My paintings are a synthesis of color, line, texture and form. I’m intrigued and influenced by the elements of my surroundings. I apply multiple layers of oil paint,cold wax medium, marble dust and other elements then cut, scratch and smooth with great energy to let the painting evolve into an abstract interpretation of these elements.
A native of Chicago, Illinois, Mark escaped to sunny Sarasota, Florida. It was there that he became interested in the visual arts. After attending the Ringling School of Art and Design Mark moved to the mountains of Asheville, North Carolina, where he paints in his open studio/gallery at the
Wedge Studios (123 Roberts Street, Asheville, NC 28801).
Mark is also a award-winning artist and has his work shown at multiple galleries throughout the United States.
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The focus of my work is centered on idea of seeing and the limits of our perceptions. I am interested in the psychological and emotional effects of shifting visual phenomena and am exploring this area through glass’s optical ability to duplicate, reflect, and obscure. Photography is also an area that I am experimenting within, because like mirrors, it is simply a reflection of the actual object. The solidity of reflection whether on glass, in photography, or on water is something that I have been questioning. The viewer assumes the physicality of the reflection, but what we accept as conclusive is at times simply a construct. The palpability of the reflection then disintegrates into the residue of sight. I have been contemplating the perceptual limits of our eyes and what our mind sees in relation to what is being shown. The act of seeing works as a catalyst to initiate doubt in what the audience perceives and reminds us of our eyes innate ability to reveal, as well as, conceal information. The magic held in the perceptional shifting of a mundane object or experience fascinates me because of its capability to disregard established familiarities. My personal artistic challenge is to create an experience or phenomenon for the viewer rather than an object. Because of my interest in visual shifting, I am also continuously questioning the idea of boundaries and edges not only in the form of a physical space, but also in a mental sphere as well.
33, not that I can ever remember my age.
educated, at least that’s what the papers read.
four years, two years, one and a half, two years.
accredited. non accredited.
east coast. mid-west. no denying it.
graphic designer. glassblower. photographer. singer. wanna-be.
perhaps a writer. perhaps.
dyslexic ramblings with a propensity for punctuational error. no denying it.
60 words or less to get some context, some content.
no genius. just a lifetime of hard work. wax told me straight.
vintage shit slinger.
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In this fast paced life of cell phones, text messaging, and email, it seems as if we ride through life on auto pilot. We’re in such a hurry to get from point A to point B, we tend to miss the beauty found in between.
I love to challenge myself to find the beauty in the commonplace and the overlooked. It is easy to notice something that is obviously beautiful. My goal as a artist is to help people see the beauty of the mediocre and hopefully evoke a sense of wonder at something they have seen a million times.
Charles Hawthorne, (January 8, 1872 – November 29, 1930) a noted painter and teacher who founded the Cape Cod School of Art in 1899 once said, “Anything under the sun is beautiful if you have the vision, it is the seeing of the thing that makes it so.”
“Not far from home is where Isabel finds her inspiration to paint. The local diner, the pizzeria, the church on the corner; the drugstore, the barn, the beach. She pays attention to retro signs and storefront facades, to cigarettes and handbags, house slippers and hats. She notices the sadness, the loneliness, the anticipation and the intent in a gesture, a posture, a face. And that is precisely yet painterly what she brings to the canvas.
Raised in Spartanburg, SC, and recently returned after 30 years away, Isabel draws from a successful career in graphic design and illustration, coupled with a bachelor of fine arts degree from Florida’s Ringling College of Art & Design, to bring her perspective to canvas.” The artist paints full time in a “working studio & gallery” in Spartanburg, SC.
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James Henkel photographs books as everyday objects that are rich in visual possibility and cultural meaning. With a keen sense of humor, he reveals a books identity as a notebook or textbook without disclosing it’s title. He does not hesitate to make his hand seen-he marks and alters his subjects in ways that would cause a bibliophile to shudder.
Henkel became enamored of books as subjects for his camera in the late 1970’s while living above a used bookstore where he regularly browsed shelves and leafed through dusty volumes. At first he simply opened the book and added a few pertinent objects before photographing the two page spread, As his engagement with books deepened, however, he became more aggressive, marking his subjects with light, mud, sand, and other materials. Henkels markings are usually decorative and suggestive rather than specific. His doodles in mud, for example, seem worm-like or reminiscent of musical scores. When he projects light onto his subject, he infers the changing and uncertain nature of knowledge while alluding to the photographic medium itself - light writing. That the artist studied drawing and painting, before turning to photography helps to explain his compulsion to alter and manipulate his raw materials.
