ABOUT THIS EXHIBITION
On view: July 14 - August 21, 2022
Public reception: Friday, July 15, 6:00-9:00 PM
ArtsWorcester, 44 Portland Street, Worcester MA
An annual favorite turns ten! For the Tenth Annual One, all ArtsWorcester members were invited to exhibit one artwork they want to exhibit most, regardless of medium or theme. Karl Cole, Art Historian and Curator of Images of Davis Publications and Co-Curator of the Davis Art Gallery will award $500 in prizes. Explore all 160 works below.
ArtsWorcester exhibitions are sustained in part by the generous support of the C. Jean and Myles McDonough Charitable Foundation. Prizes are generously funded by Marlene and David Persky and the Artist Prize Fund.
Karl Cole is the Curator of Images and a contributing editor at Davis Publications, and has spent more than 25 years as an art historian. He is also an artist himself, specializing in painting. Karl holds a BA and MA in art history from Northern Illinois University and the University of Bern, Switzerland.
WORKS ON VIEW
Mayan War Club
hand-carved pine wood, acrylic paint, obsidian stone blades, 38" x 6", 2021, $1,100
This weapon was used primarily by the Maya. The purpose of this weapon was to harm and not kill people. Although, it definitely could. The Mayan War Club was good at parrying other weapons and attacks. This weapon and other Mesoamerican were made out of hardwood and obsidian stone. Some Spanish journals recorded that some obsidian-bladed weapons could cut their metal armor. It took 170 years to conquer the Maya nations. And today, the Maya still resist colonization through activism and protests. I started making these weapons as a symbol of the resistance that my people have in their hearts.
My Country 'Tis...
archival ink jet print, 10" x 15", (16" x 20" framed), 2018, $350
Simply a grab shot of cultural symbols.
collage and oil paint on acid-free board, 16" x 14", 2022, $350
Collage with oil paint on acid-free board. An abstract composition reflecting the gesture of giving.
Mundane Days on Washington Street
ceramic, 8.5" x 6.5" x 6.5", 2022, $235
Mundane Days on Washington Street is a visual, three dimensional representation of a memory. Baldi began creating watercolor paintings she calls "memories jars" in 2020 which inspired the 3D creation of one of these memory jars. Inside the ceramic vessel Baldi allows a peak into a meaningful space to her, inviting the viewer to join her in reminiscing her old home.
I Was Pushed Into This Black Hole
linocut on cotton rag paper, 15" x 21", 2022, $120
Death is inescapable. Life is fragile and fleeting. One cannot exist without the other. In 2012, my mother was diagnosed with metastatic breast cancer. After about 8 years, she unfortunately has succumbed to the will of her illness. This project explores the emotional experience of losing a parent. Carving into linoleum, this reductive process as well as the repetitive pattern reflects the loss, the aftermath, and the path towards acceptance. I work only with two colors, the lighter reflecting life and the darker, death. This piece marks a step in the journey of her and me.
marking lives covid 19, lab 2, 1000 lives
mixed media: 1000 family debris monoprint circles collaged on Rives BFK paper, mounted on cradled panel, the circles memorialize 1000 lives lost to covid 19, 30" x 22" x 1.5", 2020, $1,250
During the pandemic, artist Elizabeth Awalt conceived the community art project: “Marking Lives COVID-19” to commemorate lives lost in the US to COVID-19. Elizabeth invited artists to make artwork using at least 1,000 marks of any kind on any surface. My piece marking lives covid 19, lab2, 1000 lives is the second of 5 pieces I made for the project. Using circles created from remainders of family debris monoprints, I collaged 1000 circles in an explosive pattern on rives bfk paper. Each circle represents one life: varied, colorful and always in motion, then lost, leaving its radiant presence behind.
acrylic, 18" x 24", 2022, $700
Being a mom, I felt an obligation and duty to expand my artwork to uncharted territory, painting about the special needs community. I use our journey to enlighten those ignorant, help break down barriers, and support other families like ours. The last ""closet"" that needs to be opened is for children and adults with special needs. The shame, prejudice, lack of inclusivity, and bullying that goes with my community can't be seen and is an epidemic. My letters and calls have not changed anything but maybe my art will help start the conversation.
The Artist's Palate
fabric dyes on silk, 23" x 30", 2018, $1,150
I am enthralled with the whole process of painting on silk. The translucency of fabric and dyes create a unique vibrancy; and the movement of the dyes when placed on silk bring unexpected results and surprises. It is always an adventure!
Eugenie Lewalski Berg
Illusions of Stability
concrete, mokuhanga prints, graphite, hardware, 5" x 16" x 9”, 2022, Not For Sale
This piece is part of my ongoing work making molds, casting them with concrete, and applying Mokuhanga prints to select surfaces. I then often add graphite details. The house/home image can be interpreted quite literally as shelter and protection, or refer to the inner place where one resides in solitude, the unconscious. Images of the destruction in the Ukraine actually triggered this particular piece.
digital art, 13" x 19", 2022, $200
Through a Glass Darkly
acrylic on canvas, 20" x 20", 2019, Not For Sale
acrylic and paper collage on canvas, 30" x 30" x 2", 2022, $350
Anger, one aspect of grief, is depicted here. Attacking the canvas when reworking this piece from 2019 brought catharsis.
Caravan Needlepoint Box with Tassel Lid
yarn, embroidery thread, plastic mesh canvas, 5.5" x 3.75" x 3.25", 2021, $273
My memere’s handmade needlepoint Christmas ornaments have served as a springboard for my exploration into the versatility of this classic medium. Childhood memories of fiber arts have inspired me to expand the boundaries of needlepoint in both design and construction. This small box adorned with a tassel evokes both nostalgia and intrigue, while providing a functional vessel for trinkets and keepsakes.
digital, 12" x 15" (19" x 23" framed), 2021, $400
digital painting (from artist's photo, Photoshop, procreate on iPad), 10.5" x 15" (16" x 20" framed), 2021, $250
The incredible beauty of the rural Massachusetts landscape has always been an inspiration to me, but never more so than during the bleakest days of the pandemic. The farms near my home in Barre, surviving for generations in this rocky New England landscape, offer a hopeful reminder about interdependence, resourcefulness and perseverance.
color photograph on fine art paper, 24" x 30", 2021, $571
This photograph was created out of my love of fantasy and childhood books. As a child who was raised for most of my life without a television, I relied on books to be my escape. Reading was an incredible way to set my imagination free, to explore what was not real. Don’t get me wrong, I had a pretty wonderful childhood growing up in the hills of the Berkshires, but books such as Alice in Wonderland helped me grow into the creative person I am today.
