View the Spectrum: Visions 2020 Gallery
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|Color and light are the elements that inspire me most. As a ‘plein air’ artist I see how the air affects light, creating a glow that brings vibrance and energy into the moment. I take that feeling of light and try to incorporate it into my abstracts. Painting large opens my mind, and helps me let go of the exactness of an image- it’s a feeling of freedom I have long sought in my work. With this approach I can experiment more with color, painting with bold strokes while using mark making to add something distinctive into every piece. I express myself through intuition. I paint fast and furiously, intent on bringing order to the chaos in my mind. I am narrating my own personal story using layers of paint to create depth and calmness, while mark making adds vibrancy and life.
|Daniel W. Barrett is a Professor and Chair in the Department of Psychology at Western Connecticut State University, Danbury, CT. When not teaching and writing about psychology, he thinks, paints, and works with wood at his home in Redding, CT.
|For me, art should evoke some sort of emotion that leads to deeper conversation. Experimenting with a variety of media, paper, and techniques in my work I strive to reach the viewer, lead them to ask questions and find that human connection.
|My pieces are all about nature; my companion and lifelong inspiration. The simplicity, complexity and majesty of the natural world continues to amaze me. A universe in a single leaf!
|Life is a passage. In addition to their literal description, these images of roads posses a metaphorical significance, suggestive of the unknown journey we all travel toward our collective and individual future.
|I’m addicted to the puzzle of color, the construction of shapes and how they relate to each other. My paintings are born from one another, each shaping the other through exploration and experimentation.
|These paintings are part of an evolution of work inspired by landscape, nature, my garden, etc. seeing things on both a micro and macro level.
|I try to distill my thoughts in order to focus on the essence of what lies beneath the surface. My wish is to express an increasing concern with the fragility of nature as well as to evoke a sense of the transience of being and mystery of the unknown
|I try to create each work so it is different from the others in in the way it elicits a response from the viewer. Consciously and subconsciously the symbols depicted will touch each viewer differently.
|My photography is concerned mostly with exploring images from the natural world, reimagining them in an unexpected way, and enticing the viewer into a new perspective.
|The relationship between sand, waves, and the energy they evoke as a form of natural beauty are encompassed in my work.
The ever changing colors of the seascapes embedded in my work portray the connection with the ocean.
|Trying to work with formlessness and form… balancing chance and intention. Playing with lines of different thicknesses to create a dynamic composition.
|Jeff Chester’s work interrogates the self through a multiversal atemporal lens. Historical motifs and traditions of painting are aggregated with contemporary nihilistic anxiety.
|Heidi Lewis Coleman is an abstract artist whose Dreamscape Series reflects an exploration of imaginary landscapes inspired by the ancient lands of mythology and cultural lore, whether historical, fictional or fantastical.
|Unabashedly visual, Linda Colletta’s work draws the viewer in through her fresh, vibrant canvases. Often referencing the political–poetical aspects of graffiti art, punk rock, urban grit and the natural environment, her approach to painting integrates a radical embrace of the subconscious mind. Using sweeping gestural marks, she allows fluid brushstrokes and the intersection between the intentional and the subliminal to guide her process. Consciously incorporating bright, energetic colors, her works evoke the sensation of free-spirited spontaneity. While at first glance Coletta’s abstract paintings have a seemingly accidental quality, upon closer inspection, they are saturated in socio-cultural undertones. Her practice intricately weaves together the industrial, the found, and ephemeral, with a candidly organic method.
|These three monotypes are memory works. Intuitive in color, experimental in the nature of printmaking. I am searching out unique surfaces to ink and utilizing more painterly tools.
|My works are autobiographical; they evoke what it is that inspired me. They are windows, meditations and expressions of humanness. I hope they become that experience for the viewer as well.
