Bearing Witness – the artists' tenacious view – an exhibtion exploring how the events of 2020 have impacted the creative process and psyche of working artists. Exhibition launches Monday, February 15 at 5pm. Hosted by HAC|HG and

Hamilton Arts Collective | Hamilton Gallery is pleased to present the exhibition Bearing Witness – the artists’ tenacious view a two part exhibition

Virtual exhibit: February 15-April 15, 2021
In-person exhibit at Hamilton Gallery: proposed summer 2021

The two exhibitions, Bearing Witness – the artists’ tenacious view, explore how the events of 2020 have impacted the creative process and psyche of working artists. Curated by Jessica Devilbiss.

Puppet Ms. Lily operated by Schroeder Cherry

The exhibitions are co-sponsored by HAC|HG and a grant from Baltimore Office of Promotion and the Arts.

Click on thumbnails below to view larger image and full artist and image details. The 61 exhibiting artists are presented in alphabetical order. For sales inquiries please contact the artist directly using the contact info provided when viewing the enlarged image of their work.

Click on a thumbnail image to view the slide show. Close the details to view the entire image. Click on an image to view details.

mixed media/encaustic painting, bird nest, found box
14x10x4", $425</p>
contact artist directly for sales: <a href="mailto:holgagurl@gmail.com
">holgagurl@gmail.com
</a></p>
<p align="left">"Artists are especially engaged with complex issues and events, and are often the first ones to translate them into insightful, visual expression, helping us process what we’re experiencing. I found this past year to be difficult for creative work, as I couldn’t find enough quiet moments in all the chaos. My focus had shifted to helping my children navigate school online, rooms in the house (including my studio) were reallocated for desk/work spaces and my freelance/workshop schedule came to an abrupt halt as events were cancelled or postponed. The one thing that remained a constant source of solace and inspiration was nature. The natural world moves at its own pace, and was such a sanctuary for me this year, giving myself time to watch, listen and document. The combination of photographs, encaustic painting and mixed media in my work finds a place between the real or documented and the manipulated, making something from fragmented, natural and found parts. From 2020 into this year, art has been a way to find the beautiful amidst the broken, to pause, look and see things with different eyes. With clearer, more focused eyes."
<br></p>
<a href="https://www.instagram.com/exquisiteobscura" target="_blank" rel="noopener">https://www.instagram.com/exquisiteobscura
</a><br> — Kathleen Adrian
When It Was Not Quite Spring, 2020

Photograph,11x14", contact artist for pricing</p>
contact artist directly for sales: <a href="mailto:kiwiidisney@gmail.com
">kiwiidisney@gmail.com
</a></p> — Kiane Artis
A Father and A Son, 2020

acrylic on canvas, 18x24”, NFS<br></p>
<p align="left">"I retired 11 months before the quarantine started. I have no criteria for my life, no idea how different this year might have been. Like so many people, I have been taking stock, mentally and physically; de-cluttering head, home and heart. Returning to painting seemed timely when I lucked into two jobs painting very involved scenes on furniture. Flexing my muscles with old skills feels good. As a collage artist, I miss popping into a copier shop, haunting thrifts for material, the spontaneity of the search. Digging thru my insane store of materials, I'm shopping my own yard and garage, rediscovering old images. I'm painting what I might have once collaged and collaging what I might have painted. The three portraits are from my past; my brother, an old friend and a fictionalized self-portrait."
<br></p> — Jude Asher
Young man in a suit (Larry)

acrylic on door panel, 12x17”, WIP</p>
contact artist directly for sales: <a href="mailto:tonto54321@gmail.com
">tonto54321@gmail.com
</a></p>
<p align="left">"I retired 11 months before the quarantine started. I have no criteria for my life, no idea how different this year might have been. Like so many people, I have been taking stock, mentally and physically; de-cluttering head, home and heart. Returning to painting seemed timely when I lucked into two jobs painting very involved scenes on furniture. Flexing my muscles with old skills feels good. As a collage artist, I miss popping into a copier shop, haunting thrifts for material, the spontaneity of the search. Digging thru my insane store of materials, I'm shopping my own yard and garage, rediscovering old images. I'm painting what I might have once collaged and collaging what I might have painted. The three portraits are from my past; my brother, an old friend and a fictionalized self-portrait."
<br></p> — Jude Asher
Virginia

acrylic on door panel, 12x29”, WIP</p>
contact artist directly for sales: <a href="mailto:tonto54321@gmail.com">tonto54321@gmail.com
</a></p>
<p align="left">"I retired 11 months before the quarantine started. I have no criteria for my life, no idea how different this year might have been. Like so many people, I have been taking stock, mentally and physically; de-cluttering head, home and heart. Returning to painting seemed timely when I lucked into two jobs painting very involved scenes on furniture. Flexing my muscles with old skills feels good. As a collage artist, I miss popping into a copier shop, haunting thrifts for material, the spontaneity of the search. Digging thru my insane store of materials, I'm shopping my own yard and garage, rediscovering old images. I'm painting what I might have once collaged and collaging what I might have painted. The three portraits are from my past; my brother, an old friend and a fictionalized self-portrait."
<br></p> — Jude Asher
Girl with Fox

Embroidery and paint, 9" diameter circle</p>
contact artist directly for sales: <a href="mailto:beverlybaptiste@gmail.com
">beverlybaptiste@gmail.com
</a></p>
<p align="left">"My grandma, now 99 years old, taught me all I needed to become a maker. As a child, I didn’t think much of the knitting, crochet, sewing, jam and bread making she taught me. Now, it’s what I spend most of my free time doing. Three years ago, I began a journey of recovery that has altered the way I make art. Recovery has given me time, focus, and gratitude, all of which direct my art. Stitches come one at a time, like breaths in a meditation.<br>
"Until 2020, I never made a piece of political art. As a scientist and a citizen, I have been appalled at the lack of leadership from the Trump administration in addressing the pandemic. The United States, considered the scientific leader of the world, has failed to respect science with consequences greater than all other countries, including those with the most limited resources. As I saw the president lie and jeopardize the health of us all for his own personal gain, I became motivated to document this destruction in stitches."
<br></p>
<a href="http://www.weedstowildflowers.com" target="_blank" rel="noopener">weedstowildflowers.com
</a> — Beverly Baptiste
Earth Day, 2020

