendelyn
My love for handwork often leads me to use fabric as a basis for realizing my ideas. The way I work with cloth in addition to other materials acts as a means for processing and responding to my experiences in life.

The work I've been doing most recently addresses ideas of overturning presumptions through the subversion of our cultural notions of cloth. Through testing the boundaries of fabric manipulation and digital printing technology, my intention is to allow the viewer to question what they see as means for remembering there is often more than meets the eye to what is first perceived.

B:
Ball, Deena
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Water and pigment flow over the paper surface and I am in awe. Watercolor is simple and yet complex. The pigment and water combinations are endless. No other media matches the nuances and effects of watercolor. A painting is a dance between controlled anticipated marks and random surprises. When the dance goes well, when pigment and water flow just right, the painting seems to come to life.
Banks, Lori
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Every time I apply paint to a canvas, the experience always has me on edge, a little uncomfortable. But the art unfolds as I work and, and expresses a part of me that I am unable to communicate through words. My paintings challenge me, and I hope they will engage you too.
Barclay, Delainey
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Delainey Barclay is an oil painter and installation artist based in Wilmington, DE. Since receiving a Bachelor of Fine Arts degree from the Columbus College of Art and Design, she has maintained a working studio, currently in the Trolley Square area of Wilmington. She is also a founder of Project Space, an artist-run gallery, installation lounge, and studio space.

In 2011, Barclay received a grant from the Delaware Division of the Arts in visual arts for painting. She has also recently had solo exhibits at the Delaware Center for the Contemporary Arts and at the Mezzanine Gallery. Last fall, she was one of the three featured artists that were part of "Atmospheric" here at Main Line Art Center.
Bartmann, Sharon
When I create a piece, I want to see where the hand has touched the clay. Where the seams meet. I use slabs, pinch pots, coils, whatever it takes to bring the image in my mind to life. I enjoy this challenge. By bringing found objects and other mediums into my work, it has allowed me to expand my vision. I have always found myself drawn to that which is imperfect, rusted and worn. I wonder what placement the object had in its past and the possibilities it has for the future. My sculptural works use the figure to convey transitions in my life. As my children grow into adults, my role as a mother has evolved. I bring the emotion of this journey to my pieces. Every facet of our lives gives us a different vantage point from which to look at ourselves, relationships and the world around us. Art gives me a place to bring these together and examine life from the inside out.
Bass, Elaine
The context of my oil paintings reflect the ordinary people I see as I travel around the inner cities of the town I live in and the towns I visit. They are the workers and the peasants of our genre. They have a subtle melancholy that speaks of sacrifice and struggle - their human passions contained in settings that allude to timelessness and immortality. In addition, these cityscapes - streets and houses - are carriers of more formal qualities of rhythm, geometry and tactile surfaces that allude to allegorical or psychological monuments . I enjoy painting in colors that are exuberant and which transcend the tensions that speak of contemporary urban moments of uncertainty.
Benigno, John
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Perhaps, because much of my work tends towards realism, my photographs often are described as traditional. In fact, many of my primary influences come from the writings and works of Porter, Feininger, Steichen, and Strand, to name a few. While I welcome a comparison with the past, realism is merely a means to an end. Rather, I believe that my artistic vision is driven more by a background in the social sciences, especially anthropology and history, than by my genuine regard and fondness for the work of photography’s early masters.

My real interest is to capture timeless moments in the landscape, and, if the land has been influenced by man, to stimulate curiosity about how, when and why. To quote Eudora Welty, “Place is my source of knowledge. It tells me important things. . . .”
Berkowitz, Henry
A direct analysis of the fundamental structure of forms is my first step in creating a painting. Then I interpret and transfer these objects to the canvas.

I am attracted to the architecture of urban society, seeking unusual views of Philadelphia's historical buildings, factories, bridges, row houses with fire escapes, smoke stacks, and electrical power and transmission lines. To the casual observer such structures might appear gritty and dilapidated, with their rusting metal, broken cement and peeling paint, however, I find great beauty in these textures and forms.
Blumberg, June
Art has been a part of my life since the age of eight. My paintings explore my feelings and fantasies. Using mixed media, and collage . I project my fantasies and inner feeling unto the people and animals pretending they are sharing my feelings.

I want people to love animals and people as much as I do. I paint myself since I am a willing model and know myself well. Animals also need my help. Many are now on the endangered species list. I present them in a positive light so people will want to help them not hurt them.
Brand, Trina
My current work is charged with energy. I am continually inspired by Joan Mitchell, Phillip Guston and De Koonig. I often work with collage which provides added texture and richness.
As I begin work, I am reminded of the pure joy of putting brush to canvas, charcoal to paper or texture to collage. The sensual feeling of process can be quite spiritual in and of itself.

The joy and struggle to create art begins with an idea then extends into a direction. My paintings are involved with color, calligraphy and spatial relationships. The work originates organically as it resolves abstractly. My work is kept in flux as each change, however small, impacts the whole.
Breakell, Elizabeth
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As a lifelong student of painting, I work primarily in oil. With a background in scientific and technical illustration I have studied with regional and national artists such as Christine LaFuente, Elaine Lisle, Giovanni Casedei and others to round out my fine art training. I strive to describe light, shadow and atmosphere in my paintings in a loose painterly style whether it be a landscape, still life, figure or an interior.
Bronstein, Ed
As a practicing Architect, my architectural were often restaurants intended to create an enveloping fantasy and memorable experience to supplement the food.

In the late 1980's, I started formal art training and subsequently decided to pursue painting as a new profession

Now I look at what attracts me to some of what I see around me every day - and try to quickly capture the essence of the moment without going into extraneous detail. The sense of life, humor, and the moment that I once imbued into my architecture I now try to capture in paintings.

C:
Carver, Ellen
My love of materials: handmade papers, fiber, beads- an eclectic mixture of medium--combined with the influence of my quilt collection, led me slowly through a series of starts and stops,but always in new and exciting directions. And, like the quote above, things started happening. And, I did too. From the familiar to the unknown, I move to a new and intense focus on color, shapes and spaces,and always, texture.
My canvases, evolved from realistic imagery to abstractions, begin to tell a story: they become a reflection of my life and who I am. And although I am a profoundly private person, my artwork gives me away.
Cary, Jane
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I am a contemporary landscape fine artist working with primarily in the oil painting and pastel mediums. My artwork is a reaction of all of the senses that I find when being in nature. It is not the exact image of what I see but what it feels like just before the sun comes up or when I am walking down the street at night with the glow of the lights on the wet street. Whether I create my art in oils or in pastels, I strive to give the impression of being about light, texture and manner.
I cannot describe how my art turns into a landscape but whether abstractly or a little more realistically it usually has a tone of nature. I want you to feel it and not just see it. Seeing it once, may get uninteresting, using all of your senses you can come to experience the work as it is intended.
Ciaccio, Maureen
My works are usually, lightweight sculpture made of materials that are translucent such as paper, wire and wax. The works are often comprised of many smaller pieces assembled in a large installation. These types of materials and this way of working appeal to me because it reminds me of the complexity and frailty of natural forms and growth patterns.

Recently, I have been enamored with the twists and turns and intertwining masses of branching systems- their weight, bulk, intersections, interdependence, competition for space. A series of drawings investigate trees and branching forms. These studies are abstracted and played with in an installation of wire and paper branch segments emerging from the wall. The wire, paper and other materials in the installation evoke line and shadow as if they were drawing materials.
Cooler, Karen Love
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Symbols of universal female myth have been an underlying theme throughout my work. I am also interested in stones and other natural forms that are prehistoric witnesses and holders of the earth's memories. I also create art based on my travels. This current work is part of a series that presents "portraits" of the Menhirs of Portugal. These human scale standing stones near Evora, Portugal are connected to early human's desire to understand and organize their environment. They are based on my photgraphs taken on site.