It Chooses Chaos
concrete, juniper, wood, wire, steel, foam, enamel, 36" x 15" x 15", 2022, $600
Museum of Curiosities
collage, photography, 6.5" x 7" x 3.25" (6.5" x 12" x 10" open), 2019, Not For Sale
Many "museums" are highly curated collections of art, objects, or whatever else their founding purpose was. Some museums, however, display pieces of history, related or not, to what their name stands for. Such was the South County Museum in Rhode Island, in years past, displaying objects more for their age rather than their relation to "South County." The museum is one of my favorite places to bring my camera to capture curiosities ranging from a phrenology head, wedding attire, a hat collection, the Wizard of Oz Tin Man, real live sheep and chickens. Here is my interpretation of the museum.
mixed media, 22.5" x 37", 2019/1989, $1,500
Working on still-life of my favorite boots from the eighties. It was my earth-tones period as I did a lot of still-life with a deeper subconscious meaning I liked to use serious type colors, like earth tones combining with gold.
Doodle Chair (self portrait at 33)
rocking chair, acrylic, India ink, 36" x 32", 2021-22, Not For Sale
acrylic on wood panel, 12" x 5.75”, 2022, $120
As an artist who is heavily inspired by florals, I love when my work coincides with what’s growing locally at the time. This was painted in the spring during peak peony season.
mixed media, vintage magazine clippings, 8" x 9", 2022, $120 (sold)
Autumn in the Park
print on canvas, 24" x 31", 2022, $400
After 40+ years I have grown my artistic approach from the technical capturing of the light, creating a reproduction of reality and refusing to allow myself to adjust the scene, to now, allowing myself the freedom to become creative and shape the scene
and lighting. This image is one of a series, dedicated to digital painting effects. These are created using my own source images and applying various digital painting techniques including brushes, tones, surface effects, and lighting. The result when printed onto quality canvas, blurs the line between photograph and painting.
Brad Chapman Bleau
acrylic, wool, and found object, 12" x 21" x 1.5", 2021, $650
Commodity is part of a larger series based on Material Culture, using found objects as a vessel for communicating visual language. Associations with objects guide the narrative depending on the unique experiences of the viewer. This piece in particular explores our relationship with domesticated animals as commodities.
wood engraving, 5" x 7", 2021, $150
This image is a wood engraving, a very old technique initially used for book and periodical illustration until replaced by photography. It was revived as a fine art technique in Great Britain in the 20th Century. The image is carved on the end grain of hardwood using engraving tools, allowing for finer detail than a woodcut, which is carved on the plank surface of softer wood with a knife or gouge. Both are then inked and printed in a limited and numbered edition on paper by press or hand-burnishing.
Two Rays of Sunshine
mixed media, 12" x 12", 2022, $500
My new 12" x 12" mixed media on cradled board inspired by beauty of horses in their bravery. This series reflects on the truth that beauty is not in the reflection of the mirror, but what is in our spirits of all that we are that is brought into this world. We are brave, we are strong, we are beautiful, we are courage, we persevere, we are freedom…remember there is beauty in your bravery...peace light and love.
A Relaxing Walk at Night
oil, 16" x 20", 2022, Not For Sale
My passion of the visual arts is an expression of unity in the different living nature close and/or distant, aligned to the intimate movements of the heart and the thought that transcends your hands in continuous movement to illuminate shapes, colors and figures, revealing a beautiful painting artistic. With love and thanks, the portrait of the young leader Amaury Soto musician, international martial arts athlete and his best friend horse named Galan.
ink on paper collage, 20" x 26", 2022, $150
This collage is reflected upon something I can relate with a lot, and what men and women go through with body image, I have always battled with body dysmorphia. My escape is through art, and the neon colors that I draw give some hope to me, to not give up, and continue the journey of loving myself. I think resilience is very important and should be celebrated.
F#ck Around Find Out
mixed media assemblage of paper, mesh drywall tape, metal spikes, and acrylic paint on canvas, 18" x 24", 2021, $2,600
The Human Rights Campaign reported that 2021 was the deadliest year for trans & gender-nonconforming people, with 57 fatalities tracked. On February 6th, 2021 I too became the victim of anti-trans violence. These crimes against our community happen with no accountability, no justice. It sends the message that ‘You can pick on the queer, trans, and nonbinary folks, they’re disposable. I can do this crime and get away with it.' Art is crucial to promoting human rights therefore this is my response to that message. FAFO is not a threat, but a promise, that I will be ready next time.
acrylic on linen, 36" x 24", 2021, Not For Sale
My work is intuitive and process driven. I work across multiple mediums, including oil, acrylic, collage and mixed media. Often, I layer materials- add, remove and work over, until the image begins to emerge. Each layer informs the next. My process has become an organic and intuitive undertaking, a kind of surrender and meditation. I do not know ahead of time what the painting will be; it becomes known slowly through exploration, experimentation, dialogue and physicality.
A Western Future: Fonvizinskaya, a Moscow Metro Station Inspired by Denis Fonvizin, Russian Playwright
digital photography, Canon EOS 5D Mark III camera with 24-105 lens, 22" x 33" (24" x 36" framed), June 2018, $550
My photography piece displays a Moscow Metropolitan station that was inspired by Denis Fonvizin, a famous 18th century playwright of the Russian Enlightenment. My piece captures 3D illuminated pictures of characters from Fonvizin’s dramas, "Бригадир" ("The Brigadier-General") and "Недоросль" ("The Minor"), which both works criticize the Russian gentry and Western provincial parvenu, highlighting the love-hate relationship Russia historically and presently has with the West. My artwork explores the complex literary and cultural history behind the Moscow Metropolitan system through a station that highlights a controversial literary genius, Denis Fonvizin, who compares and criticizes both Russia and the West.
Platonic Solids Deconstructed, Icosahedron 2
acrylic and graphite on paper, 15" x 12", 2022, Not For Sale
In Euclidian geometry, there are 5 platonic solids. Each of these 3-dimensional shapes is made up of faces of equal sizes and shapes with each vertex having the same number of planes. The easiest to describe is the Cube, made of 6 squares with 3 faces meeting at each corner (vertex). There are 3 shapes created from equilateral triangles; the Tetrahedron, 3 faces at each vertex, the Octahedron, 4 sides at each vertex, and the Icosahedron with 5 sides at each vertex. Finally, the Dodecahedron is made with 3 pentagonal shapes coming together at each vertex.
