Painter

Ahzad Bogosian's Midwestern scenes emanate peace. His landscapes glow despite the time of year or position of the sun. While simple and serene, Bogosian's work contains an ephemeral quality. The viewer is reluctant to step away, fearful of missing this moment.  

Painter

My paintings are inspired by the landscape I encounter while traveling the rural highways of Illinois.  Frequently, a certain scene will seem to my eye more picturesque, more aesthetically distinct from the general run of scenery that I see.  These experiences are typified by a pervasive transcendent of time and place. I feel an almost mystical unity between myself and my surroundings. A harmonious sensation of the sublime that is profoundly satisfying. 

I desire to share these quiet moments with others through the medium of paint, translating what I have seen and felt into the language of painting.  With my quietest landscapes, I hope to offer my viewers painted equivalences of my experiences that will evoke in them a response similar to mine.  I hope that my work somehow touches their own experiences and affects the way they see and value their own surroundings. 

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Painter

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Wood Artist, Furniture Designer and Builder

"I have been inspired by my uncle Alexander Kozak who was a sculptor in New York. To watch my uncle transform and re-define materials was something that really excited me. I love to work with wood that has been cast aside as worthless, then reclaim it to become a work of art."

Alex Buderer is a practical, realistic man and a working pragmatist. The art he does may be admired as much for its workmanship as for its poetic content. Upon close observation, it tends to produce a sense of something going on beyond the horizon and beneath the surface. it suggests that much of what Alex saw and felt as a child influenced the feeling now being released through his work. 

He is very enthusiastic about the art he makes, and strives to be a sculptor of unique scope and perception. He feeds on materials and ideas, and then takes advantage of what happens. execution of even the most complex subjects is flawless, a tribute to his highly professional training. He treats wood as if it were clay, ignoring its rigidity and insisting that it perform the same subtle transitions in shape and form without compromise. There is a timeless, classical quality of the Art of Alex Buderer. Alex Buderer sculptures can be found in many private public collections. 

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Sculptor

My intention for each sculpture is to create a calm yet dynamic form of seemingly effortless movement and grace. The process is a meditative study of the underlying source of all things, minus the hectic details that arise as it surfaces to our perception. The finished work’s purpose is to cause the viewer’s mind to become both tranquil and focused.

I rely heavily on the elements of line, form and value. Line is the simplest and most effective way for me to show movement. The element of three-dimensional form allows the viewer multiple perspectives and causes a visual transition in the sculpture. The change in value across the surface with black, white or a tonal color allows the form’s subtleties to emerge.

The reason I produce these sculptures is that I believe it is healthy to explore form with certain guidelines and principles of art, such as balance and harmony. Through this process, I feel better equipped to translate these principles to my daily life with a philosophy developed through this exploration.

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Sculptor

My organic and figurative sculptural forms explore and search for a certain “emotional rightness” between the material, shape and color within each piece, in addition to the themes of gesture and content.  Through this search, a visual, wordless language develops which transcends our traditional expressive vocabulary. This language speaks to me and to te viewer through the perceived and acknowledged recognition of “an intuitive feeling” emanating from within the composition, which renders it recognizable in a emotional way.  I search for the strength, unity, cohesiveness and rightness of the work through this emotional language and connection. 

When a dialog of shared feelings I established between the viewer and the sculpture, the previously unknown and unrecognizable form becomes perceivable and real.

Mixed Media

The images in this exhibition are puzzle-cut relief prints, which represent a transposition of geographic, topographic, sky, wind, river, and faultline maps of specific locations at on a given date. These layers are interchanged as they are printed to produce a series of evolving images of a constantly changing landscape and atmosphere that is a metaphor for our quotidian experiences.

Sculptor

Born in North Carolina, Cathey has settled in the Ozarks where she has been sculpting since 2002.

She is forever rescuing animals and currently shares her life with 8 dogs; some of which have special needs and require therapy or special diets (one has crushed vocal cords and no teeth due to previous abuse). Thus she is grateful to have a gift that permits her to work from home: sculpting and creating a pet line of pottery.

Inspiration for her whimsical equine statues came from seeing 4 draft horses walking down the dirt lane towards her house in search of water and food. Of course they ended up at her house and spent time "mowing" the grass and looking in the window's - watching her observing them! They spent 3 weeks watching one another. Thus began Cathey's journey from creating pottery to expanding her creativity to sculpting horses. She now creates several series: Tall Foals, Baby Drafts, Bodacious Babies, and wired hair to name a few.    