My art works require contemplation... they reveal themselves slowly over time. Often the true subject is just below my conscious thought.
Coursen, Valerie
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Creating a mixed media piece usually begins with playing with color combinations and form. Color combinations excite me and I like to work in limited color palettes and see how the colors play off each other. The last few years I've become more interested in art that can be seen across the room and set a mood.

My approach is playful as I experiment with ways of applying paint to many different kinds of paper (natural mulberry paper, paper made from sea shells, rice paper, even old wallpaper...) I like the matte chalky finish of gouache with a touch of acrylic for stability on the papers. I use all kinds of tools to apply the paint and explore the many techniques I've learned over the years and am always coming up with new ones.
Culpepper, Constance
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I am intrigued by how and why we attach value to commonplace things, and I use this curiosity along with color and perspective to produce an emotional climate with my work. I am motivated to examine tables, chairs, dishes and silverware, in particular, from the idea that these items are not only utilitarian objects, but can also be symbolic ones, serving as reminders of important people or memories: a kitchen table inherited from a favorite aunt, a set of china passed down from mother to daughter, a grandmother's mixing bowl used to make her children's and then grand children's childhood birthday cakes. Alternatively, the items could have been acquired haphazardly, yet still come to mean something to their owners from their beauty, shape and craftsmanship.

D:
Day, Eleanor
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I find the figure and portraiture endlessly fascinating as subject matter, and often use family and friends (and animals) surrounding me in my everyday life. The use of color is probably the most powerful draw for me when painting, as well as high contrast, reminiscent of the stained glass of cathedrals that inspires me. I work in oils, building my images in layers over bold drawings to give them depth and luminosity.
De Girolamo, M. Pia
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My paintings and drawings move.They can be marked by charging lines and swirling colors that telegraph a sense of restlessness and disquiet, or alternatively, elation and uplift. Sometimes, the colors are muted and the lines slow and a sense of space overtakes the lines and forms, imparting a meditative quality.
I regularly turn to natural and man-made environments experienced at home and abroad and abstract them to express an emotional or spiritual response. I start with a big definitive gesture, perhaps a calligraphic sweep of black paint or large fields of color, and then layer on and scrape off paint as I go along.Though sense of place is central in my work, there is a figurative aspect that I am exploring currently, often drawing on relationships within my family.
DISTORT, DISTORT
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It is better to face your fears than to let them run your life. I want to face them every day until they all disappear. I have this relationship with my art that a lot of people might consider slightly unhealthy. I am a personification of my style as much as it is a personification of me. All-consuming. But as incredibly dense as my world is, I'm aware that its all in my head. And that you all have equally dense worlds in your heads. And with us all as an army of subjective absolutes, everything seems equally serious and ridiculous. I like to twist things and put them together differently. I do it to pictures, bumpers, words, letters, and anything else that I can twist my brain around. I would distort everything in the world if I could... but in the end I think I'd only be distorting myself... It's what makes me who I am.
Dubin, Marlene B.
Aware of everything around me, I often am drawn to objects that others do not notice: patterns in rust; shapes on construction sites; colors in graffiti; the remains of an old building that has been torn down where the patterns and wallpapers of past rooms remain. When I hear prolonged sounds, like the noise or hammering of an MRI machine, I "hear" those sounds in colors on my closed eyelids and want to recreate them visually with color and movement. I observe and gather information that I react to and that inspires me.
Ducceschi, Laura
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The beauty of natural light accentuates the changes that occur as Nature pushes against Man's structures. Plants grow, the earth shifts, matter deteriorates and goes back to the earth. Man builds and Nature reclaims. This continually evolving process disrupts the order and symmetry created by Man, changing proportions and resulting in interesting lines, patterns, rhythms and forms.

Photography allows me to share with others my view of our world. Image editing software is used to correct limitations inherent in digital photography and to assist in drawing the viewer's attention to the subject.

I hope to heighten awareness of the precious and fragile beauty on our planet. I hope to move people to honor, respect and protect our planet's resources.

F:
Farina, Teresa McWilliams
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I am a painter of life and my passion is to capture the vitality of what I feel and see in my surroundings while incorporating the shapes, values and colors critical to creating beautiful design. With every painting my goal may change based on the colors and shapes of the subject matter. I embrace the ability to construct and destroy in order to obtain my ultimate goal with each painting. The end result varies from realism to abstraction. Or someplace in-between. Each time I approach a subject it is a personal journey that I take in trying to create an image that engages the imagination and delight of the viewer.
Fox, Nikolai
A square hanging on a wall. A compressed inspiration. Color's vibration comes in fields and points. Distance allows points to become fields and emotions allow simple interactions to become events of vast magnitude that remain with us forever. Our system's pace exists somewhere between the metabolic rates of a hummingbird and a blue whale. There are pencils and ink, digital sensors and the pads of our fingers. Single notes vibrating at specific frequencies from musical instruments. Heels on stone. Hands on wood. A cheek against lips. A hello and a thunderstorm. Vibrations are generated and meet as harmonies in the air, then go on together for a while before they become everything again..

I move in a day, a week, a year and a life between different mediums in an instinctual pattern. I am best when I work in a circle. The rotating selection of pie slices are less and less delineated, as mist-like definitions until the things they attempt to separate are together. I sense a particular freedom in this moment of art. Through it all I work to offer images and sounds that allude to these spinning harmonies, encouraging us to become safe in the mysterious as passionate witness.
Fridkin, Terri
My artistic process combines planned intentions with spontaneous input of the subconscious, and the remainder arrives from the limitless surprises from the press. My fascination with printmaking is influenced by the framework of the technical aspects of the medium along with the creative components of discovery and invention. My abstract works are primarily monoprints and relief prints with mixed media. My work is constantly developing as I explore different paths with color and composition to capture various moods. I usually return to bold colors with minimal, graphic, or architectonic imagery along with organic elements. By using transparent layers of ink and acrylic paint I juxtapose line and color while building areas of shapes via layering and repetition. Once this dynamic is achieved, the viewer is invited to explore and enjoy my work which balances between revelation and concealment, beauty and mystery, and resists fixed meaning. The desire to inspire others and myself is the driving force that compels me to experiment and evolve as a printmaker.
Friedman, Leslie
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For its visually dazzling decoration and intellectually for its information overload, the strategies of Pop influence my art making. By way of screen-printed repeat patterns on materials like wallpaper and linoleum tile, I transform spaces into bright, glossy, sparkly surfaces with subversive content below. As a student of both art and political science, I am intrigued by the power of a visual vocabulary to set the stage for political dialogue. I see my role as a visual director employing both fine art and industrial methods. Screen-printing offers a seamlessness that allows imagery to be peeled away from its original sources and built into something else altogether. What is thus constructed is a fantasy world that combines identifiable elements from the everyday with my own imagination, often resulting in a funny perversion of a "what if" game. These environments reference anything from a department store to a dump, all the while tripping up the presentation and leaving the viewer in a state of overstimulation. I work in a modular fashion and my general aspiration is to make a site-specific installation. The pieces I make stand alone, but are stronger when assembled together and allowed to shape the environment.

G:
Garfield, Linda Dubin
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Nature nurtures and inspires me. I combine elements of nature, texture and design along with the magic of the press. I am intrigued by memory and what remains in our mind's eye. My work reflects scenes from travel near and far. More than a report on how it was exactly, I am interested in my expressive and passionate response to the color and pattern of the landscape, experience or image. I am very interested in memory. Rather than representing every detail, I evoke the hidden and reveal the atmosphere, creating personal visual memoirs.