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Paul Keysar is known for his classic, representational oil paintings and drawings of landscapes, still lifes, and portraits. He has received numerous awards for his portraits, including, a 2014 Certificate of Excellence and 2015 Honorable Mention from the Portrait Society of America, Best in Show in the Richeson75 Figure/Portrait 2014 Competition, First Place in The Representational Art Conference 2015 competition, Honorable Mention in the Artistic Excellence 2015 Competition from Southwest Art Magazine, 2nd Place Overall in the Dec 2015/Jan 2016 Plein Air Salon, and finalist in the figure/portrait category of The Artist's Magazine's 2014 Annual Competition. For his plein air paintings, he has received First Place in the 2016 Plein Air Easton Quick Draw Rehearsal, Best Work Overall in the 2015 Plein Air Crush Weekend, and Honorable Mentions in Plein Air Richmond 2016 and the 2016 NC Open Plein Air. His painting, Jacob in Winter, was featured as the cover of Southwest Art Magazine's December 2015 issue.
He has a passion for the land and is intrigued with the interaction of man and nature. "As an artist, I am continually observing life around me. I am fascinated by the effects of light, atmosphere, and weather. The figures I am currently working on reflect a moment of stillness and thought—a reflection on the subject's place in time and their hope for a better future."
Keysar started his formal art training at the age of fourteen with lessons at The Art League in Alexandria, Virginia. In 2000, he completed four years of fine arts education at the Pennsylvania Academy of the Fine Arts in Philadelphia. In addition, his training included a year of study from 1997–1998 under nationally-known portrait and landscape artist Carolyn Egeli of Valley Lee, Maryland. He has also studied the figure with Robert Liberace and Dan Thompson.
Keysar's greatest artistic influences have been the art of Homer, Eakins, and the Barbizon School, along with the contemporary work of Randall Exon, David Graeme Baker, and many others. He has participated in numerous solo and group shows, and his work is owned by collectors throughout the country. He is available to give demonstrations and lectures and serve as judge/juror for art competitions. Keysar offers private art lessons, classes, and workshops for beginner through advanced students in drawing and painting. He accepts portrait, landscape, and still life drawing and painting commission requests. Keysar currently resides in Charlotte, North Carolina, with his wife and children, and maintains a studio at ClearWater Artist Studios, in Concord, NC.
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Emma Powell is an assistant professor of art at Colorado College. Powell graduated from the College of Wooster, and received her MFA in photography from Rochester Institute of Technology. Her work often examines photography's history while incorporating historic processes and other devices within the imagery.
My photographic work focuses on fictional narrative. I create art that visualizes curious scenarios in order to convey a message or feeling instead of a record of a moment. I utilize a range of hand-applied photographic emulsions in order to visualize the distance between fantasy and reality, as well as to make prints that appear as objects instead of windows. The photographic processes I use are chosen intentionally to evoke another place or time that is removed from the every day, adding layers of narrative meaning through historical references or material qualities.
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Hi, I’m Mira. I call myself a glass artist; but, as you can see, I’m not made of glass (although, sometimes it feels like it.) I became a self-taught glass artist while pursuing a career as a civil litigation paralegal. At first, glass was an escape. But eventually, I had made enough connections to pursue it full time and made the jump.
I am in love with the idea of reclaiming the unwanted and refinishing it into gallery-ready works of art. To me, this speaks to a basic truth of the inherent (and sometimes secret) beauty in everything. There are many “reclaimed” goods on the market, which is great for the environment. But, I believe the object comes first.
In other words, I want the viewer to fall in love with the beauty of the object first. A certain optimism is conveyed when the viewer learns it was resurrected from rubbish. This optimism is what my work is all about. It’s never too late for anything (or anyone) to be remade.
Almost all of my works are created from reclaimed glass. I gather old windows, shelves, shower doors and partitions from all over Northern California. Once back in my studio, I deconstruct the glass – either by smashing it or cutting it up into small pieces, then reconstruct it into the works you see on this website.
I do not consider myself a “glass purist.” Specifically, it is not important to me that my work be made entirely of glass. For me, it is most important that each piece reach its full potential. To that end, I utilize multiple mixed media techniques to realize my glass vision.
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