Kill Not The Golden Goose
wax, gold spray paint, plastic eggs, marble base, 12" x 12" x 8", 2022, $111
From Aesop’s Fable- The Goose that Lays the Golden Egg, which refers to the short sighted destruction of valuable resources motivated by greed. Given the world’s current state of affairs I felt expression of this Fable to be particularly relevant.
digital image on canvas, 20" x 20", 2022, $500
There are 15 images in this series, all of which were created by blending photos of different bowls of yogurt with the same digital image. The series title "Solipsis" reflects the recursive loop of keeping one of the two source images constant.
oil on canvas, 18" x 14", 2021, $850
I love painting music related subjects as they pertain to the process of creating music with others. When the horn section kicks in it delights the crowd with a jolt of surprise. Each individual musician, a gear of precision; joining together on cue to enable the impressive sound of a single well oiled machine.
laser cut wood, 24" x 24", 2022, $600
Apprimation combines a variety of geometric shapes into a striking composition that invites the viewer to linger on the piece. The eight layers of the work were designed in Rhinoceros 3D CAD software and laser cut out of wood before being assembled into the final composition.
Jennifer Davis Carey
Liturgy of the Hours Clock
vitreous enamel on copper, 12" x 12", 2022, Not For Sale
The Liturgy of the Hours Clock invites us to change our relationship with time and the pace of day. Rooted in the ancient Jewish sacrifice of praise and adapted with the rise of monastic life in the middle ages, the Liturgy of the Hours is a tool of contemplative life that places us, to use the words of Spinoza, under the aspect of the eternal.
recycled cotton sari fabric, recycled silk sari fabric, cotton yarn, wool yarn, acrylic yarn, 18" x 36", 2022, $400
Using carefully selected fibers, such as hand spun wool, and fabrics, such as recycled silk saris, the artist hand weaves tapestries invoking seascapes and landscapes.
Wall Fragment #22, SW
clay, 7" x 6" x 1.5", 2022, $225 (sold)
This piece is part of a series of sculptures entitled Wall Fragments. These sculptural pieces reflect my fascination with mountain forms and textures, and frequently have additional visual reference to other influences (artist's works, nature, etc). The clay starts as a thick block and is beaten into its current form with a number of "tools": angle iron, aluminum bar, wood sticks, and other similar tools. The color is a combination of diluted powered pigments and pastel powder. Pieces are fully fired.
Pamela Dorris DeJong
We Are Not Just Vessels
ceramic, acrylic, sand, shell, 6" x 7.5" x 7.5", 2022, Not For Sale
Women of many stripes are affected by the Supreme Court decision with regard to reproductive health. Taking away our right to make decisions about our own bodies diminishes us to be no more than carriers of developing offspring. We are beautiful, have many roles to play in human life, and should have the right to make our own choices about how we live our lives. We are not just vessels.
oil on canvas, 30" x 30", 2022, $3,400
This is an oil painting of a fall marsh in Grafton, MA. I have looked at this spot many times, intrigued especially by the fall color. I took multiple photos of various aspects of the scene. The way the water meandered back to a larger body of water interested me. I did a lot of editing from my photo references to come up with the composition.
acrylic, 30" x 24", 2022, $600
paperbirchartstudio.com; facebook: paper birch art studio
Many of my recent images are influenced by my personal interactions with our ever changing environments. My paintings are re-examinations of these places. This particular image Receding Tides was created by using thinned out acrylics and a method of adding and subtracting the paint onto the canvas until I begin to see shapes and forms. From there I find a balance that enables me to explore what can be seen and what needs to be imagined.
acrylic on board, 34" x 24", 2018, $4,200
Travel exposes people to thousands of images as you view your ever changing surroundings. Some images are abandoned pieces of machinery in desolate couontryside. Sometimes the images bring memories of times past, shiny paint, pride in a job well done.
Thoughts and Prayers
thread on duck canvas fabric, 7 3/8" x 10 3/8" (11" x 14" framed), 2022, Not For Sale
chalk paint, acrylic paint on canvas, 18" x 24", 2022, $275
@kristileighcreations and @kristileighgillustration, Facebook: wonderandwhimsy
This piece explores the mystery of undersea creatures. The octopus' abstracted head, body, and tentacles are meant to appear as if it is emerging from the paint itself. I began the piece with a chalk paint pour. Next, I added the octopus with acrylic, detailing abstracted patterns on the suction cups. He is meant to appear as if he is sneaking past the viewer as he hides away and back into the waves of the sea.
The St. Ives and the Vendome
oil on canvas, 16" x 20", 2020, $800
These historic apartment buildings were always two of my favorites in the city, since I was a child being shuttled along Chandler Street to my grandparent's house. People use the word "jewels" to describe old buildings a lot, but because of their color and the way they stand out on that block I feel that is an apt term for these beauties.
Are You Proud Yet?
acrylic on canvas sheet, mixed media collage, paper and ink, 18” x 24”, 2022, $777
This piece stemmed from an assignment to paint a map or diagram. I created a mental map/internal diagram of my thoughts and feelings. Being a very driven person, I find joy and satisfaction in productivity and effort, and I find success through pushing myself to achieve my goals. The desire to reach a goal tends to turn into an overwhelming trap where there is no way to fully feed the craving of success. Through this piece I used repetition to underline the negative effects of pushing through burnout, and the constant struggle to satisfy one’s own desires of success.
acrylic on canvas board, 11" x 14", October 2021, $300
This painting was inspired by a photo given to me by a friend.
acrylic pouring on canvas, 16” x 20”, 2022, $350
I just poured vibrant colors onto a canvas.
Vietnamese Ladies in Ao Dai
acrylic, 22" x 26", 2021, $420
This artwork was created to introduce to people and to remind me of Vietnamese ladies in traditional clothes and in style of painting.
acrylic on canvas, 18" x 24", 3 years, Not For Sale
acrylic on canvas, 23.5" x 25.5", 2022, $650
My works are grounded in nature and the natural forms of the Earth, such as hills, rocks, plants, and other natural forms. That is what “fills the well” for me. Purple Dip feels to me like it has a flow of quiet energy through the painting. I hope that it brings a peaceful feeling to the viewer.
handmade book, 8" x 8" x 1" closed, 2022, $400
Banquo's son flew like a bird.