Embroidery and paint, 8.5x6.5"</p>
contact artist directly for sales: <a href="mailto:beverlybaptiste@gmail.com
">beverlybaptiste@gmail.com
</a></p>
<p align="left">"My grandma, now 99 years old, taught me all I needed to become a maker. As a child, I didn’t think much of the knitting, crochet, sewing, jam and bread making she taught me. Now, it’s what I spend most of my free time doing. Three years ago, I began a journey of recovery that has altered the way I make art. Recovery has given me time, focus, and gratitude, all of which direct my art. Stitches come one at a time, like breaths in a meditation.<br>
"Until 2020, I never made a piece of political art. As a scientist and a citizen, I have been appalled at the lack of leadership from the Trump administration in addressing the pandemic. The United States, considered the scientific leader of the world, has failed to respect science with consequences greater than all other countries, including those with the most limited resources. As I saw the president lie and jeopardize the health of us all for his own personal gain, I became motivated to document this destruction in stitches."
<br></p>
<a href="http://www.weedstowildflowers.com" target="_blank" rel="noopener">weedstowildflowers.com
</a> — Beverly Baptiste
Under Control, 2020

acrylic on canvas , 4 canvases, each 14.5x19.5’’</p>
contact artist directly for sales: <a href="mailto:rmbassford@smcm.edu
">rmbassford@smcm.edu</a></p>
<p align="left">"The COVID-19 pandemic amplified the prevalence of ableism in the United States, a problem that I and many other disabled people face already in a non-pandemic climate. Isolation, in one form or another, is not new for many disabled folx due to lack of accessibility, resources, care or awareness that disabled people are not only non-expendable, but also live vivid and rich lives all with different sexualities, orientations, and genders. The invisibility of both disabled people’s struggles and pain but also their pleasures and joy to cis-het able-bodied society, as well as my own craving for connection and intimacy as someone who is queer, non-binary, demi-sexual and high-risk, have informed the topic of my most recent artworks."
<br></p>
<a href="http://www.rubybassfordart.wixsite.com/website" target="_blank" rel="noopener">rubybassfordart.wixsite.com/website</a> — Ruby Bassford
Disability + BDSM, 2020

acrylic on canvas , Dimensions: 15.5x10.5’’ </p>
contact artist directly for sales: <a href="mailto:rmbassford@smcm.edu
">rmbassford@smcm.edu</a></p>
<p align="left">"The COVID-19 pandemic amplified the prevalence of ableism in the United States, a problem that I and many other disabled people face already in a non-pandemic climate. Isolation, in one form or another, is not new for many disabled folx due to lack of accessibility, resources, care or awareness that disabled people are not only non-expendable, but also live vivid and rich lives all with different sexualities, orientations, and genders. The invisibility of both disabled people’s struggles and pain but also their pleasures and joy to cis-het able-bodied society, as well as my own craving for connection and intimacy as someone who is queer, non-binary, demi-sexual and high-risk, have informed the topic of my most recent artworks."
<br></p>
<a href="http://www.rubybassfordart.wixsite.com/website" target="_blank" rel="noopener">rubybassfordart.wixsite.com/website</a> — Ruby Bassford
Everyday Things: Restraint + Routine, 2020

fiber, 32X44", $1600 </p>
contact artist directly for sales: <a href="mailto:loring.d.boglioli@gmail.com
">loring.d.boglioli@gmail.com</a></p>
<p align="left">"In the isolation of COVID-19 mandates, a tsunami of nostalgia inundated me, forcing my design aesthetic one-hundred eighty degrees. Only geometric-inspired works during pre-COVID, became representational compositions, heavily influenced by powerful childhood memories of mid-century modern (MCM) home décor and advertising art from magazines and media. Imagery of Boomerang Formica® laminate on our kitchen counter, Russel Wright melamine table ware, geometric designed drapes and upholstery textiles saturated my thoughts. Curves, rounded angles and amorphous shapes characteristic of MCM infiltrated my winter bird feeder observations, where cardinals, frequently lone, territorial feeders, gathered in groups to feed. Dark Winter is a confluence of unencumbered, stylized interpretation of natural avian phenomena, enrobed in MCM design aesthetics and is one of 9 in the Cardinal series. Ironically, during COVID-19 we isolate to survive, where cardinals, adapt and feed in groups to survive."
<br></p>
<a href="http://www.frugalfiber.com" target="_blank" rel="noopener">www.frugalfiber.com</a> — Loring Boglioli
Free Range, 2020

fiber, 41x31", $1500 </p>
contact artist directly for sales: <a href="mailto:loring.d.boglioli@gmail.com
">loring.d.boglioli@gmail.com</a></p>
<p align="left">"In the isolation of COVID-19 mandates, a tsunami of nostalgia inundated me, forcing my design aesthetic one-hundred eighty degrees. Only geometric-inspired works during pre-COVID, became representational compositions, heavily influenced by powerful childhood memories of mid-century modern (MCM) home décor and advertising art from magazines and media. Imagery of Boomerang Formica® laminate on our kitchen counter, Russel Wright melamine table ware, geometric designed drapes and upholstery textiles saturated my thoughts. Curves, rounded angles and amorphous shapes characteristic of MCM infiltrated my winter bird feeder observations, where cardinals, frequently lone, territorial feeders, gathered in groups to feed. Dark Winter is a confluence of unencumbered, stylized interpretation of natural avian phenomena, enrobed in MCM design aesthetics and is one of 9 in the Cardinal series. Ironically, during COVID-19 we isolate to survive, where cardinals, adapt and feed in groups to survive."
<br></p>
<a href="http://www.frugalfiber.com" target="_blank" rel="noopener">www.frugalfiber.com</a> — Loring Boglioli
Dark Winter, 2020