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Painter

Sometimes I think of my paintings in terms of theatre, where a dramatic story is unfolding on stage before an audience. Low horizon lines allow for the description of dominant skies while creating a sense of expansiveness in my work. Through the use of glazes I achieve a glowing ambient light that subtly graduates to darkness. All objects, trees, and buildings are illuminated from behind, enhancing the drama. The lone tree and the weathered tree are important, often repeated motifs symbolizing the struggle of the individual and of overcoming adversity. 

My oil paintings are done on a beveled canvas that lifts the central picture plane three inches off the wall. This element gives the painting a certain physical presence, turning it into an object that extends into space, physically engaging the viewer. The beveled edges are darkened so that the luminosity of the sky emanates from the center of the painting.
 
It is the dichotomy of light and dark that plays a central role in my work. Through these contrasts I hope to make my viewers aware of and contemplate the struggles that may exist in their own lives. The vitality of a painting in my mind rests not in its ability to answer questions, but rather to provoke them.   - Michael Dubina

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Painter

David Dunlop is a modern-day old master whose luminous landscapes draw from both Renaissance techniques and contemporary science.  His paintings have been shown internationally and are held in the collections of major corporations including Aetna Insurance, Citibank, Colgate Palmolive, Delta Airlines, GE Capital Corporation, IBM, Mobil and more. Galleries and institutions have granted David solo shows since 1981. 

2009-2012 shows included: 
Silvermine Guild Arts Center -New Canaan, CT
Laura Barton’s Gallery - Westport,CT
White Gallery - Lakeville, CT
Weatherburn Gallery - Naples, FL
Susan Powell Fine Art - Madison, CT
Gallery of Contemporary Art at Sacred Heart University - Fairfield, CT.   

David’s reputation as a painter who combines artistic skill, knowledge and enthusiasm prompted The Metropolitan Museum of Art to invite him to lecture on 4000 years of landscape painting in 2005.  .  He has been a visiting artist/lecturer at multiple institutions, including the Montclair Art Museum, New Britain Museum of American Art, Caramoor Museum of Art, Shelburne Museum and Arizona-Sonora Desert Museum.  

His PBS program on Cezanne is included in the exhibit Cezanne and American Modernism at the Montclair Art Museum.

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Painter

I have been an abstract and non-objective painter for twenty years. When a student at the Kansas City Art Institute, I received training in rendering the standard subjects of art: still life, landscape, and the figure.

At that time, I became aware of abstract and non-objective painting, the ambiguous nature of which I have continued to find compelling. Inspired by the works of Robert Motherwell, Mark Rothko, and Eve Hesse and others, my work became increasingly abstract in nature and has remained so for many years.

I am often asked questions about my paintings like: “What is it? What does it mean? Why don’t you paint trees???” All are good questions and unfortunately I have no simple answers. I create the kind of art that inspires me, the art I like to think about, and the art I want to see. I am not unlike any other artists in that I am influenced and inspired by many sources: my environment, the things I hear, love of the land, the artists and artistic traditions of the past.

For me painting is a journey. When the painting is done the journey is over, and it is time to start anew.

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Painter

Sue Gingrich is a Mid-Western artist, residing in Overland Park, KS (a suburb of Kansas City).  Her paintings are impressionistic landscapes, floral, and still life, as well as contemporary and abstract, with heavy textures and mixed media on canvas.  With years of experimenting with textures and colors, Sue has developed her own style.  Many people describe her work as "colorful, happy, and playful".

 "I want my paintings to make statements by being: Exciting, Colorful, Playful, Restful, and Dynamic. I want my viewers to be "captivated" with interest in what is going on in the painting: the technique, the composition and design, the color balance, the movement, and the atmosphere. 

"My inspiration for painting comes from nature and color all around me.  I also have a good digital camera. Like most artists, most of my ideas and subject matter comes from my own photos. .Also, music creats mood and relaxation while I am painting.  I love all kinds of music: pop, rock,classical, opera, and country western too.

"I am currently using acrylic artist colors and mediums.  I love heavy, touchable textures, as well as the most beautiful "yummy colors" that I mix up on my pallet.  I paint in layers, letting each layer dry before applying the next.  It's fun and exciting to see what develops as each layer builds, and the painting evolves into a finished work of art.