Dreams in which I fly above the trees are among my favorites; my attraction to birds and their feathers is not surprising. Within these pages are cyanotypes made during an unfettered stay in a Provincetown dune shack. The previous tenant left feathers behind. I made cyanotypes, each different and marked by the sun and the iron-rich well water. The feathers I left behind were tinted blue.
Summer Dreamscape 2, Ogunquit
giclee photographic print on fine art rag paper, framed in white wood with acrylic glazing, 22" x 34" x 2", 2017, $750
The soft focus of people playing in the shallow surf of Ogunquit Beach, Maine suggests the name Summer Dreamscape 2 (2nd in the series of two adjacent panoramas).
acrylic paint on canvas, 12" x 16", 2022, Not For Sale
Whether it’s forever or never, I'll be here to watch you grow.
Judith Freeman Clark
transparent watercolor on paper, 12.25" x 15.25", 2018, $325
I paint to celebrate the sinuous fluidity of transparent watercolor, which has both a vibrant luminosity and a capacity to granulate that produces delightful and unexpected textural effects. In Alabaster Vase, the forms of blossoms and foliage are suggested rather than explicitly detailed, enhancing their fragile and evanescent delicacy. By contrast, the solidity of the vase is emphasized by a strong highlight that defines and separates it from the soft background.
acrylic on canvas, 36" x 32", 2022, $800
spackle, acrylic paint, and oil pastel on canvas, 36" x 36", 2022, $440
Facebook: Pamela Gemme
My Antibody is a tribute to 20th century Chilean poet Nicanor Parra who called himself the antipoet. This poem depicted here was written by Pamela Gemme and published in the American Journal of Poetry Volume 5, July 1, 2018. Pamela's work has been shown in galleries, on magazines and other creative venues. Pamela studies at MassArt.
mixed media: clay, foam, wood, paint, glass, found objects, 4.5" x 3" x 4", 2021, $135
An entire world held in a single teacup.
watercolor, 16” x 20”, 2022, $700
colored pencil on birch wood panel, 9" x 12", 2022, $245
@gloriajgoguen_art; facebook: gloriajgoguenart
This is a traditional 19th century French style botanical rendering of the red and green-yellow Bartlett Pears. I have drawn the two color variations with one pear sliced open revealing the inner fruit and seed cavity. Additionally, as is tradition, you will see the seeds and flower stage of the plant.
Ruby Throated Hummingbird at Feeder
sumi ink and watercolor on rice paper, 11" x 14", 2022, $300
Facebook: Miranda Greenhalgh Art
I find my joy and peace in the natural world. This blown glass feeder is hung outside my living room window - the birds are my constant coffee companions this spring. Their energy and colors are beautiful to watch.
Codman House Barn
oil on board, 16" x 24", 2022, $800
This painting was done on location on a warm sunny day in the late spring of this year. It was composted and mostly finished on site. I brought it to my studio and reworked a few areas and colors. The cloud filled sky and the strong light and shadows instantly attracted me. Barns can be a little cliche, hopefully the cars and trucks create a more real and less idealize image.
Désespoir 2020 No.10
pigment ink on paper (Hahnemühle photo rag metallic), 20" x 20" (25" x 25" framed), 2020, $445 (framed), $175 (print only)
This image was prepared in the COVID-19 period during the worldwide virus public health ‘lock-down’ when many reacted in confusion and despair. This image uses a arrow shape radiating inward from the edge of the square, each sharp point creating a sense of insertion, penetration, and tension. These arrows are white like the paper but take on a color as the shape moves further into the square. The background metallic grey of the square is the same throughout but in combination with the color and the arrow shapes in the square’s center, causes optical movement and sense of uncertain depth.
acrylic and collage on paper, 8" x 10" (15" x 18" framed), 2022, $225
I love collage and I love nature. This collage is inspired by my many walks along the Quinnebaug River and was not planned ahead of its creation. Rather, like so many things in life, disparate pieces came together to form a new whole.
acrylic on canvas, 20" x 24", 2022, $950
This abstract painting captures the feel of morning in a harbor, with boats and docks and the promise of a beautiful summer day ahead.
mixed media on canvas, 20" x 16", 2022, $375
The Climb, is a metaphor for my artistic journey. This piece went through many variations until I discovered how it wanted to present itself. It felt like a slow and steady hike up a mountain until I found my way. When I paint, I let go of my analytical side and explore the surface of the canvas with a variety of marks. Each of my paintings is an inner expression. In this case, the beautiful splash of orange represents the joy I had during this particular time at the easel.
mixed media found object collage, 14" x 13" x 3.5", 2022, Not For Sale
The Fire of Ganesha
oil on canvas, 16" x 20" , 2021, $6,000
The Fire of Ganesha asks us to name our suffering and in doing so we are enabled to find a way past it.
Coming back to the center...over and over again, paying attention to the space that surrounds and composes our being.
To the stillness...allowing ourselves to meet with the destiny of our own being.
t-shirt, 11.5" x 25.25", 2022, $40
Image of Marine Corps General “Chesty” Puller in face paint of Kiss Ace Frehley on a t-shirt.
She's The One
digital illustration on cardstock, 8.5" x 11", 2022, $175
She's The One is a quirky illustration about running through the city. Sometimes when you are be-bopping on a new street you get the sense that it's you in the midst of it all. Cities are loud, fast-paced and overwhelmingly growing day by day leaving the individual to find their own groove.
needle felted roving wool on wood stand, 7" x 5.5" x 4", 2021, $325
I am fascinated by microscopic photography, particularly photos of fungi and bacteria. The various forms, textures and color patterns of these tiny living creatures are in my opinion, some of the most beautiful on Earth. It would be foolish to disregard them due to their minuscule size; they are essential for not only the health of our ecosystems but also for the health of human beings. The intention of this work is to bring attention to these miraculous wonders along with their beauty and uniqueness.
