 | Lee Clarke
Lee Clarke's work explores the idea of making grand gestures become personal. His paintings in his most recent body of work, addresses this with a vibrant and celebratory palette. |
 | Pete Cosenza
Cosenza's photography is reminiscent of an old family photo album. From rock concerts to children playing, his quirky and offbeat imagery allows the viewer to connect with the photos as if the scene is a fond memory. |
 | Louise Donahue
Louise Donahue is a California artist. Her latest series of paintings is based on her ability to capture the glowing effects of sunlight on botanical subjects. |
 | Isabelle Hope Grahm
Form and color are the visual language translating mysterious human behaviors and incidents. These shared experiences which are observed and felt become the underpinnings of Grahm's art. |
 | Richard M. Greene
Greene's expressionistic paintings use bold strokes and subtle color schemes. Focusing on positive and negative space, Greene creates compositions infused with emotion. |
 | Kirby Kendrick
Kirby Kendrick is a classically trained impressionistic painter from the New York Studio School, her paintings are filled with emotional and active brush strokes, bright colors and a textured canvas. |
 | Jack King
Jack King's work visually portrays the frenzy that exists within a diseased mind. Pulling from his experience as a licensed psychologist, King recreates emotions stemmed from a variety of mental illnesses. |
 | John Lee
John Lee's work investigates the nuances of modulations through the use of motion and form which emphasize the generative nature of non-digital media. |
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Petra Nimtz
Nimtz is an intuitive painter working with lyrical brush marks and palette knives. Using paint and mixed media, she covers areas of the entire canvas in bright colors, textures and marks that are expressions of inner workings |
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Denise Regan
Regan's minimalistic work focuses on the interplay between colors. Uniform grids form pixilated abstractions and harmonious compositions. |
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John White
This series of paintings titled Artificial Hatch, convey the same visual frenzy of activity that White has been noted for in his early work. Since the 60’s his diagrammatic, notational style of work draws from everything as varied as his experiences on the golf course to therapy notations. Most recently, his abstracted landscapes of imagined underwater activity, Deep Sea Scapes, start to develop the strokes and symbols that the viewer soon discovers resemble sunlight coming through the water, schools of fish moving about, or emerging plant life, all from a fish eye point of view. |