Sue has exhibited her art in many group exhibitions as well as  one woman "Featured" shows.  She has recieved numerous awards over the years, and is currently enjoying steady sales activity.

Sue's paintings can be found in both Corporate and Private Art Collections across the United States, Canada, Europe, and Asia.

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Painter

Is best known for her large, tightly composed, panoramic format paintings in oil, watercolor and oil pastel. She is interested in a perceptual approach to painting nature that uses color and light to evoke a meditative mood. She has mounted 18 solo exhibits in the past 10 years in commercial galleries, cultural centers and museums. A recipient of numerous awards in national juried exhibitions, her works are included in over fifty corporate collections including: Bank One, Federal Reserve Bank of New York, Fidelity, McGraw-Hill, Morgan Bank, Nokia, Pfizer, TIAA/CREF, USAA, Vanguard and the U. S. State Department. 

A graduate of University of Pennsylvania, School of Design, she teaches at Lehman College in New York City. She paints landscape in New York City and Woodstock, NY.

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Painter

Was born in 1965 in San Antonio, Texas.  His  passion for art began at an early age when he spent much of his time drawing.  His need to draw continued through his school years, often getting him in trouble when his teachers caught him sketching in class.  Studying both here and abroad, Harding received his Bachelor of Fine Arts degree through the Honors Painting Program at Indiana University, Bloomington in 1989, then moved to Chicago and began a professional career in illustration and the graphic arts.  

Never far from his easel, Harding continued his education, learning from some of the best in the industry.  He studied at the American Academy of Art and with modern masters through workshops and private tutoring.  He has been active in many art organizations through the years including the National Oil & Acrylics Painters Society, the Oil Painters of America and the American Artists Professional League.

To date, Harding’s work has been exhibited in numerous galleries and highlighted in many shows including several one-man shows.  In 2003 he entered his first national and international competitions and his works have won several awards including “Best of Show” at the Oil Painters of America Midwest Regional Show, the “Nichols Taos Fine Art Gallery Award” at the American Impressionist Society’s National Show and “Best Painting from Life” at the National Oil & Acrylics Painters Society Exhibition .  His work hangs in both private and corporate collections around the world.

Harding is fascinated with the effects of light on the world around us and marvels that a moment in time, captured by color and composition, can strike an emotional chord.  His paintings reflect a wide range of subject matter, and his style is realistic, with an impressionistic touch.  Harding’s medium of choice is oil; his works also include pencil, charcoal, watercolor, pastel and intaglio printing.

Each day Harding seizes the challenge of capturing his view of the world on canvas - a timeless reminder of his passion for life. 

Painter

Born in 1946 in Aurora, Illinois, Hettinger began drawing around the age of 8. His subjects were T.V. and movie cowboys. At age 13 he was given a set of oil paints by Mike Spencer, a local artist who ran the barber shop across from St. Joe's School where Hettinger was a student.

Formal art training began at the American Academy of Art in Chicago under Joseph vanden Brouck. Under Mr. Van, as he was called, Hettinger learned classical realism and the techniques of the Flemish, Dutch and Spanish Masters.

After four years at the academy, Hettinger moved to New York City where he studied with David Leffel and Richard Schmid. During his two years in Leffel's studio he painted still-life's and figures, always working from live models. He learned the importance of working from life from Schmid and Leffel and to this day attends life drawing sketch groups twice a week to keep his drawing skills fine tuned.

Since beginning his career as a professional artist he has had 21 one-man shows in galleries across the country. He is a master signature member of Oil Painter of America. He has won awards for his landscapes, still-life's, and figurative paintings. His work has been reviewed in American Artist Magazine 1993, The Artist Magazine 2003 and International Artist 2004.

Forty years of drawing and painting from life have enabled Hettinger to work up concepts for paintings based on past experiences and life's observations. He often begins a painting without models or references, pulling a scene from a past memory. Models are hired for figurative paintings only after a concept is drawn out on canvas.

Hettinger doesn't think of his figurative pieces as portraits or paintings of people but rather of relationships and moments in time. A child asking a question of an adult can inspire a painting. The idea of a peaceful summer afternoon being interrupted by a child wanting to do something or wanting to go somewhere brings a smile to Hettinger. That smile inspires a painting that will bring Hettinger into a world of possibilities. He ponders the relationship between the child and the adult and the question the adult seems to have trouble answering.