Draper, Demolition and Destruction #5
photography, archival inkjet printing, 20" x 28" framed, 2021, $350
The Draper Corporation, located in Hopedale, Massachusetts, began operation in the mid-1800s. It was was once the largest maker of powered cotton looms in the world. The factory had over one million square feet of space, for over 3000 employees at its peak. It was a powerhouse of the industrial revolution in the U.S., generating enormous wealth for some and social injustice for others. Closed since the 1970's, its demolition began at the start of the pandemic. This is one of a series of photographic images take over the course of 18 months.
acrylic on teabag, 7” x 9", 2022, $300
So long, and thanks for all the fish.
photograph (archival inkjet print), 14" x 14" (20" x 20" framed), 2022, $435
acrylic on canvas, 36" x 24", 2021, $565 (sold)
As an abstract artist, I tend to paint what I feel rather than what is planned. I feel the vibrant reds and oranges are energizing while the softer tones are grounding. I find this uplifting and happy.
Screen Shot, BLM Demonstration, Louisville, KY, 2020 (#3)
digital photograph of video recording, archival print, 20" x 26", 2020, $850
Throughout the Summer and Fall of 2020, as the Covid-19 epidemic raged and the streets exploded in protests over the epidemic of police killings, I created a series of images by photographing television and computer screens as the protests, and the often brutal police reaction, played out on newscasts, live streams, and video uploads. The images represent my photographic response to these events as I sheltered at home due to the pandemic.
This highly mediated photographic process distorted reality, but paradoxically revealed the intensity of the scenes as well. Although I was physically distant, the images feel intensely present.
acrylic on wood panel, 18" x 18", 2022, $400
@pbernhard7306; facebook: Patti Kelly
During these times of uncertainty in the world, I find myself searching for something to hold onto. I always come back to my art exploring the process of using paints and other materials while creating works that represent how I feel and my emotions. This painting represents this process and connects my honest feelings.
digital print, 16” x 20”, 2022, $253
Created with an SLR film camera and color-shifting 35mm film, this image uses color and focus to imagine a surreal, dreamlike space where the bright yellows of irises take on a dreamy pink hue and the intense greens in the background are cooled to a blue cast. The soft focus and prominent grain of the film contribute a misty, ethereal quality to the setting. By bringing the image of the familiar to the boundary of abstraction, viewers are encouraged to explore the interplay between what is hidden and what is revealed.
Join with a Half Twist
leather strapping and cotton thread, 40" x 8" x 4", 2021, $1,000
Using a four-frame loom and multiple wefts, specific warp colors are driven to both woven surfaces of this color study. Created with dark brown leather strapping weft, each side has different warp threads, one side light green and yellow, the other, dark blue and maroon. A Moebius strip configuration and disco ball motor solve presenting the work to stationary viewers. Join With A Half Twist is part of my Color Theory Homework series where detailed explanations of information storage and numerical systems are embedded in the woven patterns of these science, technology, engineering, and math (STEM) teaching tools.
acrylic on panel , 12” x 9”, 2022, $350
collage, 14.5" x 14.5", 202, $325
Forest Road #3
oil on canvas, 17" x 21" x 1", 2021, $375
Nature for me consists of shards and prisms of reflected light. I use serrated tools, stiff brushes, and knives to achieve that desired effect. Images and titles represent suggestions to the view as as starting point.
Dancing Bees- Postage Stamp Series
watercolor and postage stamp collage, 9.5" x 11.5" framed, 2022, $300
Objects in Mirror are closer
acrylic paint, digital photograph, gel pen on canvas, 24" x 14", 2021, $350
Weave Me (Into Yr Sin)
upcycled denim, upcyled metal buttons, 24" x 27" x 2", 2019, $699
Created from dozens of leftover denim scraps made when a tailor hems jeans, Weave Me (Into Yr Sin) is a wearable art piece that shows no fabric is too small to be upcycled. Stevie Leigh created this design by sewing the denim hem scraps into long strips and then hand weaving them into a flat fabric. This fabric was then sewn into a wearable garment using the upcycled buttons of jean flys from a textile recycling facility as the closure. Stevie Leigh's ambition is to rid the fashion industry of the millions of pounds of fabric waste it creates each year.
painting, 16" x 20", 2022, $425
DisUnited States Of America.
deformed paper, sprayed acrylic paint, 24" x 36" x 3" framed, 202, NFS
These are disturbing times which have prompted to me to extend my 3D abstract art to something symbolic, the US flag. In Materials Science I have studied the disintegration of material products. In a society, this is more painful to witness.
Hug - Finally
welded steel, 29" x 26" x 9", 2021, $1,200 (sold)
Created during Covid after vaccines were available and hugs became possible again.
Falling into Winter
acrylic and mixed media on gallery wrapped canvas, 36" x 36", 2020, $1,750
I created this painting from Sept to Nov 2020. I had lost a good friend to kidney failure, and the seasons were changing from autumn to winter, taking with it the summer flowers. This abstract piece is not based on a photo or an image but rather a feeling. It is challenging to photograph as it is contains many acrylic glaze layers with metallic gold accents so it changes depending on the direction and intensity of light. The painting is sealed with a transparent, gloss acrylic layer which is permanent and protects against UV damage.
Lupines at Sunrise
oil on canvas, 36" x 12", 2021, $675
As a contemporary landscape painter, my work is a conscious/intuitive play of mood and light, with oil and acrylic works depicting seasonal New England scenes with a bold, tactile expressionist palette with a variety of tools and techniques, which blur and blend the genres of abstraction and realism.
wood, marble, and cannabis root, 8" x 8" x 13", 2020, $250
When I bring the roots in to my studio there is an excitement, a curiosity, and somewhat of a silent wisdom that I need to unveil and explore. There is an ineffable communication. A crystal-clear collaboration between myself and the bit of nature that I'm working with. I believe that nature is the author of creativity, the zero point, the origin, the bringing into existence of all art. Nature is not only beautiful to the eye but needful for the soul.
gouache on paper, 13.75" x 23.75", 2022,$450
Unfettered I is one of a series of artworks that speaks to the energy of nature to lift us up and release us from our physical or mental bonds. Inspiration for the compositions in this series comes from the positive and negative spaces and seemingly improbable balancing acts of the rocks within New England’s stone walls.
pencil, graphite powder, charcoal and marker on paper, 24” x 30”, 2019, $1,234
“A mirage is a phenomenon where you think you see water. In this picture it looks as though these mountains are reflected in a lake. There might not even be mountains there at all. Mirages are most common in deserts.” - Young People’s Trust for the Environment.
This drawing is a piece from my solo exhibit at Newton Free Library in July 2021. It was inspired by the other pieces from that exhibit that were finished before this one. It was also inspired by Salvador Dalí’s work generally. It reminds me more specifically of his 1931 painting The Persistence of Memory.