gouache on panels, 4x4” and 8x10”</p>
contact artist directly for sales: <a href="mailto:dominique.d.butler@gmail.com">dominique.d.butler@gmail.com</a></p>
<p align="left">"Like so many of us, I have been working virtually for almost a year. I am now more familiar with the walls of my apartment than I could've ever imagined. One of these walls, in my dining room, has slowly converted into a studio surface. Since the pandemic, my works have become smaller and even more intimate as a response to limited space. The work presented, Leaves in Water is a part of a group of experimental pieces created during the pandemic where I'm revisiting old sketches and re-creating the singular image on multiple surfaces. Using small surfaces and intentional spacing to make the work look 'large.' "
<br></p>
<a href="http://www.dominiquebutlerart.com" target="_blank" rel="noopener">dominiquebutlerart.com </a> — Dominique Butler
Leaves in Water II, 2020

acrylic with objects on wood, 30 x 30”</p>
contact artist directly for sales: <a href="mailto:scherry331@aol.com ">scherry331@aol.com</a></p>
<p align="left">"COVID-19 dramatically altered how people across the world interact socially. In the U.S. wearing face masks is a highly contested mandate connected with saving lives. Wearing masks in public is our new norm. My pieces are open-ended stories, sometimes based on contemporary events or history; other times stories are invented. I use acrylic paint and mixed media on wood, found objects and text. Viewers are invited to examine pieces and develop their own narratives. , I typically select a theme, such as COVID -19. This allows me to work in series and explore different ways of expressing an idea visually."
<br></p>
<a href="http://www.Bakerartist.org/portfolios/schroeder-cherry" target="_blank" rel="noopener">Bakerartist.org/portfolios/schroeder-cherry</a> — Schroeder Cherry
Tic Tac COVID, 2020

acrylic with objects on wood, 30.5 x 35.25" </p>
contact artist directly for sales: <a href="mailto:scherry331@aol.com ">scherry331@aol.com</a></p>
<p align="left">"COVID-19 dramatically altered how people across the world interact socially. In the U.S. wearing face masks is a highly contested mandate connected with saving lives. Wearing masks in public is our new norm. My pieces are open-ended stories, sometimes based on contemporary events or history; other times stories are invented. I use acrylic paint and mixed media on wood, found objects and text. Viewers are invited to examine pieces and develop their own narratives. , I typically select a theme, such as COVID -19. This allows me to work in series and explore different ways of expressing an idea visually."
<br></p>
<a href="http://www.Bakerartist.org/portfolios/schroeder-cherry" target="_blank" rel="noopener">Bakerartist.org/portfolios/schroeder-cherry</a> — Schroeder Cherry
Mask, 2021

photograph, 4x6" print </p>
contact artist directly for sales: <a href="mailto:melissapenleycormier@gmail.com">melissapenleycormier@gmail.com</a></p>
<p align="left">"These photographs are 3 of a larger group of over a hundred images taken throughout the pandemic thus far of items that I've held. Collected almost accidentally, I often use my cellphone as a way of visual note-taking. Although these weren't meant to be viewed by anyone but me, while recently archiving and organizing these images, the importance of what I could and could not touch during the pandemic becomes clearer and heavier. During this time I have also become, as we all have, much more aware and wary of my own hands and what they come into contact with throughout the day. One hand becomes the subject, holding a found object, while the other holds a cell phone and documents the interaction."
<br></p>
<a href="http://www.melissapenleycormier.com" target="_blank" rel="noopener">melissapenleycormier.com</a> — Melissa Penley Cormier
Held, July 27, 2020

acrylic on paper, framed, 25 x 20” unframed, $650 </p>
contact artist directly for sales: <a href="mailto:didennis@starpower.net">didennis@starpower.net</a></p>
<p align="left">"Even in the worst of times, the Pandemic of 2020 has had a positive effect on the creative spirit. At times like this, we need to call on our inner powers to keep us hopeful and use our creative energy to help us thrive. Isolated from family, friends, and co-workers, I have found myself reading books I had put aside, writing poetry, and spending more time than ever in my studio. With this extra studio time, I have had a chance to experiment with some new materials and ideas. For me it has been a time of personal growth, a chance to write poetry again, and an opportunity to combine the two art forms."
<br></p>
<a href="http://www.instagram.com/dianedennis7288/" target="_blank" rel="noopener">instagram.com/dianedennis7288/</a> — Diane Dennis
In which Jack, after trading his cow for some magic beans, sows the beans in the field

acrylic on canvas, framed, 24 x 36”, $500 </p>
contact artist directly for sales: <a href="mailto:didennis@starpower.net">didennis@starpower.net</a></p>
<p align="left">"Even in the worst of times, the Pandemic of 2020 has had a positive effect on the creative spirit. At times like this, we need to call on our inner powers to keep us hopeful and use our creative energy to help us thrive. Isolated from family, friends, and co-workers, I have found myself reading books I had put aside, writing poetry, and spending more time than ever in my studio. With this extra studio time, I have had a chance to experiment with some new materials and ideas. For me it has been a time of personal growth, a chance to write poetry again, and an opportunity to combine the two art forms."
<br></p>
<a href="http://www.instagram.com/dianedennis7288/" target="_blank" rel="noopener">instagram.com/dianedennis7288/</a> — Diane Dennis
B-O-I-N-G!

mixed media, framed, 24 x 36”, $500 </p>
contact artist directly for sales: <a href="mailto:didennis@starpower.net">didennis@starpower.net</a></p>
<p align="left">"Even in the worst of times, the Pandemic of 2020 has had a positive effect on the creative spirit. At times like this, we need to call on our inner powers to keep us hopeful and use our creative energy to help us thrive. Isolated from family, friends, and co-workers, I have found myself reading books I had put aside, writing poetry, and spending more time than ever in my studio. With this extra studio time, I have had a chance to experiment with some new materials and ideas. For me it has been a time of personal growth, a chance to write poetry again, and an opportunity to combine the two art forms."
<br></p>
<a href="http://www.instagram.com/dianedennis7288/" target="_blank" rel="noopener">instagram.com/dianedennis7288/</a> — Diane Dennis
Roots