Bringing these concepts to life on a canvas are Hettinger's enjoyable challenges. Working up a design for the painting and working up colors for clothing and background are little puzzles to work out. Textures of subject matter and the painting surface are more challenges he accepts.

Every painting for Hettinger is a present experience in which he is reliving a past experience. Even his still-life's hold personal memories for him. His mother was a gardener who loved to save plants from the summer by bringing them into the house over the winter. Window sills were filled with potted plants. Now his paintings are of those potted plants sitting on the window sill with a landscape out the window.

Mixed Media and Painter

Painting and making art is a meditative activity for me.  I find rich subject matter in banality.  I want to collapse into everything, all the strange matter that makes up this world.  The space I inhabit largely influences the work.  I feed off of what already exists, becoming a parasite of a parasite. 

I intuitively manipulate found materials and paint in my work.  Some of these repetitive painting processes include dripping, layering and piling.  Many pieces combine all of these techniques.  Playing with paint and other materials is more interesting than creating images.  I am continually exploring new ways to build curious objects.

Clay Artist

Has been creating hand pinched clay vessels for over 30 years. He is a graduate of Illinois State University and one of the founding members of Midwest Clay Artists. 

From his studio in Pittsburg Kansas, he has worked to develop and refine the ancient techniques of stone burnishing and pit firing. It is a very peaceful and meditative process. 

Painter

When I was in school I was told that representational painting had all been done already and there was no point in bothering with it. It took me 20 years to realize that, point or no point, I still wanted to learn how to paint what I saw. It took me another 20 years to realize that there is a value in expressing yourself in paint no matter who you are or what you do. Just as we all have a unique fingerprint, no two people will depict the same subject in the same way. It has been said, we are not human beings having a spiritual experience, we are spiritual beings having a human experience.

My way of expressing my spiritual nature is through my paintings. Whatever is inside of me, you will see it out there in every brushstroke. I hope that my work will bring you joy when you look at it, just as it has brought me joy in creating it.
I graduated with a fine arts degree from Stanford University in 1972. I began my career as a graphic designer, gradually going into book publication and illustration. During that time I started to take some painting workshops, and began to deepen my understanding of fine art.

Over the last thirty years I've studied with some great artists including Frank Webb, Robert E. Wood, Millard Sheets, Zoltan Szabo, Carole Barnes, Harley Brown (pastel), Kevin MacPherson and Matt Smith (oils). Now I enjoy passing along what I have learned about art through classes and workshops.

My work has won numerous awards in art competitions. It is found in both private and corporate collections internationally. I am a signature member of the National Oil and Acrylics Painters Society (NOAPS), a member of Rocky Mountain Plein Air Painters and Oil Painters of America. 

Glass Artist

Mears' training includes degrees from the University of Iowa, postgraduate work in both fine art and art education at the University of Iowa and the University of Wisconsin. Mears taught several years in the Iowa public school system before moving to Oklahoma City and devoting herself full time as a professional artist.

Her compositional designs are based on recuring themes - the mask, things around her; everyday things she grew up with. Traveling for years throughout Asia, Europe, the Caribbean, Mexico and the United States has provided an unending flood of ideas, a fascination with history and archaeology. Her work has been shown in many galleries throughout the US and is in many private and corporate collections.

Articles about Suzanne's work have been published in local magazines, including Quail Creek News, Oklahoma Today, and Distinctly Oklahoma.

Suzanne consistently contributes to the arts through donations of her work and juried national and local art fund raising events.

Major public installations include the OU Health Sciences Cancer Center, OUHSC's Harold Hamm Diabetes Center, Variety Care Foundation, The Metro Wine Bar and Bistro and The 501 on Classen Curve in Oklahoma City. 

Mixed Media

Given a name that means “beauty” when she was born in 1935, in Tokyo, Michi Susan has pursued art and beauty since the age of six. She attended the demanding Japan Women’s University in Tokyo, studying fine art and child psychology. When she married an American serviceman in 1965, at the age of 30, Michi moved to Shreveport, Louisiana and set up a studio with four other women.

Fifteen years later she moved to Oklahoma, where she has lived and worked to this day, producing paintings and collages evocative of calligraphy and landscape, expressing her many years of study of haiku, sculpture, and ancient Chinese and Japanese symbols. Michi repeatedly twists, layers, sews, and weaves a myriad of colored papers and yarn to create wildly colorful and textured collages, the results of which are occasionally reminiscent of a flat piñata.