The Things My Mother Told Me
stoneware, 1" x 24" x 12", 2021, Not For Sale
When I was ten, my mother uncovered the reason for the inner struggle that haunted her all her life; for the anorexia that plagued her adolescence; for the depression that crept up on her even in the most joyful of days...her grandfather molested her when she was only four years old- not once but habitually. When she shared the news with those closest to her, they silenced her out of shame. On April 21 2012 she killed herself. She never got the chance to have someone truly listen to her. Please listen.
Self Portrait: Approval-Seeker
reclaimed fabric, copper, interfacing, ceramic, thread, acrylic paint, steel 57" x 17" x 17", 2020, $3,500
The title says it all. This work admits that we often look for approval from others and adjust ourselves to garner that approval. As a result, our self-confidence suffers and our understanding of self is clouded. The pain of this struggle is manifest in sharp wires piercing the form and words about the reality of feeling "the blues" or finding one's "true blue" self.
Rebirth ~ karma baby karma ~ don’t be such a goose
watercolor, 35.5" x 35.75", 2022, $2,200
I love to paint. I like to draw. I like to push my work in a painting or drawing with confident risk and great leaps of exploration.
Which means I can’t help but superimpose images and overlay and remove paint at will.
I hadn’t painted for over 20 years. I was glad and amazed to see that I could draw and paint with a lot of excitement for myself and the viewer.
I chose to try watercolor though I learned with oil painting and printmaking. I work with the figure and love portraiture. My creative motives are entirely personal.
Boston Athenaeum #1207
archival pigment print, 21" x 14", 2018, $650
Cell Phone Isolation
photography, 22.5" x 18.5", 2021, $125
This image was taken in Downtown Worcester. It illustrates how isolated people may become when using cell phones. This is emphasized by making the background to the two figures blurred and monotonal.
In The Light
oil in cold wax on arches paper mounted on wood block, 5" x 5", 2022, $130
With the use of color, form and texture, In The Light creates a visual space for the viewer to dwell, meditate, reflect and explore...Enjoy!
photograph on Hahnemühle fine art Baryta high gloss paper, 16" x 20", 2022, $250 (sold)
This is part of a series about vigor, humor, and resilience in old women.
Shine Bright Like a Diamond
acrylic paint, colored pencil, and watercolor on paper, 12" x 9", 2022, $450
Where I Walk in Secret
found object collage/digital photo, 11" x 20", June 2021, $185
Representing isolation during the pandemic shutdown: whatever was lying around in the studio. There was nowhere to go; nowhere to else to be; the cluttered creative mind and work table the only consolations. And so I went walking again and here is what I saw.
A Woman and Her Dog
gouache on paper, 5" x 7" (11" x 14" framed), 2022, $350
This piece is inspired by the unique relationships between us, our culture, and our pets. The old babushka, her mutt, and the soft pastels evoke nostalgia and warmth.
embroidery on cotton, 10" x 10", 2021, Not For Sale
This is an embroidery I made of my hand holding my key ring. This artwork is part of a series of embroideries of hands (mostly my own) interacting with or holding different objects. When I embroider I feel very aware of my hands and the texture of the surface of the artwork. It makes sense to me to make artworks about my sense of touch and physical feeling when I'm embroidering. The objects and moments depicted in the embroideries have personal significance.
Stolen, Taken, Snatched
etching with aquatint, 10" x 20", 2017, $300
hand built stoneware ceramic, 11" x 8.25" x 0.75", 2021, Not For Sale
This piece is an example of applying some printmaking techniques to a new medium and beginning to explore the fascinating world of glazes.
Possession of Self
ink, colored pencil, pigment transfers, Dura-Lar, plexiglass, paper on wood panel, 11" x 11", 2019, $1,100
What lies beyond the seemingly apparent is a central theme in my work, whether it be the flux of thoughts and emotions swimming inside us, or the external forces shaping us and everything around us. To visually explore this concept, I use layers of translucent materials, burying some elements beneath a cloudy haze while placing others on the foremost surface. Each image is a riddle to be pondered as characters emerge, clues arise, and associations are made. These unfolding stories ultimately serve as a portal for the exploration of memory, perception, and identity.
Folded Paper (4 Folds)
oil on board, 33" x 24", 2021, $1,600
I am interested in exploring pure feeling, untethered from the world of recognizable objects. To do so, I started by folding pieces of paper. If I liked what I had folded, I drew it. If I liked the drawing, I painted it. I think I folded several thousand pieces of paper. I’ve only ended up with five paintings out of all that. The one you see here is my favorite. It was the last of this series of paintings. This one is called “Folded Paper (4 Folds).” It might better be called “Self Portrait.”
mixed media on canvas, 36" x 36", 2022, $1,250
oil on acrylic pour on PVC panel, 10" x 20", 2021, $1,600
South Dartmouth depicts the underwater environment of the ocean off the coast of Massachusetts. I chose to pour the background colors to create a subtlety that duplicates the feeling of swimming in this particular location. The seaweed was painted on in oil, rendering reflections that are as delicate as the plant itself. The creation of this piece was supported by an ArtsWorcester Material Needs Grant and a Sam and Adele Golden Foundation for the Arts Residency.
oil paint on canvas, 24" x 24", 2022, $900
The inspiration for this piece was from an encounter with this owl, sitting on a Pine Tree, overhanging my driveway, only twelve feet away. He stayed there from 9 am until about 8 pm. He or she didn't move an inch all day.
toned drawing paper and Prismacolor pencils, 12.5" x 15.75", 2021, NFS
This piece captures the beauty of imperfect skin that is often seen as an insecurity or as something one needs to hide. I intended her expression to have confidence, and I placed the amaryllis flower in her hair to symbolize pride and ethereal beauty. The pink tones give elegance to this portrait, as skin imperfections are nothing to be ashamed of.
found objects, 23" x 23" x 4", 2020, $550
oil on wood, 12" x 12", 2021, $350
Pull is a piece depicting the exhaustion I was facing towards the end of getting my BFA. I was pushing myself to make positive, uplifting work about my body image and body positivity in general. This piece was one of my first that leaned into the negative feelings I had towards myself and my figure. Pull opened a door for me to create vulnerable and true paintings showing the uglier parts of body image. Since then, I've created several pieces that have aided in my healing.