oil on canvas, 30 x 40”</p>
contact artist directly for sales: <a href="mailto:Dtrickster1@yahoo.com">Dtrickster1@yahoo.com</a></p>
<p align="left">"My paintings are a reflection of my personal struggle with the challenges of this year, from the pandemic to the political upheaval of a contentious election. The challenge for artists is to use line, shape and color to express complicated feelings. I want to convey the complexity of alienation, disconnection and sadness with love, acceptance and healing. With Pandoras’s box of trauma that 2020 has bestowed on the world, it is my belief that art is at the bottom, the hope for recovery."
<br></p> — Julie Dietrich-Eisler
March 2020

oil on canvas, 40 x 30”</p>
contact artist directly for sales: <a href="mailto:Dtrickster1@yahoo.com">Dtrickster1@yahoo.com</a></p>
<p align="left">"My paintings are a reflection of my personal struggle with the challenges of this year, from the pandemic to the political upheaval of a contentious election. The challenge for artists is to use line, shape and color to express complicated feelings. I want to convey the complexity of alienation, disconnection and sadness with love, acceptance and healing. With Pandoras’s box of trauma that 2020 has bestowed on the world, it is my belief that art is at the bottom, the hope for recovery."
<br></p> — Julie Dietrich-Eisler
Mending America, 2020

oil on canvas, 24 x 24”</p>
contact artist directly for sales: <a href="mailto:Dtrickster1@yahoo.com">Dtrickster1@yahoo.com</a></p>
<p align="left">"My paintings are a reflection of my personal struggle with the challenges of this year, from the pandemic to the political upheaval of a contentious election. The challenge for artists is to use line, shape and color to express complicated feelings. I want to convey the complexity of alienation, disconnection and sadness with love, acceptance and healing. With Pandoras’s box of trauma that 2020 has bestowed on the world, it is my belief that art is at the bottom, the hope for recovery."
<br></p> — Julie Dietrich-Eisler
Bodhichitta Heart, 2020

mixed media shadowbox diorama, 9x9x1”</p>
contact artist directly for sales: <a href="mailto:Jim.Doran@gmail.com">Jim.Doran@gmail.com</a></p>
<p align="left">"I don't usually allow politics into my work, but 2020 and Trump have found their way into my narratives. The First Horseman, Pestilence, signaled his arrival with COVID-19. Trump's incompetence, lack of leadership and science denial empowered the Horseman to take hold of 2020. Pestilence's colleagues wait in the wings."
<br></p>
<a href="http://www.jimdoran.art/" target="_blank" rel="noopener">https://jimdoran.art/</a> — Jim Doran
Pestilence Rides Out, 2020

tempera paint on poster board, 28 x 22”</p>
<p align="left">"I began doing Painting for Life zoom sessions with Noelle Imparato in April 2020, relatively
early into the initial quarantine, when I was feeling anxious and unsafe much of the time.
Painting for Life is based on Jungian depth psychology and the principle instruction and
direction is to paint from your feelings, with passion. “The product is none of your business!”
Noelle always says. As someone with very little art training, this process has been revelatory for me to express and release some of the emotional weight of the pandemic. Each hour long
painting session, with a group zoom meeting before and afterwards, allows me to face my
fears (a blank paper with no plan of “what” to paint being high on the list!) and to experience
and release the physical and emotional effects of how this existential crisis called COVID 19
was effecting me. Things and beings show up unplanned, the meaning not always clear to me.
Over the months, I have experienced a deeper knowing of my own resources and
empowerment. The deep dive into my interior landscape of feelings, sensations, and emotions
has helped to free me from some of the limitations of life in the pandemic times. There has also emerged a “we space” in the group. We often find our paintings images which are similar in theme or expression." <br></p>
<a href="https://bakerartist.org/portfolios/heather-dorst-0" target="_blank" rel="noopener">https://bakerartist.org/portfolios/heather-dorst-0</a> — Heather Dorst
Pandemic Angel, 2020

tempera paint on poster board, 22x28”</p>
<p align="left">"I began doing Painting for Life zoom sessions with Noelle Imparato in April 2020, relatively
early into the initial quarantine, when I was feeling anxious and unsafe much of the time.
Painting for Life is based on Jungian depth psychology and the principle instruction and
direction is to paint from your feelings, with passion. “The product is none of your business!”
Noelle always says. As someone with very little art training, this process has been revelatory for me to express and release some of the emotional weight of the pandemic. Each hour long
painting session, with a group zoom meeting before and afterwards, allows me to face my
fears (a blank paper with no plan of “what” to paint being high on the list!) and to experience
and release the physical and emotional effects of how this existential crisis called COVID 19
was effecting me. Things and beings show up unplanned, the meaning not always clear to me.
Over the months, I have experienced a deeper knowing of my own resources and
empowerment. The deep dive into my interior landscape of feelings, sensations, and emotions
has helped to free me from some of the limitations of life in the pandemic times. There has also emerged a “we space” in the group. We often find our paintings images which are similar in theme or expression." <br></p>
<a href="https://bakerartist.org/portfolios/heather-dorst-0" target="_blank" rel="noopener">https://bakerartist.org/portfolios/heather-dorst-0</a> — Heather Dorst
Surrender, 2020

oil on linen, 36x28”, $2000</p>
contact artist directly for sales: <a href="mailto:grace@gracedoyle.art">grace@gracedoyle.art</a></p>
<p align="left">”These paintings created in 2020 focus on the psychological impact of the figure as it relates to the pandemic and new reality, the history of art, and the subjective and objective human experience. Matt & Tilly in 2020 illustrates my husband, spacing out in the safe space of the couch and needy dog looking to him for acknowledgement. Overgrown hair marks the months since the pandemic started. Reflection (Self Portrait with Tilly) depicts myself, clutching my small dog like a security blanket as she nuzzles into my shoulder. Together, artist and dog seek comfort from their new and extraordinary reality. Sunset captures a moment of appreciation for the outdoors and the escape walking outside permits. Through these subjects, I explore the material itself as well as celebrate the hours spent looking, mark making, and experiencing painting. The visual story through composition and subject matter, and the painted object concerning surface texture, color, and tonal relationships are both important. It is my goal to have the visual story and the painted object be strong enough that one can appreciate them independently; however, together they strengthen and enforce the overall viewing experience.”
<br></p>
<a href="https://www.gracedoyle.art" target="_blank" rel="noopener">www.gracedoyle.art</a> — Grace Doyle
Matt & Tilly in 2020, completed in 2020