|Jane Coco Cowles is a designer and attorney. She graduated from Drew University with a BA in English and Fine Arts. She began her career in fashion working for Lacoste, Richards of Greenwich and as a photo editor for Arts & Antiques magazine. Her keen eye for detail is an asset that helped her graduate with honors from law school and later receive an LLM in taxation from New York Law School. Jane has worked in law firms, taught business law at the European School of Economics and worked in accounting at Ernst & Young focusing on the areas of corporate law, business formation and contracts. Art has been a constant in her life. Jane’s fine line illustration is influenced by her love of precision and career beginnings in fashion. Jane’s designs can be seen in Conde Nast Traveler and GQ. She has received many design awards including the Drew University Dean’s Prize for Art. Her work is exhibited in galleries in New York, Connecticut and Italy. She resides in New York with her dachshund, Pi
|2D and 3D works that create movement over the canvas reach further into the psyche. Moving moves movement, now and into the future.
|I use metallics and glitter to create a surface of shimmering light and reflective areas in the paintings. Historically and now, reflections have to do with human beings communicating with the spirit world and connecting with life’s deeper mysteries.
|I’m not an artist — I just use this medium to explore words written for me by someone else.
|My work for this show reflects my love for the environment. I am an avid gardener, ikebana artist, and environmentalist. My ideas come from my interests and seek to achieve movement, dimension, texture, and space.
|I have enjoyed a great deal of traveling and always take my cameras with me.
|I have always had a fascination for abstract art. The color, lines and shapes work together to become something that is truly individualized. My belief is that art is a necessary fulfillment one has to embrace on their own personal level. To appreciate abstractism is an invitation to savor the beauty and not be constrained by the norm. We have but one precious life and we should allow ourselves to give way to imagination and creativity every chance we can. My intent is to create pieces that speak to the heart, stirs the soul and invigorates the mind. My hope is that the art I construct will continually evolve and connect with not only the beauty of the human experience but also to invision what lies beyond our horizon.
|I’m very interested in figurative art and am inspired by my own experiences, fears, hopes and dreams. I use ordinary images as references to transform what I see into something that I feel; something more emotionally charged, more personal. These pieces are part of a series called “Emotional Self Portraits”
|My work is an exploration of the transformation of common materials such as wood, paper, rope, paint and the relationship between them that then turn into an abstract language that connects my art to a historical framework.
|With a background in botanical drawing, I have recently added monotype printmaking to my practice.
“Below the Surface” and “Rising” have emerged from this new work.
|As we all move along in this chaotic world that seems to be spinning out of control, I continue to be grounded and inspired by nature.
|I create my landscape work as I understand it intellectually and my art is an expression of my concept of nature. When I choose my composition I sacrifice detail in order to improve the overall effect of the composition.
|The photography being submitted represents images from my travels in southwestern New Mexico and Arizona. I have happened upon communities whose businesses served the needs of travelers before Interstate 10 was built and who are now bypassed in time.
|I use bold colors and shapes, many layers and varied mark making to create abstract land and seascapes representing my home state of Maine and other exquisite coastal areas.
|My images are born of several photographs. I composite the image digitally. These workers in India had a busy street straight ahead, as you view the image. I digitally changed the space. I use technology but prefer the style of traditional painting.
|Painting has the ability to transcend time, culture, place — language without boundaries. Like the web that connects living things. All rooted in the same ground—from the same point. Each choice, movement, response (subtle or loud) effects the collective. My current work intends to reflect this potential and encourage the audience to consider their state.
|Working with acrylic paint and resin, I create abstract fluid paintings on canvas or board. My signature cell details, wisps, and drips down the canvas sides are evidence of the great movement, intuition, and spontaneity needed for my process.
|I have strong affinity for Japanese aesthetics, most notably the influence of “wabi-sabi”. “Wabi-sabi” is a Japanese view of aesthetic centered on the acceptance of transience and imperfection. A form of art in asymmetry, minimalism and modesty.
|These fragile works set out to embrace decay and celebrate decomposition. Made of watercolor washes, and torn sheets of paper, each piece begins with a sketchbook. Pads of paper are torn away, sheet by sheet, and rebuilt in a way to make familiar materials temporarily unrecognizable. Layers of torn paper are soaked with washes of watercolors or botanical inks. The paper warps and curls. The binding of the paint breaks down and separates. The work is what remains after disintegration, dissolving the integrity of materials.
|As my art evolves, I aim to do more with less. I am striving to maintain the power of my signature nature-inspired style with fewer, more impactful strokes. That is my vision for 2020 and beyond.