My focus on the process, not the outcome, frees me to be experimental. Following my passion and living my dream energizes me to be productive and alive. I feel like I am now living out loud. I want to share that passion and joie de vivre with those seeing my work, triggering a memory or experience for the viewer
Glickman, Barbara
I've been producing art in one form of another since I was a child and still feel that childlike excitement when I'm painting and see what I have created. Whatever medium I'm working in, I find that when I walk or sit still, I work on pieces in my head. The first thing I do in the morning is run into my studio to see how my various pieces in progress or just completed look after a night's sleep and this inability to stay away from them continues all day even if I'm not working on them. Art keeps the child in me alive and kicking. It's wonderful to be involved in something that reflects all my previous experiences and at the same time makes me feel so excited to be young at heart.

As I get older and continue to expand into new media, I find myself in a struggle to tap all my artistic talent and fully explore the depths of my creativity, recognizing that, like all of us, I'm in a losing race against the clock.
Grentzenberg, Georgianna
I am an army brat and had the good fortune to live in Europe twice, which shaped my interest in art very early in my life. Being exposed to the vast storehouse of art history that surrounded me in Germany, Italy, the Netherlands and Belgium became the backbone of my development as a person and an artist. Much later, after college and degrees in Education and Anthropology, I studied at the Pennsylvania Academy of the Fine Arts for four years after taking private drawing and painting classes for three years. Once I finished with art school I worked for over twenty years in a variety of Philadelphia museums with fine arts, historical and anthropological collections. I worked as an archaeological illustrator which developed my interest and ability in using pen and ink.

I studied art through various private drawing and painting classes before attending the Pennsylvania Academy of the Fine Arts as both a night and a day school
Grimaldi, Antonio
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My pictures are sparse, with elements conceived as minimal landscapes, whether as spaces filled with trees or as an empty desert, using color and sand as a way to create texture on an otherwise ambiguous surface.

My landscapes are without boundaries, are inspired by nature and the beauty of her many changing phenomena.

They are spiritually elemental gestures idealizing a state of flux in nature such as moist haziness, wind sounds, a quiet heaviness of dusk, or the silent clarity after a storm, events relived during my long retreats in the rolling hills of southern Italy.

To do this I visually record moments with sketches and recreate them in my studio. I work mainly on paper and canvas using a mixed media technique with sand, acrylic , oil paint and oil pastel. Through my use of color or texture I make a tension which forms a curiously alive but meditative space.
Gross, Bonnie
I paint what's out there - taking home inside me what will ultimately become a painting, to surface later on a canvas or panel. My work references familiar coastal memories from summers at the shore, travel to fringy foreign places, and, more recently, the desire to delve more deeply into abstraction. Pulling up images of wetlands, water, sand and
sun is a recurring process for me. I continue to draw on an internal notebook of color conversations, reflected light and organic imagery. My visual interpretations have taken on a more elusive form as I attempt to have a deeper dialog of self-expression. I look forward to these explorations with my paint.
Grunt, Alyce
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I paint from life so that I can respond to what is directly in front of me at the moment I paint it. I seek to depict how light defines forms, colors and values, and capture how the elements fit together to form a satisfying composition.
For the exterior paintings I work entirely on location, returning to paint under similar lighting and weather conditions until the painting is finished. These limits keep me focused and help to foster an element of spontaneity in my paintings: I never know if I'll be able to work under the same light the next day, so I am motivated to carefully observe and record what is in front of me while I can. I love capturing a glimpse of a bird or person, perhaps walking a dog, as they glide through my view. I like remembering those unplanned moments through paint.
The process of painting continually surprises me. The finished work helps me remember the feeling of a time and place and perhaps reveals a previously unrealized significance the subject represents.
Guidera-Matey, Ann
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I am inspired by nature and my work begins outside. Whether it is the feeling of reverence I get while watching a sunset over a coastal marsh or the thrill of discovering an early morning shadow across an autumn field, I need to make an emotional connection with an event in nature before I begin to paint. These feelings and memories of the particular day outdoors motivate my painting.
Presently, my work is simple and direct. My landscapes are based on simplified shapes that I see in nature. I use strong colors to convey emotion. Pastels are my medium. I love the immediacy, vibrant color, portability and convenience. I apply the pastel to a panel that I under paint with acrylic and then prime with pumice gel which provides the texture.
I paint "en plein air" in the fields near the Brandywine River and the marshes and beaches of the New Jersey Shore. Photographs from my trips to France, Ireland and Maine are the starting points for paintings that I develop in my studio.

H:
Halbert, Nancy E. F.
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I was a choreographer and modern dancer for most of my life. It is the balance between energy and stillness that I focus on in my art. I reflect this discord in a gestural, painterly, and contemporary style. The paintings show a contradiction between motion and stillness. Using a variety of media to create a raw, yet, luminous painting style, as I draw into paint. I experiment with mixing materials, such as, pencil with thinner, or charcoal with oil and create painted collages of varying surfaces. Fabrics may be integrated to provide a sense of place. Traditionally, I begin as I would when choreographing a dance, one element moving into the next. A line begins, takes shape into mass, which will deepen with color, and then culminates into an expressionistic, impressionistic experience.

My paintings are an honest representation developed through a feminine looking glass. They are about me, yet distorted. I look inward to paint my own personal and honest journey. I am surrounded by strong personalities and I dream vivid dreams. The mixture is a heavy cocktail between stillness and constant activity, merging a sense of abstraction with a reality leading me to paint motion to evoke emotion. I have had an extensive career teaching art to students of all levels and ages. My teaching is an integral part of my art making process. I never stop growing as an artist by listening to others while empowering students to create in their own personal style. I am available for workshops and private lessons in a variety of media.
Hark, Diane
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For as long as I can remember, I've taken classes in art. This intangible creative thread has woven itself through the nurturing of my family. Those around me have been forever enriched by sharing the vision and meaning I integrate into their minds just by using paper and paint.
Philadelphia is unique and rich in history. The multiple bridges crossing the river, the hub of activity at the Reading Terminal farmer's market, the Mummers celebrating New Years Day, the Thanksgiving Day Parade, and the Fountains at Logan Circle, all contribute to my palette of memories. Documenting the passage of time, I create a history of our lives and tell a story in the language of imagery.
Harris, Dwight
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In a photograph or a painting, realistic or abstract, a moment is captured. In this timeless moment, the inanimate becomes animate. Close inspection reveals conversations, relationships and even friendships among nonverbal entities.

The moment thus expands into a vibrant world of imagination where the artist and the viewer know one another more deeply than they ever could by themselves.
Herring, Louise
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My oil/mixed media paintings, inspired by nature and travel, reflect my involvement with the process of making art. I am not concerned with rendering what I see, but am challenged to express my reaction to what I see.

For many years, the rural landscape of Pennsylvania's Endless Mountains, where I spend the summer, has nurtured and inspired me. It is a springboard from which I explore the interaction between color, marks and gesture. Frequently, my finished work results in a composite of visual memories or a sequencing of views. I often use lines or "threads" in the painting to embody a direction, a walk taken or as a connection between memories. Sometimes they are simply a gesture expressing the joy of reliving a particular memory.
Hricko, Dianne
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Love of color, the sense of translucent depth and the surprise of the unexpected fuel my current work. I have spent the last few years working with a variety of printmaking techniques prior to succumbing to the urge to once again make textiles. My works on paper and on silk cross-pollinate. I continue to love to make prints and am currently working using techniques using dyes to print on paper. The images are produced through a variety of resist printmaking, Shibori and direct painting techniques using dyes and discharges.
Husted-Sherman, Melissa
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These works express my search to find a balance between representation and abstraction in my art. They embody my on-going struggle with the process of making a painting. The image I am striving for will be abstract yet also understandable as portraying a particular place and time. As a group, these paintings show that in my effort to reach this balance. Within each painting the process also reveals the struggle - the viewer can witness the adding on of paint, the scraping out and the reworking as I search for a cohesive image. Any outdoor subject is fleeting - a shift in wind or a passing cloud changes the scene. The transitory nature of the landscape is also reflected in the painting - the image is not entirely unified. The image shifts and changes much as real scene shifts and changes over time.