watercolors on Arches 300 GSM cold pressed paper, 16" x 20", 2021, $500
The different expressions painted on the canvas of our face when we have thoughts intrigues me and makes me want to capture the emotions with my brushes. And, I feel there’s nothing more contagious and peace-inducing than the innocent smile of a baby as it sleeps. I have tried my best to replicate the expressions on the little one’s face as it sleeps seeing peaceful happy dreams, through watercolors.
ceramic, 8" x 8" x 8.5", 2021, $750
oil on canvas, 30" x 30", 2022, $1,800
I began using these continuous spirals, instead of a scribble, to cross out tasks at work. Only until I started drawing spirals across the entire surface, did I think about the spiral as nature. I never think about my paintings as living within the confines of the canvas. As with the spirals, there are no beginnings and endings. They seem to suspend in space and continue endlessly.
fabric, 18" x 24", 2022, $180
I use quilting methods with creative machine and hand stitching to create an image. I bought my first sewing machine at age 13. I began making clothing then graduated to traditional then original quilting. I’ve created fabric picnic baskets, boxes, backgammon sets and wall hangings.
Something There Knocking Softly To Be Let In
acrylic and collage on canvas, 18” x 12", 2020, NFS
I typically create off-beat landscapes with an energetic and rhythmically loose process, where painting and collage happen simultaneously. I incorporate photos to allow the viewer to directly relate abstract mark making with real shapes, objects, and colors. This piece is a more restrained piece that is a slower reflection on a specific celebratory occasion with family and friends.
oil on canvas, 24" x 18", 2021, $4,350
I want the viewer to be able to smell blossoms through the colors in this painting. I balanced the temperature-range colors between the myriads of warmer and cooler colors, so they intermingle. The eye cannot stop in any one place, as everything is in motion at all times. The complexity of the way I work has to do with when the viewer thinks one color is coming forward, in relation to another color, it then jumps back, causing a vibration between them, like two musical harmonious notes that create an interval of silence between them, a breathing space.
Emma Rose Roche
The Girl Who Wants to Fly
acrylic, colored pencil, and thread on paper , 22" x 30", 2020, NFS
This piece is part of a series titled "Overflowing." The series is an exploration of the connections between horror, gore, and otherness. I want to say that gore is tied to life just as it is tied to death. I also aimed to show the body as physical evidence of trauma, identity, and history.
collage, 15.5" x 11.5", 2022, $200
Created from saved images cut and shaped to suit my vision.
A Food Pyramid
watercolor, 32" x 22", 2017, $1,500
multimedia: fibers, paper, thread, 6" x 8", 2022, $80 (sold)
oil on canvas, 12" x 12" x 2", 2020, $350
Beauty is fleeting and my desire to capture the beauty of life (be it human, flora or fauna) is irresistable. As an introvert, I connect with people's body language more than their words. Through painting I attempt to immortalize the beauty of my subjects in their entirety; not just their face and body but also their character. Floral stilllifes are a delight to paint because I am able to project emotions onto unsuspecting flowers through the play of light and strategically placed brushstrokes.
Still New Wave After All
photography, 12" x 18" (18" x 24" framed), 2019, $375
Pamela is a mixed media artist, specializing in photography, digital art, and illustration. Her desire as she infuses human emotion into her process, is to create intrigue in the surreal places, whether by use of bold colors, or by capturing a story to share in black and white.
mixed media, 16" x 20.5", 2022, $150
As an abstract painter, I typically create art when I’m feeling emotions such as happiness and love. I tend to self isolate and avoid creating when I’m in a bad head space, or overall not happy. Recently, I’ve been pushing myself to create art when I’m feeling anxious and like the whole world is against me. While it’s really vulnerable to share what these thoughts look and feel like, I hope to inspire others to show off their “negative” emotions and to create art when they least want to.
acrylic paint, 20" x 24", 2022, $225
Giraffe House is a dream/fun house with unique and unrealistic colors, proportions, and dimensions while displaying the giraffes who live there participating in typical human activities.
Mushrooms of Central Massachusetts
photography, 37" x 29", 2021, NFS
During the Spring and Summer of 2021 Central Massachusetts received an abundance of rainfall. The wet weather led to an amazing display of mushrooms which I captured on my iPhone while hiking on the Holden rail trail. As droughts become ever more common, who knows if we will ever enjoy this display from Nature again.
oil on canvas with mixed media, 16" x 20”, 2021, $675
As a beekeeper this painting represents the current status of our bee situation as I have interpreted.
photo on paper, 28" x 18", 2022, $395
Inspiration to create can be found anytime and any place. I wasn't looking for a shot on the day I found this scene, but then I saw it and had to capture it.
A Cold Day In Hell
acrylic, 36" × 36", 2022, $700
This acrylic on canvas piece is an abstract representation of the timeless idiom, "a cold day in Hell", meaning that there is a very rare chance or there is no chance at all of something happening. I felt that to paint the phrase "a cold day in Hell" would be a great opportunity to work with a wide range of warm and cold colors, and at the same time, a chance to really let my style and imagination run wild in a way that would be fun, a bit dark at times and hopefully interesting.
Gray Skies are Alright
mixed media needle felting, wool applique on pastel painted wool, 26" x 23", 2020, $900
I'm primarily a needle felting artist. I have been enjoying mixing it up using pastels, acrylics, and eco-friendly dyes with my felting. The background of this piece is pastel on wool, as is the wool used for the 3-D flowers. The rest is needle felted. Created in 2020, I was finally seeing the positive in the pandemic isolation and worked on this piece for many enjoyable hours.
John Wesley Small
The Room Behind
oil on canvas, 24” x 18”, 2022, NFS
tin cans, 30” diameter, 2022, $300 (sold)
Mirror is one of a series of pieces made from tin cans collected for several years. They have been flattened and pounded with a ball peen hammer on an anvil and pop riveted together. When gazing in this mirror, we are looking back at ourselves.
digital photography on paper, 12" x 12", 2021, $400
This is part of my ongoing photo mandala project.