|I spent a lot of time daydreaming in my childhood. Lying on my back, I was enveloped by the grasses and wildflowers of the meadow behind my home, east of the river. Time moved at a slower pace, stretching out in long afternoons in which to observe.
|These photographs are a meditation on light, shadow, & shape. I seek calm in calamitous places &, while these photographs were shot in busy, touristy cities, I make a point to find refuge amongst the chaos. I shot these in the Netherlands, Amsterdam & Utrecht, the first two in the buzzing Museumplein. Photography has always been a way for me to slow down & breathe in my surroundings, to seek out beauty in an oftentimes ugly world, &, ultimately, to share my interpretation of my time on this planet with others. I learned on my dad’s Pentax Asahi in the early ‘90s & fell in love with printing in a darkroom soon after. I reluctantly transitioned to a DSLR in 2009, though I still shoot manually, in natural light. I print my own work to this day on archival matte photo paper, & my work is often mistaken for paintings. I give my viewers what I see when I see it, without cropping or manipulation in Photoshop. I exhibit regularly in NYC, CA, NJ, & CT.
|Images that reflect an open, relaxed expectation of what is.
|On a recent trip to Myanmar, I photographed monks–and more monks. I learned that all Burmese males must spend some time at a monastery, studying– among other things, the teachings of Buddha. The length of the service is up to the individual.
|I have always worked with line, but is has been controlled. Now my line twists, turns, and is in constant motion, going in many directions at once, like the demands of life upon us. I turn the work, applying layers from multiple directions, looking at the transformation from a blank page/canvas holistically. Although the line may seem chaotic, it forms rhythmic patterns that unifies it and superimposes structure. The use of layered lines is a common thread though out my work. The layers are about connections. There is a co-dependency between the layers as the line moves creating texture and depth. Connections are formed, broken and reconnect as information moves from one layer to the next adding to the narrative of my life.
|I repurpose expired books. I use mainly atlases and dictionaries. In doing this I bring together my love of the printed page with an artistic meditation I discovered through the repetition of folding these books into unique and meaningful sculptures.
|In my current work, I seek to find balance between the creative and the present moment. I like the idea of interactive art to make people pause. Get interactive with surroundings in the painting, asking the viewer to become a part of the artwork to find a moment when what they see and where they are invites them to pause.
I enjoy artistic experimentation and investigation through manipulating the silver layer of a mirror with acids and paint. Surprising passages of color and pattern, entwined with preserved reflective areas, create a charged, fluid composition that responds to light and environment. In some sense, the works are never ending creations.
|Contemporary artifacts reflecting mycology, stratigraphy, sacred geometry, and beekeeping.
|My fascination with capturing and recreating light and layers continues, as I delight in the richness and imperfectness of film photography, and sustain my exploration of beautiful distortions mixed with clarity all around me.
|This body of work reflects my interpretation of distilling the landscape to its raw essence by eliminating the sky and water and leaving the viewer’s imagination to fill in the blanks. It’s purpose is to create a sense of meditation and tranquility.
|These images are fleeting moments in time that I was delighted to have witnessed and captured
|The works I am submitting represent my hope for a better future, a greener, more climate friendly world, a vision of friendship and peace for the children, and a commitment to urban renewal.
|My artwork is rooted in human gesture. Though a final piece may not resemble a person, per se, it should project a sense of presence, familiarity or empathy. Gestural qualities are achieved either through long, repetitive processes: building up, breaking down and recycling materials, or through very direct, quick and minimal applications of media. The former method generally produces heavy, tangible works, characterized by their weight and three-dimensionality; the latter tends toward works that evoke an idea, memory or metaphysical entity.
|My goal in these digital collage creations was to bind disparate things into something thought provoking and beautiful. I endeavored to tie together the old and new, darkness and light, image and text; to produce a compelling narrative.
|The future always offers exciting opportunities and challenges. Whether one’s vision is clear or cloudy may depend on the moment or mood: a stirring even fall, a surreal journey’s end, a glimmer of hope, a face-to-face stalemate or just lost.
|Using photography, printmaking, drawing and collage in tandem, works explore an autobiographical excavation of the self with interest in duality and fragmented storytelling.