oil on panel, 6x6”, $500</p>
contact artist directly for sales: <a href="mailto:grace@gracedoyle.art">grace@gracedoyle.art</a></p>
<p align="left">”These paintings created in 2020 focus on the psychological impact of the figure as it relates to the pandemic and new reality, the history of art, and the subjective and objective human experience. Matt & Tilly in 2020 illustrates my husband, spacing out in the safe space of the couch and needy dog looking to him for acknowledgement. Overgrown hair marks the months since the pandemic started. Reflection (Self Portrait with Tilly) depicts myself, clutching my small dog like a security blanket as she nuzzles into my shoulder. Together, artist and dog seek comfort from their new and extraordinary reality. Sunset captures a moment of appreciation for the outdoors and the escape walking outside permits. Through these subjects, I explore the material itself as well as celebrate the hours spent looking, mark making, and experiencing painting. The visual story through composition and subject matter, and the painted object concerning surface texture, color, and tonal relationships are both important. It is my goal to have the visual story and the painted object be strong enough that one can appreciate them independently; however, together they strengthen and enforce the overall viewing experience.”
<br></p>
<a href="https://www.gracedoyle.art" target="_blank" rel="noopener">www.gracedoyle.art</a> — Grace Doyle
Sunset, 2020

oil on panel, 8x8”, $750</p>
contact artist directly for sales: <a href="mailto:grace@gracedoyle.art">grace@gracedoyle.art</a></p>
<p align="left">”These paintings created in 2020 focus on the psychological impact of the figure as it relates to the pandemic and new reality, the history of art, and the subjective and objective human experience. Matt & Tilly in 2020 illustrates my husband, spacing out in the safe space of the couch and needy dog looking to him for acknowledgement. Overgrown hair marks the months since the pandemic started. Reflection (Self Portrait with Tilly) depicts myself, clutching my small dog like a security blanket as she nuzzles into my shoulder. Together, artist and dog seek comfort from their new and extraordinary reality. Sunset captures a moment of appreciation for the outdoors and the escape walking outside permits. Through these subjects, I explore the material itself as well as celebrate the hours spent looking, mark making, and experiencing painting. The visual story through composition and subject matter, and the painted object concerning surface texture, color, and tonal relationships are both important. It is my goal to have the visual story and the painted object be strong enough that one can appreciate them independently; however, together they strengthen and enforce the overall viewing experience.”
<br></p>
<a href="https://www.gracedoyle.art" target="_blank" rel="noopener">www.gracedoyle.art</a> — Grace Doyle
Reflection (Self Portrait with Tilly), 2020

mixed media, 6x6x6", $125</p>
contact artist directly for sales: <a href="mailto:fishnchips1000@yahoo.com">fishnchips1000@yahoo.com</a></p>
<p align="left">“As the events of 2020 have played out, I have seen changes in my art process. Initially I felt inspired and was very productive. I worked on a several projects that I had been thinking about but had not fleshed out. That lasted for a little while but as time went on and there does not seem to be any end in sight, I lost my motivation, things started to fall apart. It seemed like lots of things were breaking. I returned to the art process that I feel most comfortable with, making assemblage pieces that involve wrapping objects together. That’s what these pieces are, all three of them are older pieces that I have reworked. I am never really sure when a piece is finished, but I do feel like these are at a good place. The biggest change that I see in these kind of pieces compared to how I had been working in the past is that I like the amount of wrapping in these pieces. In the past I was reluctant to cover too much with the wrapping. I think the wrapping in comforting, I like the way it looks as a finished piece and the process is also very satisfying. This work that I have created has all started with making balls. I have made other forms but making balls is at the core of all this work.
” <br></p>
<a href="//www.instagram.com/donald_1970_art/" target="_blank" rel="noopener">https://www.instagram.com/donald_1970_art/</a><br> — Donald Edwards
Ball with bicycle, 2020

mixed media, 6x6x6", 2020, $125</p>
contact artist directly for sales: <a href="mailto:fishnchips1000@yahoo.com">fishnchips1000@yahoo.com</a></p>
<p align="left">“As the events of 2020 have played out, I have seen changes in my art process. Initially I felt inspired and was very productive. I worked on a several projects that I had been thinking about but had not fleshed out. That lasted for a little while but as time went on and there does not seem to be any end in sight, I lost my motivation, things started to fall apart. It seemed like lots of things were breaking. I returned to the art process that I feel most comfortable with, making assemblage pieces that involve wrapping objects together. That’s what these pieces are, all three of them are older pieces that I have reworked. I am never really sure when a piece is finished, but I do feel like these are at a good place. The biggest change that I see in these kind of pieces compared to how I had been working in the past is that I like the amount of wrapping in these pieces. In the past I was reluctant to cover too much with the wrapping. I think the wrapping in comforting, I like the way it looks as a finished piece and the process is also very satisfying. This work that I have created has all started with making balls. I have made other forms but making balls is at the core of all this work.
” <br></p>
<a href="//www.instagram.com/donald_1970_art/" target="_blank" rel="noopener">https://www.instagram.com/donald_1970_art/</a><br> — Donald Edwards
Ball with fake pearls, 2020

archival inkjet print, 8 x 10”, $200</p>
contact artist directly for sales: <a href="mailto:hannahearnest7@gmail.com">hannahearnest7@gmail.com</a></p>
<p align="left">”In a dueling state of clarity and fog, isolation presents a turn inward. Reflection leads to purpose, growth, and transformation. Through immeasurable loss there is much to gain. In a time of sweeping change, I appreciate the small.
I am grateful for each drop of water that forms a lake. I am grateful for every beam of light that holds a shadow. I am grateful for the waves that alter the horizon.”
<br></p>
Instagram <a href="https://www.instagram.com/hanananutmuffin" target="_blank" rel="noopener">@hanananutmuffin</a> — Hannah Earnest
Untitled, 2020