K:
Kane, Mary
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I LOVE COLOR. I'm amazed at what a difference one color next to another makes on the retina. I am delighted when finding just the right hue or vibrant complement to place next to a shape. I love to layer color on color to surprise myself. Finding the right balance of darks and lights, line and form, openness and depth, calm and activity,--- is a matter of trial and error. When I am in that rare magic state of unconsciousness, without judging what is happening, I am at a point of surprising myself. Then making art feels almost spiritual. Certainly sensual.
As the painting leads me on, I may find subject matter lurking there, which I often choose to obliterate to keep me aware of the composition. Sometimes a deliberate subject may be my guide. I'm often painting several paintings at a time...letting my attention go from one to the other.
Each successful painting is like a newborn baby... Sometimes the gestation period might have been a few days, sometimes months. But often I'm still revising it, trying to give birth years later.
Kendikian-Sarkessian, Monique
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I'm very passionate about the process of painting, how the paint glides on from one color to the next, and what happens when they meet. I love color and pattern and how the brush touches the canvas. Creating is a sacred process and my aim is to invite you, my guest, to take an intimate look through my eyes and hands via my canvases.
Many of my paintings are done en plein air because I am greatly inspired by nature. Things created by a Divine hand are awe inspiring in color, variety, form, genius and imagination. One of my missions is to express the truth of God's evidence in creation and when you paint natural subjects in person, that truth is undeniable. When you really observe over a period of time, the variety, lushness, beauty of design and color are beyond human comprehension. I find this intensely moving emotionally as well as motivating for new works. I also do many works inspired by the Psalms. There are references to Holy Scriptures in all of my work because they help me to understand God and help me to understand myself and the state of humanness and compassion.
Kurtz, Katherine
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For me, the hours in the studio, the discipline of showing up again and again, and the frustrations of not quite "getting it" are all worth it when in the midst of moving the paint around something appears and I say "yes! This is where I want to be." Then I explore with paint and brushes, palette knife, pencils, scrapers and scratching tools. If I am lucky and can hold my intentions loosely enough, the painting itself takes over. The results are paintings -- figurative or abstract, whimsical or more serious -- that describe a world where images are not bound by the rules of logic and experience is not reducible to linear thinking.
Over the past year and a half, I found myself particularly stuck in my studio with little emerging of any interest-- even to me. Eventually I realized that when I thought I was exploring shapes and colors, figures insistently appeared and when I thought I was working toward a figure, more abstract paintings evolved.
So I let myself go back and forth and made that the title of my 2013 show at 3rd Street Gallery. These five paintings were part of that show.

L:
Lachman, Diane
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Color is my primary source of inspiration. My years of experience teaching color theory complements my intuitive approach to visual communication in painting.
In my current work, I explore the analogy between color-guided composition and musical expression. I work on many pieces simultaneously. By applying paint in layers and blending them to create new hues, I compose forms using sequence, repetition, rhythm and silence.

Like musical chords, where tension between different tones is resolved by their participation in the whole, I strive to compose harmonious paintings by carefully selecting color notes. I search for an exquisite chord that transcends the individual notes until I find visual perfect pitch.
Lang, Jude
Some people discard their childhoods, worn out and out-worn.
Others fold them away on a shelf and take them out occasionally, to look at.
I wear mine all the time, a coat that defines and protects.

It depends on who you were and who you are and perhaps, who you are about to become.

Sometimes a doll is a doll; sometimes a baby is a baby, sometimes not.

My images explore hidden narratives, emotions and perspectives imbued within the objects and beings of our memories. They are from communal as well as personal stories, distilled and frozen out of their narratives. They embody, for me, the whole even though they are essentially residue, tucked into a pocket of memory. Resonant not only because of shared cultural narratives but because extracted and apart they carry a strange energy in their awkwardness.
Laverell, Deborah
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For me, photography is a way to see the world at large and intimately at the same time - to explore textures, colors and patterns as they occur in nature as well as by human creation. It inspires imagination and refreshes memories of times, places and people.

The close-up world is a magical place full of pattern, color, natural design and imagery. Flowers become abstract works of art; doors and windows become textured canvasses; butterflies and other insects can seem otherworldly.

The world at large is a majestic panorama of landscapes and waterscapes which comingle with architecture and design, created by people but inspired by and in harmony with nature.

Artistic photography is my canvas, upon which I record images of beauty, nature, design, color, shape, tranquility as well as relationships in nature and with humanity. It can transport the viewer to another place in time.
Lazard, Monique
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My work is a reflection of who I am which is very expressive, bold and colorful. My career as an artist has been a journey of experimenting with many different mediums and materials. I began as an illustrator using anything and everything: twigs, India ink, feathers, human hair, metalic powders mixed with paints etc. My watercolor paintings were much tighter. I observed very carefully, working directly from nature. After about 15 years I moved on to pastel. My work was still very meticulous and rendered. Several years later I moved on to work with gouache which changed the way I looked at things. Instead of watery and flowy the paint was flat and thick. I began thinking more in terms of larger shapes and values. This helped with my transition to working with oil pigments. My current work is a fusion of all of this experience. I typically do a few quick value sketches before I start a painting. This helps me decide on my composition, keeping it strong. Then I sketch it in first using transparent colors then building up the opacity. I try to keep it very loose making a big mess... then slowly I make adjustments until I have arrived at something I am happy with.
Whether painting in vast open areas or intimate spaces, I find that capturing light and color is best accomplished through close observation and careful study. My subject matter is varied and includes still-life, landscape, figures and street scenes.
I am seldom happier than when I am out in the field capturing the sunlight and atmosphere on canvass, listening to the sounds of nature and letting my thoughts run free. My aim is to observe my subject as carefully as I can whether it be still life or landscape, appreciate the response I feel and somehow convey the essence of the place, person or time of day making marks with paint. If I can evoke an emotional response in the viewer, I have been successful!
Leavy, Deborah
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Life is a great big canvas, and you should throw all the paint on it you can. -Danny Kaye, actor, comedian, and painter

I have tried to take that exuberance and apply it to my life and to my work. The journey has taken me from left brain to right brain, from being a lawyer to becoming a painter.

Embracing the freedom of contemporary imagery, I let the unexpected patterns created by nature and humankind inspire me.

A visual experience of form, space, color, and movement is translated with layer upon layer of paint and other materials, creating a textural surface. What is revealed, what is hidden, what used to be and what remains become the subject, as well as the process.

The Japanese call it wabi sabi, finding beauty in imperfection, asymmetry, decline and decay.