Conceptually these mediums have been used to record history, but often that moment is just the surface, processes lead to unearthing the exteriors of time, covering a vulnerability or amending memory with footnotes.
Each piece possesses bits of life lived – a teetering of truths and lies, light versus dark, success and failures -presented as an amalgamation of memories, and experiences that we preserve/destroy, expose/cover, and eventually what reemerges, revealing both a lineage of masks and underlying layers of faces beneath.
Together these works create a portrait of what shapes us, while embodying the deluge of all that was forgotten or surplus to existence.
|2019 challenged me. My diagnosis with breast cancer made it a very difficult year. 2020 has presented new beginnings and opened my eyes to a new perspective. My first collection of 2020 is dripping with aspiration and my vision for my second chance.
|Trump’s utter disregard for VISION critically upgrades the vital importance of both ART and SCIENCE; each being the mutually exclusive irony of the other’s innocence. Hence our need for more “cutting edge” or ha-ha recess between dystopia and garden.
|In my series Park Life, I have focused on the positive effects the natural landscape can have on humans. I have painted many moments that I have observed in Central Park. It is a quiet place for some, a shelter for others, a hillside full of laughter for many–all pointing to the natural landscape having a very positive effect on human well being.
|I am very much a visual traveler who interacts with people, places, objects and ideas on a variety of levels through several planes of vision that intersect with time and space. At those intersections, I may capture a moment as I see it.
|I am passionate about photography as an art form. There is profound value in the thoughtfulness, the provocation, the silent aesthetic, the power of a single image made with the vision and ever evolving techniques of fine art photography.
|These recent works focus on the heart and how its music penetrates in all our experience both deeply interior and beyond toward the Milky Way.
|Shooting around the world, I try to capture images that alter our awareness, puncture pretension and mine irony from surface appearances. In my work I aim for warmth and wit, and the wily truth, within revelatory geometries.
|Mary Elizabeth “ME”
|Modern-day life produces fatigue, stress, and overstimulation. We all need to get away from the routine and feel a part of something greater. My art draws you in to improve your mental well-being. My art is a re-set button.
|I paint in an abstract expressionist style in order to connect with and express my experience fathering an autistic child. The entire body of work approximates a place that I inhabit physically and psychologically.
|My work involves the use of universal symbols to represent the generative power of the female form as well as spheres which explore the mysteries of creation. Repetitive use of the vessel shape celebrates human survival as does the mystical sphere.
|Working with one broken mannequin and various mixed media, my photography-based series, “Anxiety”, expresses interior monologues. These are the narratives that come from living too much inside my own head, and I project they will increasingly intensify as time and technology advance. The piece “Interview” is about being consumed with isolation and nervousness, boxed in by hardware. “Blood Ties” conveys my trepidation about what I’ve passed on to my daughter: my past bleeds into her future. “Change Hurts” is my reaction to aging.
|2 of these 3 entries are mixed media collages. The 3rd is a photography piece. The 1st entry is all about how I hope to find a perfect love. The 2nd is how I hope this decade will be filled with music. The 3rd entry is how I don’t want to be alone.
|The images I am submitting were taken at my home in the last couple of months. I have been using color and light to try to convey my hopes for the new decade – dreams, aspirations, beauty and light in darkness.
|“Grace Hartigan walks on her roof”
Abstract expressionist painter Hartigan has finally received recognition; she walks on the roof.
Painting based on photo of Hartigan on the roof of her NYC studio.
|Whether it is exploding color or the stillness of a floating lily, my goal is to move you. If it provokes a memory, sends you into a daydream, or reminds you of someone you love or miss, or just fills you up in some way, then we both gain from that experience.
|As a former dancer and disciple of Robert Joffrey, I love the figure and the endless beauty of its line. I work in drawing mediums and enjoy spontaniety in my work, often editing and abstracting to invite the participation of the viewer.
|Moments of street life in Havana, Cuba.