mixed media ink illustration, 14 x 17”, $350</p>
contact artist directly for sales: <a href="abbyfitzgibbon@gmail.com">abbyfitzgibbon@gmail.com</a></p>
<p align="left">In her series Mind Maze Abby depicts the mental gymnastics of trying to create amidst the chaos of a pandemic. With lightheartedness and wry wit she tackles anxiety, loss of self-worth tied to decline in productivity, and that ever-shaky line between restfulness and depression. This series of playfully interactive illustrations confronts the ever-present query of artists creating in a capitalist society: If we’re not making a living off our art, are we even artists anymore? <br></p>
<a href="http://www.abbyfitzgibbon.com" target="_blank" rel="noopener">abbyfitzgibbon.com</a><br> — Abby Fitzgibbon
Ongoing Negotiations of My Self Worth, 2021

mixed media ink illustration, 25 x 10.5”, $250</p>
contact artist directly for sales: <a href="abbyfitzgibbon@gmail.com">abbyfitzgibbon@gmail.com</a></p>
<p align="left">In her series Mind Maze Abby depicts the mental gymnastics of trying to create amidst the chaos of a pandemic. With lightheartedness and wry wit she tackles anxiety, loss of self-worth tied to decline in productivity, and that ever-shaky line between restfulness and depression. This series of playfully interactive illustrations confronts the ever-present query of artists creating in a capitalist society: If we’re not making a living off our art, are we even artists anymore? <br></p>
<a href="http://www.abbyfitzgibbon.com" target="_blank" rel="noopener">abbyfitzgibbon.com</a><br> — Abby Fitzgibbon
Restful Traumatized Lazy, 2021

mixed media ink illustration, 10 x 15.75”, $575</p>
contact artist directly for sales: <a href="abbyfitzgibbon@gmail.com">abbyfitzgibbon@gmail.com</a></p>
<p align="left">In her series Mind Maze Abby depicts the mental gymnastics of trying to create amidst the chaos of a pandemic. With lightheartedness and wry wit she tackles anxiety, loss of self-worth tied to decline in productivity, and that ever-shaky line between restfulness and depression. This series of playfully interactive illustrations confronts the ever-present query of artists creating in a capitalist society: If we’re not making a living off our art, are we even artists anymore? <br></p>
<a href="http://www.abbyfitzgibbon.com" target="_blank" rel="noopener">abbyfitzgibbon.com</a><br> — Abby Fitzgibbon
Oh So You Like Do This For A Living, 2021

plaster, dimensions variable (3.5x3.5” each, 6 total)</p>
contact artist directly for sales: <a href="mailto:ajmuhlena@gmail.com">ajmuhlena@gmail.com</a></p>
<p align="left">”Stone worn down by a hand over time, the pattern of skin, the space inside an apple; these
unassuming subjects have a quiet beauty that possess my attention. It is through art-making
that I acknowledge these fragile, subtle, and intimate moments of existence: my work invites
attention to these details. The events of 2020 generated pain, anger, and numbness with
occasional respite - I rediscovered my gravity by clinging to beauty found in physical, and often
insignificant, phenomena. In one example, I cast a worry stone every other month that I
regularly handled, or “worried over”. Initially a curiosity - how the softness of my hand, with
steady attention, could alter a hard material over time - it became an eerily appropriate practice
when uncertainty cultivated worry as the year progressed. The change in the consecutive casts
is nearly indecipherable, my thumbs barely making an impression after regular handling.
However, with close attention and time, change is evident.”
<br></p>
<a href="https://www.muhlenahays.com" target="_blank" rel="noopener">www.muhlenahays.com</a> — Amanda Muhlena Hays
Cast Worry, 2020

armpit hair on paper, 8 x 8”</p>
contact artist directly for sales: <a href="mailto:ajmuhlena@gmail.com">ajmuhlena@gmail.com</a></p>
<p align="left">”Stone worn down by a hand over time, the pattern of skin, the space inside an apple; these
unassuming subjects have a quiet beauty that possess my attention. It is through art-making
that I acknowledge these fragile, subtle, and intimate moments of existence: my work invites
attention to these details. The events of 2020 generated pain, anger, and numbness with
occasional respite - I rediscovered my gravity by clinging to beauty found in physical, and often
insignificant, phenomena. In one example, I cast a worry stone every other month that I
regularly handled, or “worried over”. Initially a curiosity - how the softness of my hand, with
steady attention, could alter a hard material over time - it became an eerily appropriate practice
when uncertainty cultivated worry as the year progressed. The change in the consecutive casts
is nearly indecipherable, my thumbs barely making an impression after regular handling.
However, with close attention and time, change is evident.”
<br></p>
<a href="https://www.muhlenahays.com" target="_blank" rel="noopener">www.muhlenahays.com</a> — Amanda Muhlena Hays
Right, 2020

ink on paper, 12x12”</p>
contact artist directly for sales: <a href="mailto:ajmuhlena@gmail.com">ajmuhlena@gmail.com</a></p>
<p align="left">”Stone worn down by a hand over time, the pattern of skin, the space inside an apple; these
unassuming subjects have a quiet beauty that possess my attention. It is through art-making
that I acknowledge these fragile, subtle, and intimate moments of existence: my work invites
attention to these details. The events of 2020 generated pain, anger, and numbness with
occasional respite - I rediscovered my gravity by clinging to beauty found in physical, and often
insignificant, phenomena. In one example, I cast a worry stone every other month that I
regularly handled, or “worried over”. Initially a curiosity - how the softness of my hand, with
steady attention, could alter a hard material over time - it became an eerily appropriate practice
when uncertainty cultivated worry as the year progressed. The change in the consecutive casts
is nearly indecipherable, my thumbs barely making an impression after regular handling.
However, with close attention and time, change is evident.”
<br></p>
<a href="https://www.muhlenahays.com" target="_blank" rel="noopener">www.muhlenahays.com</a> — Amanda Muhlena Hays
Fingerprints, 2020