Thus I attempt to draw the viewer in, to pause and discover.
Lee, Kathryn
A graduate of the PAFA and the University of Pennsylvania, my early professional career was in book and magazine illustration and mural painting. Much changed in mid-career when I moved to Florence, Italy for ten years with my husband and daughter for my husband's work. Such a rich and powerful experience obviously changed me. The collages that I now do have, I believe, echoes of the bas-reliefs that can be seen throughout Tuscany. In lifting shapes up off the picture plane and by folding, scoring, curling and using painted and plain papers I obtain an interplay of light and shadow that seems to float and move. In short, I like taking a classic form and rendering it anew with fresh materials.
Levin, Adam
Many of my paintings begin as figurative images, but most get abstracted beyond figurative recognition. Others begin purely abstract and may evolve into a more recognizable figure or structure. I don't visualize the end result... I often struggle to put my left brain aside and let my imagination take control of the paint brush to resolve visual conflicts and hopefully create something which is rewarding. This often requires many layers of paint editing and cancelling mistakes of prior paint layers. I leave hints of prior layers in my paintings which I feel add interest and beauty. Some may be just a slight hint of color at the edge of a canvas.
I typically use acrylic paint which I often place on the canvas using a palate knife. Sometimes I just squeeze a tube of paint right on the canvas. I often work on multiple paintings at the same time. I am influenced and inspired by artists such as Picasso, Klee, Kandinsky as well as many contemporary abstract artists such as Joan Michelle, Bill Scott, Gustavo Rivera, and Kassem Amoudi. I am also inspired by the artists who I paint along side of in a studio classroom. I continue to learn with each painting.
Levy, Dale
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The sensations I experience from my surroundings inspire my work. I begin each project by placing a random area of color on canvas or paper, sometimes by pouring paint on a wet canvas. Each color and shape calls for another, creating depth, movement and new forms. Sometime in this process I perceive these colored areas as metaphors for an experience, observation or event, and this perception guides the completion of the work.

I make art to express my intuitions and emotions and to explore the ways that light and image emerge from color. While working, my choices and decisions flow naturally from sensations without conscious analysis. I try to record these feelings, hoping to replicate for others the pleasure and exhilaration that I experience from my work.
Lim, L.C.
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My paintings are inspired by an emotional response to nature. I am profoundly moved by nature and the beauty of our earth.

Rather than recording an exact external reality, I express the inner sensations caused by my visual perceptions; calmness, serenity, movement, awe, desolation to name a few. The more I look the more I believe that our surroundings are an allegory of life. I paint "portraits" of trees, with their families, lovers and friends.

I often work onsite. I seek out locations that provoke strong feelings. And then I return time and time again. I develop a relationship with the site that is similar to having a good friend... it deepens over time, revealing new aspects of its personality, changing as the years go by and ultimately leaving this earth.
Lisle, Elaine
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My paintings have been described as "vibrant and magical in their depiction of light...". I am looking to reproduce a feeling of awe in the landscape in my paintings. I am also looking for the surprise in the composition, whether it be the statement made by a lone figure, a spot of orange found in an otherwise green wood, or the unusual lavender reflection in a river at dusk. My paintings are more likely to be joyous, energetic, vibrant, complex compositions as opposed to gentle, pastel or brooding canvasses. Although I love to work from life outdoors, I complete my larger works in the studio from reference sketches and photographs. Often I will complete a small study on site, then complete a larger painting in the studio. This method helps me capture the fleeting moment of the outdoor light. I work only in oil as I love the rich earthly palette choices as well as the variety of textures it offers. I live and work in the Philadelphia area, but I love to travel and bring my painting equipment with me wherever I go. I prefer bright warm colors, the long shadows of late afternoon, and challenge in the composition. I like the composition to be complex, so the viewer has much to contemplate. It is exciting for me to take an ordinary scene and make it extraordinary. Paintings can be found in the most unlikely places, as well as the likely ones. I know I have been successful in my work when the viewer feels as though he or she has been there, even if he/she has not."
Lombardi, Carla
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My ceramic work investigates challenges and conflicts in my life. It deals with experiences that bring me joy and sadness, and explores popular culture as well as posing existential questions.

I like to work with my hands. The impetus for my work starts with a vague and inchoate idea niggling at me. It is only when I start the process of forming the clay that my hands assume a leading role and do the thinking for me.

When the work is completed, I realize the why, the when, and the whereof it comes from.

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Miraglia, Betsy
"My work is about ritual...the oneness of creating. It's about color, interaction, and space. It's about patience, time, and getting in touch with my inner spirit. It’s about memories, a fear of forgetting, and about continually discovering new ways to record those memories through visual expression."

Earning a BFA in Graphic Design from Moore College of Art and Design in Philadelphia, I worked in corporate logo and package designing before becoming a printmaker. Years later, a fellow artist returning from the International Paper Symposium in Kyoto, Japan, introduced me to papermaking through a series of workshops. I loved the process and what it did for me spiritually. Gradually, I merged the two mediums while continuing to explore my fascination with design using texture, color, and repeated pattern. I now work with my own collagraph printed handmade papers, laminating and collaging them to create 2D and 3D original works.
Moon, Kay
Happily, I find that I need to create. And while I love to work with a variety of art media including painting and photography, clay is my primary medium of expression.
I see my approach to working with clay as a synthesis of controlled and spontaneous, in addition to intuitive. I often begin with a main concept and form and then allow it to evolve as I create, accept, and reject ideas and elements along the way.
Since I love both hand building and throwing on the potter's wheel, I often work with both techniques in the same work of art. Most often wheel forms are the main forms upon which more textural elements are incorporated. For me it is very satisfying to explore the beauty that is found in surfaces that are more textural, natural, and spontaneous in character while contrasting smooth surfaces in a playful way.
Currently, I have been exploring the creation of sculptural vases using cone 10 glazes in reduction firing. The vases begin with a more traditional thrown form upon which I add playful and bold spiraling textural elements that, additionally, deal with positive and negative spaces. As for future designs I will explore the possibilities and allow the clay and my imagination to lead me into the next creative direction.
Murphy, Deirdre
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My work investigates constellations of movements. I am especially interested in the patterns, murmerations and energy concentrated in the collective intelligence of bird flocks. I am fascinated by the rules that guide the collective swarm to pulse, shift and change. A single bird turns and causes it's neighbor to move, thus setting off a simultaneous chain reaction that transforms hundreds of birds inside the flock to undulate. What creates this uncanny, beautiful coordination of these birds? How does their collective consciousness cause the flock to paint such abstract shapes in the sky? I see a correlation of pattern in the stellar explosion of a supernova and the growth of irregular cellular formation. In my paintings. I try and decode patterns to find the push or pulse within, to discover the visual force of energy that makes unpredictable abstract shapes. It is the butterfly effect, of one individual causing great change among others that is the subject of my art.
Murray, Roe
Art is a very spiritual process for me. It is a need I have and I am most fulfilled and at peace when I create on a regular basis.
Although I work in many mediums, my recent works have been in Oils. I like the option to make changes and Oil paint allows me the flexibility to achieve the depth, light, color and texture that I see.
Most of my paintings are landscapes or still life. Although color and light excite me, I also like the idea of conveying the feelings of peace, serenity, and the beauty of nature to my viewers and a world too busy or disconnected to notice.

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Nicholson, Stephanie
Often, I combine the art of painting and printmaking, by pulling a monoprint of one of my etchings and then painting into it with watercolor and pastel.
I enjoy the process of building up these layers. While exploring my etchings in different colors and layers, I will often paint their landscapes at different times of day and different seasons. Through this, I portray the enduring quality of a landscape throughout many changes. My work deals mainly with communicating this sense of timelessness to the viewer.
Lately, I have become fascinated with the human silhouette within a landscape, where the figure becomes an appreciative onlooker of the beauty of the natural world. Even as I return to my love of portraits in pastel, I place my subjects in a position of being in wonder of a beautiful natural environment.

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Paul, Berince
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I have been making visual images with oil paints, watercolors, printing inks, clay, pastels

or metal from the time I was a young girl in Russia up to the present. I love to try

different media and experiment with them.