Solace by the Side of the Road
fluid acrylic on watercolor paper, 18" x 24", 2021, $500
This artwork considers the places we may find solace during challenging times. I began to look closer for the beautiful, mysterious and healing. There is beauty in the ordinary. Places passed daily without consideration, like the side of the road. Not everyone finds beauty and solace in the landscape just beyond the periphery, with the dead leaves of last fall, crumbling stone wall, and delicate otherworldly green mossy roots, but it's there, it beckons and I pay attention.
encaustic and oil on bristol board, 24" x 21" x 1", 2021, $1,400
For over 20 years I have worked with themes investigating the relationship between humans and the environment in my artwork. Windmill is from my Monument Series. In this series the human-made structures of cell phone towers, billboards, bridges, etc., stand tall but alone within their dramatic or serene backgrounds. These pervasive structures, put on high pedestals, symbolize our presence in the environment, and suggest both the impact we have had on the climate and what may be needed for our survival.
Peel Away the Past Me
acrylic and ash on canvas, 14" x 11", 2022, $300 (sold)
The skin on the face turning to ash represents how I removed my mask (the autism one) at the beginning of the pandemic. Even though removing it came with ease and made me feel a lot better, the after effects are still painful. If I'm not putting on my act of being a neurotypical person, I get judged and get weird looks. Fun fact: The ash in this painting came from a power termination notice my partner and I burned in a spell to end capitalism.
graphite on paper, 22" x 18", 2021, NFS
oil on wood, 18" x 19.5", 2021, $800
Although each series is different, my paintings have one unifying theme – reality. I capture day-to-day struggles of being a mother and a human being, as well as quiet moments that often go unappreciated. I embrace the chaos and the mundane. Every piece tells a story and my work is never glamorized. I paint in the style of contemporary simplified realism. My work is not always pretty as reality is not always pretty. Some may say much of my work appears dark, but to those I must respond that, just as with life, a sense of humor is often required.
vine charcoal, compressed charcoal, and oil pastel on corrugated cardboard with a recessed wood frame, 24" x 34", 2021, $1,000
This artwork comes from the first verses of the Old Testament, Genesis 1:1-27. Therein, God creates heaven and earth, separates light from darkness, creating day, dawn, and dusk from the night. God creates the sky and clouds and separates the oceans below from land. God creates vegetation from this land, and creates the sun and moon to light earth and demarcate days, nights, months and years. God then creates sky and sea creatures, next land creatures, and finally, God creates Humankind in God's image. As a singular form, Humankind, in God's image, "both male and female God created them."
Blue and Yellow Ceramic Rock
soda fired ceramic, 8.5" x 8" x 2.5", 2021, $485
This ceramic “rock” is one in a series I’ve created over the last year. My inspiration was a rock birdbath in my yard. As I was looking at it once years ago, I wondered how I could make something similar with clay. After much testing, trial and error, I found a technique that works.
assemblage with found objects (two umbrellas, venetian blind), recycled lids, and plastic nets, 36" x 36" x 36", 2022, $400
We live in uncertain times. Our usual safety nets, our umbrellas of protection are broken. A twisted spiral is central with various nets and smaller spirals throughout. Keeping centered through uncertain times is the theme of this assemblage of found objects that blows in the wind when outside.
oil on Cartón panel, 14" x 14", 2022, $350
Sunset Side Table
Baltic birch plywood, reconstituted Indian rosewood veneer, acrylic paint, water-based lacquer, 22" x 22" x 24", 2022, $1,200
My work is about wood, shape, color, craftsmanship, and how they interact and are enhanced by each other. I explore this interaction by making furniture, sculpture, and paintings. I use the same materials for all three, but enjoy how the different genres require a different design approach and feel that using similar vocabulary helps me see new possibilities, while promoting exploration and allowing each format to inform the others.
Joel Dunbar, you can have this if you see it
graphite and colored pencil on copy paper, 8.5" x 11", 2021, NFS
Joel, who goes by Stanley now, is a friend from middle school. If he happens to see this drawing, I'd like him to have it.
Finnish Church - Thomaston
photography (digital print), 18" x 24", 2019, $255
laser cut acrylic and plywood, 5" x 5" x 12.5", 2021, NFS
This piece was created as part of one of my art classes during my freshman year at WPI. We learned to use the machines in our maker space, and created layered projects out of acrylic and plywood. Overall, the piece is supposed to help describe a feeling that even I struggle to put to words at times.
Abstract Organic Series #33: 雲火 水 プールの反射 Cloud-Fire Water-Pool Reflections
acrylic, inks, watercolor and pearl-ex and interference media on canvas, 24" x 36", 2022, $1,800
This piece is the most recent in the Abstract Organic Series evoking naturalistic elements in our constantly shifting experience of consensus reality. The reflection of light is altered through layering pigment micro particle glaze emulsions to emerge and emanate differentially with the angles viewed and changing viewing conditions; The goal is for interaction with the observer to become entwined with the observed.
mixed media on paper: acrylic, India ink, and graphite, 36" x 28" framed, 2019, $1,600
My work investigates the fragility of memory. I am intrigued by how memory morphs from persistent vividness to total loss. Memory has no physicality: we cannot hold it in our hands, yet we carry it with us. It has no weight, yet can weigh us down. Memory changes with each recall becoming altered narratives. Through mixed media I explore its power and mysterious fragility. My process starts with disorder scribbling graffiti-like marks. These drawings are followed by layering paint, then scraping to reveal moments, strange journeys of the mark and the history of work. It is storytelling.
pastel, 25" x 20.5", 2021, NFS
cone 10 ceramics, Pete's copper red glaze, collage/assemblage, glue, wood base, polyurethane, 18" x 21" x 16", 2021, $1,000
Other endeavors and responsibilities have always kept me from attending the Burning Man Festival but I remain intrigued with the idea of impermanence, creating for the joy of the process, and works that can be experienced on multiple levels. This man was burned in the kiln when it was fired. The western U.S. seems to be burning in fact with climate change and we are also involved with destruction as a country dealing in arms. May we be able to view the results of our collective and individual negative behaviors as a teaching presented by the universe.
digital archival photography, 20" x 30", 2021, $750
No requirement to face the camera, no requirement for all parts seen directly gazing at the camera or better said "The Viewer"
acrylic on canvas, 12" x 12", 2021, $150
encaustic mixed media, 24" x 24", 2022, $1,200
digital media, 10" x 10", 2022, $200 (sold)
The 80's are Calling
colored pencil on canson paper, 24" x 18", 2021, $1,900
I have always been fascinated with old, manufactured objects – the well-worn and imperfect. These objects are a link with the past, our human past. Our relationship with clothing is among the most unique, complex and intimate of all manufactured objects.