acrylic, collage, ink, aluminum foil on canvas, 18 x 24”</p>
contact artist directly for sales: <a href="mailto:ellimariaart@gmail.com ">ellimariaart@gmail.com </a></p>
<p align="left">”As an artist who benefits from the therapeutic nature of the art-making process, the
traumatic event that was the year 2020 had a significant negative impact on my ability to
create. Typically, my artworks exist as relics of time and document a moment or phase in
my lifetime. Most of these artworks are not the result of having experienced life during a
global pandemic. Instead, they depict a melancholic life - frozen in time - that existed prior
to all of the chaos that was 2020.”
<br></p>
<a href="https://www.ellimaria.com" target="_blank" rel="noopener">ellimaria.com </a> — Elli Maria Hernandez
standstill, 2020

acrylic, oil, collage, ink, embroidery on canvas, 18 x 24”</p>
contact artist directly for sales: <a href="mailto:ellimariaart@gmail.com ">ellimariaart@gmail.com </a></p>
<p align="left">”As an artist who benefits from the therapeutic nature of the art-making process, the
traumatic event that was the year 2020 had a significant negative impact on my ability to
create. Typically, my artworks exist as relics of time and document a moment or phase in
my lifetime. Most of these artworks are not the result of having experienced life during a
global pandemic. Instead, they depict a melancholic life - frozen in time - that existed prior
to all of the chaos that was 2020.”
<br></p>
<a href="https://www.ellimaria.com" target="_blank" rel="noopener">ellimaria.com </a> — Elli Maria Hernandez
crave it, 2020

cyanotype & oil pastel on paper, 4.5 x 5.5”</p>
contact artist directly for sales: <a href="mailto:ellimariaart@gmail.com ">ellimariaart@gmail.com </a></p>
<p align="left">”As an artist who benefits from the therapeutic nature of the art-making process, the
traumatic event that was the year 2020 had a significant negative impact on my ability to
create. Typically, my artworks exist as relics of time and document a moment or phase in
my lifetime. Most of these artworks are not the result of having experienced life during a
global pandemic. Instead, they depict a melancholic life - frozen in time - that existed prior
to all of the chaos that was 2020.”
<br></p>
<a href="https://www.ellimaria.com" target="_blank" rel="noopener">ellimaria.com </a> — Elli Maria Hernandez
whirlwind, 2020

acrylic ink, rubber stamp, hand cut Tyvek, conte and collage on stretched paper, 32 x 44", $650.00
</p>
contact artist directly for sales: <a href="mailto:contact@jodihoover.com">contact@jodihoover.com</a></p>
<p align="left">”It is incredibly difficult to put into words how the COVID-19 pandemic has changed my artistic practice. Feelings of sadness, anger, depression, exhaustion, and a profound inability to focus come immediately to mind. Still the work I’ve created in 2020 has become my most effective way of marking time during this otherwise unstructured year. ‘When She Awoke the World Had Changed’ was created early in the lockdown phase with the last piece of large paper I had in my studio. A crow family was hanging out in my yard and I spent a lot of time wondering if they noticed that our patterns had changed. ‘Dust of the Earth’ came soon after and includes repurposed work from both my BFA and MFA thesis exhibitions. I needed supplies and did not feel comfortable going out. I remember a sense of relief as I let go of those items. ‘When the Ice Scars Your Dreams’ is the most recent. The cut paper portion of the piece was created on election day as a way to channel nervous energy. I currently have every piece I’ve created during this year on my studio walls. They create a mental anchor and give me hope that the work and the marking of time will continue.”
<br></p>
<a href="https://www.jodihoover.com" target="_blank" rel="noopener">www.jodihoover.com</a> — Jodi Hoover
When She Awoke the World had Changed, 2020

acrylic ink, rubber stamp, hand cut paper and collage with recycled frames, 25 x 19", $450.00</p>
contact artist directly for sales: <a href="mailto:contact@jodihoover.com">contact@jodihoover.com</a></p>
<p align="left">”It is incredibly difficult to put into words how the COVID-19 pandemic has changed my artistic practice. Feelings of sadness, anger, depression, exhaustion, and a profound inability to focus come immediately to mind. Still the work I’ve created in 2020 has become my most effective way of marking time during this otherwise unstructured year. ‘When She Awoke the World Had Changed’ was created early in the lockdown phase with the last piece of large paper I had in my studio. A crow family was hanging out in my yard and I spent a lot of time wondering if they noticed that our patterns had changed. ‘Dust of the Earth’ came soon after and includes repurposed work from both my BFA and MFA thesis exhibitions. I needed supplies and did not feel comfortable going out. I remember a sense of relief as I let go of those items. ‘When the Ice Scars Your Dreams’ is the most recent. The cut paper portion of the piece was created on election day as a way to channel nervous energy. I currently have every piece I’ve created during this year on my studio walls. They create a mental anchor and give me hope that the work and the marking of time will continue.”
<br></p>
<a href="https://www.jodihoover.com" target="_blank" rel="noopener">www.jodihoover.com</a> — Jodi Hoover
Dust of the Earth, 2020

acrylic ink, hand cut paper and collage with recycled frame, 24 x 19.5", $350.00</p>
contact artist directly for sales: <a href="mailto:contact@jodihoover.com">contact@jodihoover.com</a></p>
<p align="left">”It is incredibly difficult to put into words how the COVID-19 pandemic has changed my artistic practice. Feelings of sadness, anger, depression, exhaustion, and a profound inability to focus come immediately to mind. Still the work I’ve created in 2020 has become my most effective way of marking time during this otherwise unstructured year. ‘When She Awoke the World Had Changed’ was created early in the lockdown phase with the last piece of large paper I had in my studio. A crow family was hanging out in my yard and I spent a lot of time wondering if they noticed that our patterns had changed. ‘Dust of the Earth’ came soon after and includes repurposed work from both my BFA and MFA thesis exhibitions. I needed supplies and did not feel comfortable going out. I remember a sense of relief as I let go of those items. ‘When the Ice Scars Your Dreams’ is the most recent. The cut paper portion of the piece was created on election day as a way to channel nervous energy. I currently have every piece I’ve created during this year on my studio walls. They create a mental anchor and give me hope that the work and the marking of time will continue.”
<br></p>
<a href="https://www.jodihoover.com" target="_blank" rel="noopener">www.jodihoover.com</a> — Jodi Hoover
When the Ice Scars Your Dreams, 2020