The overall aesthetic of Michi’s collages, the vibrant springtime pinks and blues of some, the rusts, browns, blacks, and the ghostly autumn whites of others, alludes to an old Japanese custom of tying wishes written on rice paper to the bamboo trees at Shinto shrines: the colors and textures mixing to form a collage of Japanese wishes. The peacefulness and harmony of color and form in Michi’s pieces are inspired, in part, by her early morning golf games in the rolling hills near her home.

The quiet of those early mornings can be found in the harmonious and careful balance of color and form in her work, and in the patience clearly needed to complete one of her collages.

“When I was young, I thought of trying to convey a message through my work - what my life meant in art. But I don’t do that anymore. I express myself through my paper [and canvas], and I hope people enjoy my work.”

The image of the horse is the perfect vehicle to express my true subjects; motion and energy. The horse as a real being is lovely in itself and I enjoy the power, the speed, and the physical beauty of the animal. My paintings, however, take this real image and make it a symbol.

The horse as a metaphor for the human spirit; unbridled, striving, sometimes heroic, often restless, full of energy, floating above us, calling us to other realms. I propose that this is not a new theme. Every culture has had at the center of its stories about itself a mythical figure of the horse.

From the incredible images on the walls of prehistoric caves, to the tales of Norse mythology, to the modern play “Equus”, the horse has been powerfully represented in the arts. In this tradition, but in the contemporary vocabulary of modern painting, I have tried to explore my subject and find therein my own emotional response.

Sculptor

Jed Schlegel is a self-directed studio artist whose love for clay is undeniably shown in all his creations.  He is a potter whose craftsmanship and design are as important as the glazes he chooses in all of his work. 

Though proudly self-taught, Schlegel has been fortunate to work with many well-known clay artists and instructors, such as friend and fellow ceramist Steven Hill. Schlegel feels his work gets better day-by-day and he can never make enough pieces to fatigue the burning desire of seeing what's next.

Photographer

Scott, a Midwestern photographer with a national reputation whose past projects have included documenting the wetlands created by the Mississippi River, the architecture created by roadside businesses on Route 66 and a study of the color red. (See her Route 66 pictures at www.AlongRoute66.com, and her Mississippi images at www.MississippiRiverPhotographs.com.)

She has received two fellowships from the National Endowment for the Arts and numerous corporate and museum collections hold her work.

Painter

Is a painter of note who has exhibited widely in art galleries, museums, art spaces, and art fairs. Her works are a movable terrain between image, media, and their myriad histories.  In her paintings she blends utopias from California Moderne and asian-inspired chinoiserie. The subjects are light, airy canvases of birds, figurines, Modernist architectural  spaces and cosmic chandeliers.

Often she’ll use black sumi ink drawing on top of these subjects. In her 3D prints, she plays off of the visual complexity of her paintings and adds these elements interspersed in the hyperbolic constructions of 3D lenticular prints. Her work combines these two dense spaces: a traditional studio practice and in the 3D prints, her experimentation with digital technologies and new media.

There is something of the Pop Baroque about her work. It is at once contemporary and fresh with a mood of the familiar and of history.   

Painter

These new images expand the memory of my experiences. Hidden secrets partially revealed, trying to blend realism with abstraction. My work is about reconstructing images through a painterly vocabulary.

A theatrical, romantic sense of place is the current theme. Color and drawing is inherent in the surfaces. Moments are recalled. Color and image coincide. Synthesizing my version of reality, I seek an easy recognition. I prefer to give the viewer the opportunity to reach their own conclusions.

To me the best of what the activity of painting has to offer at the end of the twentieth century is a glimpse of life, transforming human activity into the surprising language of the visual. What is seen is left up to the viewer to understand individually.

To quote Kenneth Baker, an American critic, "Painting should be carried on without cynicism or apology, like a heroic act. Painting is the first and last refuge."

I reprocess all my experiences. I am not the avant garde, I am the artist who comes after the avant garde. I am concerned with the continuity of ideas. I let the materials I use speak for themselves. I thrive on performance and energy of one's own personal vision. I have to reaffirm the reality I can experience.

"Painting could be a form of historic dreaming, bringing an artist near the gods, it allows you to go out a door and reenter anew"

...Nathan Oliveira, American Artist.