Although I enjoy working in a range of materials I keep coming back to oils because of the physicality of the paint itself. I enjoy applying layers of paint as planes of color to make abstractions of the natural world, whether as landscapes, still-lifes, or portraits. Recently I have started to experiment with collage, using a combination of paint, and paper.
In my 96th year of life I still derive immense joy from continuing to paint and create.
Peltzman, Doris
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I am a direct painter, painting from life... I focus on my visual perceptions. It is the sense of the moment that drives and excites me. I paint in oils on a variety of surfaces: birch, canvas, paper, mylar, plexiglas, wallpaper, mirrors, glass... always in search of a new discovery or new technique. Sometimes I paint alla prima (wet on wet) responding to my first impression spontaneously. Sometimes my paintings are sustained over longer periods. The still life or image dictates the process. And when a painting is over, it is time to move on to new images and perceptions... for with every ending there exists a new beginning. This is true in art as it is in life.
Pitak Davis, Susanne
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I am an artist and art therapist who believes deeply in the healing power of art. I have always been attracted to sculpture and my work began with plaster. Through the years I have incorporated many other materials such as tile and mirror in my work. I feel the bright colors attract the unconscious and send a healing message. Some time ago when my sister was ill with cancer I made legions of angels to comfort her. To me, art is the truest form of communication.
Plough, Jean
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Land and space inform my work, and the paintings may also be based on states of mind. I try to create a space that allows the viewer to extend experience. I practice meditation, and I'm interested in conveying the feeling that meditation imparts in my landscapes. I aspire to carry over the meditative center into my painting process.

I believe the earth should be seen and experienced as vivid and beautiful, and can inspire us in ways we don't understand. Working with paint gives access to new sense perceptions, and allows me to realize a part of myself that is often inaccessible. Sketches for my landscapes come from visions late at night right before sleep, or from memories of hiking trips in the Wissahickon or Valley Forge.
Powers Holt, Mary
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My work is involved with the landscape and inspired by abstract patterns against atmospheric color. My paintings are about a solitary discovery of place and the unconscious forms generated from the experience. An emotional undercurrent is important to my imagery and my use of paint is mostly expressionistic within this framework. The landscape becomes a launching point for my imagination and interpreting the experience through painting a form of meditation.
Pritchard, Laura
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My work is a reverent, poetic approach to creating interesting and detailed worlds on silk.

The luminous fabric is a joy to work on and watching the colors of the dyes spread as they are absorbed is transfixing. The molten wax, as resist, is warm and flexible and creates another dimension to the experience. The craft of batik becomes a fine art.

The paintings are an homage to detail. Paying attention to the beauty of the decorations of the world is my inspiration. Details from folk art from various cultures, miniatures, illuminated manuscripts, fabric and textile design have all influenced my work. I have traveled extensively and studied abroad and have a love of the decoration of life. I am never without a sketch book to record a pattern on a floor tile, the shadow made by someone's nose, the shape of a beautiful leaf, a character in an alphabet. The inclusion of a large face in every painting plays the important role of inviting the viewer to enter a lush, fantastic world.

I would like my paintings to interest the viewer every single time they look at it.

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Roschen, Dorothy
The interplay of light and shadow on concave, convex,opaque and transparent surfaces creating hard and soft edges is intriguing to observe. Some natural phenomena, like cracks and paths left by forces of wind and water as in sand dunes,snow drifts and rock formations inspire my exploration of the infinite variety of surface modulations,the effects of concentrated and diffused light, and the wonderfully
tactile qualities of an object.

Resolving a composition, trying to obtain a balance, an agreeable interdependence of elements of divergent effects,such as positive and negative, is likewise a worthy investigation. This search for equilibrium can be interpreted as a simile for the quest for widely admired aspects of life that are often themselves an interplay of opposing forces: good and evil,justice and injustice,equality and inequality,etc. All this is worth observing,pursuing and striving to portray with slabs of clay.

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Satten, Rona
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My prints invite looking and thinking on many levels. Nature changes from day to day, season to season, and we are in synchronicity with this. Some of my images seem to have one "best way" they want to be printed. Others look just right in a variety of different colors and orientations with no one way seeming superior. The leaves I choose as I walk outside are always perfect: sometimes perfectly balanced, sometimes perfect in their "imperfection" as they reveal decay from seasonal change or holes from hungry insects. I think they are beautiful in all of their forms and I try to print the plates to reveal this. Sometimes an individual leaf seems to embody the wisdom of the entire universe. In other prints it's the relationship between the leaves, how I compose them, that elicits the flow of associations.
Schneider, Maria
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My style derives from a constant search. Inspiration is a force that fills me and takes me to a different level. I am always excited seeing something that is not there yet. I welcome the struggle. The process leads me. My experiences, ideas, memories, feelings-- pour onto the canvas. My art is my voice.
The image evolves as trying to access a different dimension, a life of its own. I am always experimenting, learning new materials and technique to express my ideas. I am always searching...
Seymour, Antoinette
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My work is a journal. Recently, I have been particularly inspired by plein air painting in landscapes that I knew and loved as a child in France and on the coast of Maine, and by figure painting in the atelier in Paris where I painted as a nineteen year old. Working on small birch panels allows me to carry my oil painting kit for long distances to a variety of painting sites. I carry my watercolor kit with me to paint figure sketches in the atelier and jazz musicians while they play at Dizzy's Club Coca Cola and other small jazz clubs.
Shapiro, Irma
In April of 2012 my house burned down completely along with Ginger (my dog) the bulk of my artwork and records including past resumes. This was followed by 2 major tragedies in the family. I used painting as therapy to survive this difficult time in my life. Time and determination has helped me produce a whole new body of work.
Shapiro Prusky, Beth
I make art because it is naked. It is a passionate, mindful, considerate language through which I can ask questions.

Sifting through the discoveries I make everyday, I take into the studio what I find relevant. Through the process of manipulation, erasure and reconstruction, I mimic the facets of daily life.

I translate the totality of my ideas about life into artwork.

The movement I make through my work is driven by a deep love for the materials. The scale and the force of figural drawing and painting are a way for me to explore life and it's complexities as I experience it.
The concepts are driven too by the world around me. The relationships we have with one another and the beauty and cruelty I see and read about.
Recently I have been working with fluid paint and drawing into wet surfaces as the figures appear. Important to my studio work is critique, spending time in conversation with fellow artists and visiting galleries to think and rethink my process and presentation.
Shattuck, Meg
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I started painting flowers because of their extraordinary beauty and structure. When I began I was concerned with accurately describing the form. Over the years, I have become less involved with detail and more interested in form, color and texture.
I have always worked from life and find the process of arranging flowers for a painting or drawing fundamental to my work. I have explored the use of thin strokes of paint, as in Chinese Brush painting, to paint the form of a flower more simply and fluidly. Recently, I moved back to drawing and a thicker use of oil paint, enjoying the tactile qualities of both. I am grouping flowers together and find the combination of forms and their intersections a new challenge.
Simon, Deb K.
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Some of my art turns to nature and pays homage to its restorative quality. Billowing clouds on bright blue skies, impending storms, hazy atmospheric days, the movement of water, all excite and call me. Most of my landscapes highlight the sky and a body of water. People are often seen interacting synergistically with nature, as in paintings of rowers on the Schuylkill River or sailors on the bay.