|Much of my work integrates small items accumulated during the course of life: miscellaneous scraps of paper, boarding passes, tickets, postcards, et cetera. Some of these items are seemingly inconsequential, while others hold sentimental value. The pieces submitted are recent ones which incorporate old pieces of fabric. These fragments function as primary compositional elements and represent three different formal approaches: lyrical figure on ground, dense layered pattern, and orthogonal grid. One of the pieces also includes a series of individual text characters–assembled from news headlines–which have the effect of rendering the piece a visual riddle. The meaning of the text–and the text’s relation to the grid and more irregular fabric pieces–is not readily apparent to the viewer.
|Photography is not merely duplicating a scene on paper. The photographer captures the scene and then presents it with an artistic interpretation to enable the viewer to not only see but feel what the photographer experienced.
|Jason Trotter is an emerging artist known for his bold geometric abstracts rendered in acrylics. While Trotters colors are chosen intuitively, his compositions are inspired by lines and forms observed in daily life and are intended to evoke an instinctual, physical reaction from observers rather than interpretive analysis.
|Inspired by the city that never sleeps, these recent paintings use bold geometry to explore the multifaceted experience of New York – as shown in Carlyle Upson’s original artwork featuring a modern interpretation of map compass roses. So many people with different influences coexisting and navigating in New York City – do they need to recalibrate to coexist? Carlyle uses mass produced drafting tools of cartography, war + architecture to ponder religion, culture, + gender. The footprint of Borobudor morphs into a wayfinding device by being superimposed onto a vintage map of Manhattan. Vintage NOAA government printing office maps cropped and manipulated by the artist refer to ancient Egyptian mosaics, 17th century Dutch engravings, and sacred Taoist mountains in China.
Collectively they bring up questions of which directions we are headed in as individuals, families, communities, and urban seekers. Which guideposts do we follow to set our bearings without drifting off course?
|Experimentation is the mother of the invention is a moto’ which I work by. My collages are a combination of hand-painted scanned images and photographs that are often assembled by experimentation and discovery with no destination often in mind.
|Sergio is a mainly self-taught photographer and while his photos include landscapes and more conventional subjects, his passion is still life. In his hands the camera is an instrument to show the reality not only as it is, but also as it can be.
|Joshua Avery Webster gathers strength from his color field foundations and seamlessly merges pigment and texture. Webster’s work explores the interplay of form, color, and texture on the canvas inspired by the work of the mid-century color field artists.
|My work is about the connection between people and the environment. This connection is very important to me and it needs to become that important to everyone so that we may become good stewards of our planet before it is too late.
|This work is an expression of emotion inspired by movement and transience. The layers of color create a vibration of light. Weightless strokes seem to be coming together and falling apart. Despite this ambiguity, somehow the feeling is tranquil.
|This decade has begun in darkness…politically, culturally, environmentally. As the storm clouds of nationalism, isolationism, and intellectual ambivalence collide with the physical threats of climate change and pandemic, its easy to forget that moments of beauty can exist against the backdrop of night. A shared laugh over a glass of wine, selecting fresh fruit from the market before it shutters, even the simple glow from a bedroom window at home, remind us that simple moments of hope and beauty are always there, and will bring us out of the darkness.
|My photo series, titled “I Am, I Was,” is a celebration of my own evolution as a photographer. As I document and interpret random, cast-off objects, I document and interpret myself. As I continue to grow and evolve as an artist, I strive to recognize the beauty in that which is left behind. There is grace to be found in the detritus of our old selves. We can only evolve if we recognize that shortcomings are also strengths, that there is progress in change, that ugliness, and not just beauty, is in the eye of the beholder. Indeed, there is an inherent beauty in the very act of observation itself.
Through my photography, I fervently hope to remain a part of this process, to continue contributing my point of view to the world at large. For as long as my legs will carry me, and for as long as I am able to cradle my camera, I wish to remain part of this important, ever-evolving discourse.
|I compose natural and man-made found objects and thematically create a reaction with a single or various spherical element(s). Imaginary surreal landscapes and gatherings of characters relying on each other to evoke a story. While some elements create a visual tension defying gravity, visual comfort is soothed when the overall composition makes sense. I build and then subtract only the necessary elements to leave room for the viewer to “finish” the story.