I seek to understand and express what I see and feel, experimenting with various mediums. There are no medium boundaries for me. Materials of choice include oil and palette knife, watercolor, monoprints, monotypes, wood and wire. I'm most satisfied when my work is done spontaneously without pre-analysis, when I lose myself in the work.
Snyder, Andrea
I want to create something tangible out of the hidden and non-verbal places within me. I try to capture the elusiveness of the moment -using marks, imagery & materials from my African and Eastern, and Middle Eastern travels, textures from natural fibers, fabric, found materials, and my papermaking. I like strong & earthy colors and elements that elicit the powerfulness and potential of the human mind. I love the complexity of combining seemingly incongruous elements made by both man and nature.
Spector, Dori
I am drawn to things that are short lived or change rapidly. Whether the changing landscape or the gesture of the human figure, I love to capture spontaneity. I can capture the human figure in moments with printmaking, linear media and I devote about 40% of my time etching. I love being outside painting landscape, and love being inside painting the beauty of natural objects. I work from life mostly still trying to refine my skills with lots of life drawing and painting classes. I also take workshops all over the country with artists whose work I admire.
Sperry, Tad
After seeing some of Gehard Richter's abstract paintings, I began experimenting with the application of paint with non-traditional tools in an effort to achieve some of the effects that he had achieved that I found so amazing. The current work has grown from these experiments in process as I adopted and imagined a variety of techniques, making them my own. This journey of discovery has removed the obvious gesture or mark, yet I am still able to pursue my explorations in color, composition and perceived planes of depth. Not being one who is able to stay in one place for long, I have recently found myself needing to reintroduce the gesture or mark: Can I use the traditional tools, brush, palette knife and paint stick, to add to the deeply nuanced surface that I've achieved in a way that enhances the image?
Stefanski, Susan
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I have always enjoyed taking raw materials and turning them into something beautiful. I discovered painting late in life and was thrilled to find this challenging creative process trying to capture the beauty and serenity I experience in nature.

Painting has made me see the world differently and pay attention to shadows and colors like never before. I am more aware of my surroundings and most drawn to painting outside. Fields, streams, flowers in the landscape, and shorelines call me to take brush and knife to canvas capturing light, air, space. I get lost in the cool and warm colors, the soft and hard edges of my representational or slightly impressionistic work. I hope to convey to the viewer feelings of peace, contentment and serenity.

The challenges of my craft are a thrill and will continue to evolve. If I am not painting I am thinking about how to render a subject, be it a flower or a child. I am so grateful for God's gifts which can be found all around.
Suero, Karina
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I work to let God show us the world as He sees it through my imagination.
Sweeney, Joseph
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Over the years I have used landscape painting as a metaphor for my own search for a sense of balance. Some of the themes I explore in my work have to do with man's relationship with nature, the effects that man has on the environment, and expressing the character and essence of "place". My interests range geographically from the farmlands of Pennsylvania to the coastal shores of New Jersey, Delaware, and Maine as well as to my ancestral homeland in Ireland.

The work is simple and direct which belies the hours spent looking, thinking and selecting a location. The foundation of most of my work is small "Plein air" paintings that will often find their way onto larger canvases. I am under no illusion that by painting the environment I can save the planet. However I do know it can open a dialog that can reinforce the idea that the natural world is worth caring for and defending.

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Tabas, Nancy
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Nancy Freeman Tabas loves the process of art and rejoices in every medium she works with, be it oils, acrylics, pastel, clay or any other material that will help to translate her idea. Nancy's artwork is a projection of her personality; energetic, spontaneous full of life and passion. Every painting, like every day, is new and exciting to Tabas.

Tabas's landscapes are realistic abstraction. They are an exploration of color, form and imagery. She sees the world as bright and hopeful and tries to portray this though her work.

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Vare, Leah
The juxtaposition of natural and man made images as well as the structured nature of my work is influenced by my childhood in the city. In the city you observe that life imposes itself where you least expect it. It appears untended and uncultivated. If there is a crack in the concrete, something will grow there. Vines grow on chain link fences, across brick walls, sewer grates and metal cellar doors. Leaves and grass push through the cracks in sidewalks and among paving stones, weeds grow in window wells, in corners of buildings, along garages and behind gas stations.

My grandmother thought every girl should know how to sew. She taught me to sew before I went to school. I frequently treat my clay slabs like fabric, cutting and darting my pieces to obtain the structured crisp shapes that I prefer. I incorporate nature by adding leaves and insects. My textural pieces will usually include flowers, leaves and insects as well as grids and geometric patterns.
Vicens-Rosenbusch, Nury
My work is inspired by the mystery, tension and fragility that I feel between human nature and the world around us. For example, inspiration may come from a person's gesture, a natural occurrence, or a memory. To express this, I enjoy combining different materials; as I play and adjust them. I respond to their unexpected behavior. I allow the paint and materials I use to interact with one another and help me bring forth an image. I work until the image feels true, until I have created a place where memory and painted surface meet. I hope that the spirit that stirs in me is manifested in my work.

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Walker, Jay
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It is important for me to live the examined life in an unintentional way. I love discovering the connections that my subconscious creates after gestating on those things that mystify me.
Materials and mediums are fluid for me. Give me something that I can manipulate, find beauty and myself in, and I will find joy in the process. In my process, I am creating games and finding their end.
Mystery is the frontier.
Weinstock, Hanni
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I have painted for most of my life and find there is always something new to reach for. Making art is a continuing and fascinating exploration.

I value creativity and try to express essence more than outer form. So my work ranges from representational to abstract. Sometimes I begin a painting not quite knowing how I want it to turn out. Often the work is more successful when I allow it to "paint itself".
Work, Scott
I love wood! I work strictly in North American and European hardwoods. I own and operate a deluxe state of the art wood working facility in Malvern, Pa. on a twelve acre wholesale tree farm that I lease my residence and two level woodshop abode from.

I am heavily influenced by my mentors such as Thomas Hucker from my home town and high school in the '70's. Thomas is a dear friend and mentor/inspiration to me though I do not hold a candle to his level none the less I strive to imitate him in this discipline of hard woods and furniture.

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Yepoyan, Armen
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I interpret the outside world in three ways: physically, emotionally, and spiritually. Through my senses, feelings, and spirit, I encounter everything that life has to offer. I proceed from my initial impressions, to a better understanding, and finally an appreciation of my contacts and relationships with nature in general. Understanding the hidden secrets of those relations, finding harmony with the preexisting nature of the universe, and trying to comprehend man's essence of existence is my ultimate goal.
At the bottom of their hearts, people always search for the truth, a search that never ends because the meaning of truthfulness is also endless. My search is captured on the canvases that I create."

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Zauberman, Dganit
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Life experiences, memories, intuitive processes, and curiosity drive my work. In my work, I am searching for what is felt and is tangible, along with the intangible. On the canvas, pulling from a reservoir of life experiences, everyday life, memories, and imagination, I construct a "place" -- a landscape that is mostly imagined. A fictional narrative is created, a realm that aims to present an idea composed of multiple layers, which focuses not only on the physical "being" of land, the form, texture, smell, and the process by which it forms, moves and erodes, but also on land as a source of emotional and psychological mood.
Mainline Art
Ellen Abraham, "The Next Big Thing", oil and graphite on canvas, 36" x 36", 2012
Ellen Abraham, "The Next Big Thing", oil and graphite on canvas, 36" x 36", 2012 Wendelyn Anderson, "Sleeping with Fish", inkjet printed with reactive & acid dyes on fabric, 120" x 48", 2012 Deena Ball, "Time to Go", watercolor on bristol with textured groundc, 10" x 10", 2013 Lori Banks, "On Course", Acrylic, Silver Leaf + Silver Metallic Paper , 12" x 12", 2013 Delainey Barclay, "Process", life magazines from 1964-1972, various sizes, 2013 Sharon Bartmann, "Out of the Nest",  ceramics, assemblage, 10" x 11" x 5", 2013 Elaine Bass, "Old City", oil on canvas, 72" x 52", 2010 John Benigno, "South Face, Philadelphia City Hall",  Photography: Archival Pigment Print, 10" x 8", 2013 Henry Berkowitz, "Shadows #3", oil on canvas, 24" x 28", 2010 June Blumberg, "Yarn Lion and Girl", mixed media, 17" x 14", 2013 Trina Brand, "Red River", acrylic on canvas, 36" x 36", 2013 Elizabeth Breakell, "Sunny Day in Cordes", oil on canvas, 12" x 9", 2012 Ed Bronstein, "Studio Still Life with Beer", oil on canvas, 16" x 12", 2013 Ellen Carver, "Garden Series", handmade paper and acrylic on canvas, 30" x 30", 2013 L.C. Lim, "Full Moon Blue Yellow", watercolor and pastel, 24" x 34", 2012 Jane Cary, "Fields of Dreams", oil painting, 24" x 36", 2013 Maureen Ciaccio, "Limbs Study 3", charcoal, gesso, 30" x 20", 2013 Karen Cooler, "Menhirs of Alentejo; Soldiers ", mixed media; acrylic and transfer print on wood, 16" x 20", 2012 Valerie Coursen, "Green and Yellow Apples",  gouache and acrylic on painted paper, 27.5" x 39.5", 2013 Constance Culpepper, "One Cup of Tea", oil on canvas, 36" x 48", 2012 Eleanor Day, "Easter", oil on canvas, 48" x 72", 2007 DISTORT, "Beautiful", mixed media, 18" x 12" x 4", 2011 M. Pia De Girolamo, "City Park", acrylic on canvas, 36" x 36", 2013 Marlene Dubin, "Face Off",  acrylic, pencil, oil crayon on canvas, 40" x 30", 2012 Laura Ducceschi, "Lily in a Dew Drop", photography, 20" x 16", 2012 Nikolai Fox, "Untitled 1", oil on panel, 10" x 10", 2013 Terri Fridkin, "Are We There Yet?",  monoprint, collage, graphite on Rives BFK, 20" x 16", 2013 Leslie Friedman, "Coke Zero Cans", screenprints on metalized laminate and cardboard, 12.5" x 8" x 8", 2011-2013 Linda Dubin Garfield, "Summer's Rhythm", mixed media, 26" x 23", 2013 Barbara Glickman, "Tall and Skinny", acrylic and crayon on canvas, 18" x 24", 2013 Georgianna Grentzenberg, "Green Mysteries", drawing: ink with colored pencil, 7" x 10", 2013 Antonio Grimaldi, "Looking Over the Valley", mixed media on canvas, 30" x 39", 2012 Bonnie Gross, "Early Marsh", acrylic on panel (with birch collar), 36" x 36", 2013 Alyce Grunt, "Morning Shadows, Fall", oil on canvas, 20" x 20", 2011 Ann Guidera-Matey, "View from St Cirq Lapopie", pastel on panel, 20" x 24", 2012 Nancy Halbert, "Maple Syrup Runs Through", oil and pastel on canvas, 28" x 26", 2013 Diane Hark, "Philadelphia Treasure",  watercolor on 140lb Fabriano paper, 22" x 30", 2012 Dwight Harris, "Art in the Park", digital photo art on canvas, 16" x 20", 2012 Louise Herring, "Thailand Times", oil/mm on canvas, 36" x 42", 2013 Dianne Hricko, "Permutations with Carmine Stripes",  monotype fiber reactive dyes on Reeves BFK, 41" x 29", 2012 Melissa Husted Sherman, "Autumn #2", oil on canvas, 16" x 16", 2012 Mary Kane, "Cherish our Soil", acrylic/sand on canvas, 30" x 40", 2011 Monique Kendikian-Sarkessian, "Not Ashamed", oil on canvas, "24" x 30", 2012 Katherine Kurtz, "Marlene's Dream", acrylic on canvas, 36" x 34", 2013 Diane Lachman, "Summer", oil on multi-panels, 30" x 24", 2013 Jude Lang, "Education of the Virgin", acrylic, graphite on wood panel, 48" x 48", 2011-2013 Deborah Laverell, "NYC Sunset 2", photograph on canvas, 20" x 32", 2013 Monique Lazard, "Sydney at the Helm", oil on canvas, 48" x 36", 2013 Deborah Leavy, "Behind the Golden Door III", acrylic on canvas, 30" x 30", 2012 Adam Levin, "Urban Shadows in Blue", acrylic on canvas, "48" x 36", 2010-2013 Dale Levy, "Aeolus", oil on canvas, 40" x 30", 2013 Elaine Lisle, "Rittenhouse Gazebo", oil on canvas, 18" x 36", 2013 Carla Lombardi, "Vamos a la Playa, Plate", mid range porcelain, slip, glazes, oxidation fired, 12" diameter, 2012 Kay Moon, "Uzumaki" (front), stoneware, 12" x 9" x 6",  2013 Deirdre Murphy, "Drifting Winds", acrylic on panel, 11" x 36", 2013 Roe Murray, "Sunflower Farm", oil on board, 11" x 14", 2013 Stephanie Nicholson, "Abigail", pastel on paper, 12" x 18", 2013 Bernice Paul, "Waterfall at French Creek", oil on canvas, 24" x 36", 2011 Doris Peltzman, "Sitting Pretty", oil on birch, 36" x 36", 2012 Susanne Pitak Davis, "Lusting for Light", sculpture mixed, 24" x 16" x 16", 2011 Jean Plough, "Letting Go", oil and oil crayon on linen, 20" x 20", 2012 Mary Powers Holt, "Melting Snow", acrylic paint on linen, 36" x 36", 2013 Laura Pritchard, "Self Portrait with Better Eyebrows", batik painting on silk, 37" x 34" x 2", 2010 Dorothy Roschen, "Flower of the Soil", enamel, melted glass on ceramic tile, 11" x 11", 2013 Rona Satten, "Abundance", etching a la poupee, 30" x 22", 2012 Maria Schneider, "The Squash Player", oil on canvas, 30" x 36", 2013 Antoinette Seymour, "Wreck of the Tugboat D T Sheridan", oil on birch panel, 6 3/8" x 7 7/8", 2013 Irma Shapiro, "Fantasy", acrylic on canvas, 40" x 60", 2013 Beth Shapiro Prusky, "Divergance 3", acrylic and pastel on paper, 52" x 52", 2010 Margaret Shattuck, "Flower Composition", oil on paper, 9" x 7.5", 2013 Deb Simon, "Not Just Another Sunset", oil on canvas, 10" x 12", 2012 Andrea Snyder, "Joomchi Flavors", joomchi (Korean Papermaking), 15.3" x 18.3", 2013 Dori Spector, "PA135321", etching on paper, 12" x 10", 2013 Tad Sperry, "Concrete Expansion II, #6", acrylic on masonite, 60” x 48”, 2008 Susan Stefanski, "Reach for the Sky", oil on canvas, 24" x 24", 2010 Karina Suero, "Autumn Porch", pastel on paper, 19" x 25", 2012 Joseph Sweeney, "House on the Rocks", oil on linen panel, 15" x 15", 2012 Nancy Tabas, "Aspen Summer", oil on canvas, 24" x 18", 2013 Leah Vare, "Tangram Game", terracotta fired to cone 1, 14" x 14", 2012 Nury Vicens, "Staying Put", drawing on paper, 48" x 36", 2013 Jay Walker, "Theotokos: Ichor", tape on wall, 120" x 240", 2013 Hanni Weinstock, "Over Hill, Over Dale", water media on paper, 18" x 24", 2013 Scott Work, "Finished Photography Stool 009", solid highly figured cherry, 31" x 17", 2012 Armen Yepoyan, "#1 Amberd Castle", acrylic on paper, 14" x 17", 2013 Dganit Zauberman, "Flight", oil on canvas, 44" x 54", 2011
Mainline Art
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