acrylic, graphite, and book pages on books. 4 x 4’ , contact artist for price</p>
contact artist directly for sales: <a href="mailto:jhouff@mica.edu ">jhouff@mica.edu </a></p>
<p align="left">”2020 for me has been a year of unknowns, waiting, and making. Many of my days are filled with emails and not knowing when my next opportunity will arise. It has forced me to make do with what I have and not let others' opinions of how an artist should be in this time get to my head. I am an unapologetic artist who makes work that reflects where I am in life. My piece Unapologetic, while made in 2019, reflects my complete and utter truth to myself as an artist, a lesbian, and creator. There is much pressure for artists to use this time to create as much as possible - not everyone has the metal stability or wherewithal to do this. I take this time to reflect on previous work and how it influences how I move forward as an artist. Still-Life and Daisy Paper, however, are two manifestations of the times. Handmade paper is a process which takes incredible finesse, time, and precision. Flowers are depicted in two ways - drawn in mid-decay and real flowers pressed and engulfed in fiber. During this year where shopping and sourcing materials is more difficult, I am inspired by natural elements and recycled materials. I utilize the resources I have in my dwellings. I use the space I occupy to make something meaningful. I continue to create unapologetically.”
<br></p>
<a href="https://www.jessiehouffart.com" target="_blank" rel="noopener">jessiehouffart.com</a> — Jessie Houff
Unapologetic, 2019

ink on handmade paper. 8.5 x 11", contact artist for price</p>
contact artist directly for sales: <a href="mailto:jhouff@mica.edu ">jhouff@mica.edu </a></p>
<p align="left">”2020 for me has been a year of unknowns, waiting, and making. Many of my days are filled with emails and not knowing when my next opportunity will arise. It has forced me to make do with what I have and not let others' opinions of how an artist should be in this time get to my head. I am an unapologetic artist who makes work that reflects where I am in life. My piece Unapologetic, while made in 2019, reflects my complete and utter truth to myself as an artist, a lesbian, and creator. There is much pressure for artists to use this time to create as much as possible - not everyone has the metal stability or wherewithal to do this. I take this time to reflect on previous work and how it influences how I move forward as an artist. Still-Life and Daisy Paper, however, are two manifestations of the times. Handmade paper is a process which takes incredible finesse, time, and precision. Flowers are depicted in two ways - drawn in mid-decay and real flowers pressed and engulfed in fiber. During this year where shopping and sourcing materials is more difficult, I am inspired by natural elements and recycled materials. I utilize the resources I have in my dwellings. I use the space I occupy to make something meaningful. I continue to create unapologetically.”
<br></p>
<a href="https://www.jessiehouffart.com" target="_blank" rel="noopener">jessiehouffart.com</a> — Jessie Houff
Still-life, 2020

dry pressed flowers on handmade paper. 11 x 14" , contact artist for price</p>
contact artist directly for sales: <a href="mailto:jhouff@mica.edu ">jhouff@mica.edu </a></p>
<p align="left">”2020 for me has been a year of unknowns, waiting, and making. Many of my days are filled with emails and not knowing when my next opportunity will arise. It has forced me to make do with what I have and not let others' opinions of how an artist should be in this time get to my head. I am an unapologetic artist who makes work that reflects where I am in life. My piece Unapologetic, while made in 2019, reflects my complete and utter truth to myself as an artist, a lesbian, and creator. There is much pressure for artists to use this time to create as much as possible - not everyone has the metal stability or wherewithal to do this. I take this time to reflect on previous work and how it influences how I move forward as an artist. Still-Life and Daisy Paper, however, are two manifestations of the times. Handmade paper is a process which takes incredible finesse, time, and precision. Flowers are depicted in two ways - drawn in mid-decay and real flowers pressed and engulfed in fiber. During this year where shopping and sourcing materials is more difficult, I am inspired by natural elements and recycled materials. I utilize the resources I have in my dwellings. I use the space I occupy to make something meaningful. I continue to create unapologetically.”
<br></p>
<a href="https://www.jessiehouffart.com" target="_blank" rel="noopener">jessiehouffart.com</a> — Jessie Houff
Daisy Paper, 2020

acrylic on paper, 8.75 x 10.75” framed, $85.00</p>
contact artist directly for sales: <a href="mailto:siaconi@mica.edu">siaconi@mica.edu</a></p>
<p align="left">”I have spent the majority of the year 2020 quarantined in my home with my 3 year old
son CJ. In the difficult balance between making work and transferring daily life practices to at
home only practices, I found myself tracking moments of my son's presence with small studies.
Spending more time at home and in our yard, I began the series “Isolated” with studies of the
remnants of CJ’s outdoor play for the day. Varying from lonely slides to full sandboxes, each
study reflects the isolation we face during social distancing and quarantine.”
<br></p>
<a href="https://www.behance.net/samanthaiaconi" target="_blank" rel="noopener">behance.net/samanthaiaconi </a> — Samantha Iaconi
Cj's Slide, 2021

acrylic on paper, 6 x 8” framed, $50.00</p>
contact artist directly for sales: <a href="mailto:siaconi@mica.edu">siaconi@mica.edu</a></p>
<p align="left">”I have spent the majority of the year 2020 quarantined in my home with my 3 year old
son CJ. In the difficult balance between making work and transferring daily life practices to at
home only practices, I found myself tracking moments of my son's presence with small studies.
Spending more time at home and in our yard, I began the series “Isolated” with studies of the
remnants of CJ’s outdoor play for the day. Varying from lonely slides to full sandboxes, each
study reflects the isolation we face during social distancing and quarantine.”
<br></p>
<a href="https://www.behance.net/samanthaiaconi" target="_blank" rel="noopener">behance.net/samanthaiaconi </a> — Samantha Iaconi
CJ's Sandbox, 2020

tempera on paper, 3 x 4’, framed, $290</p>
contact artist directly for sales: <a href="mailto:noelleimparato@gmail.com">noelleimparato@gmail.com</a></p>
<p align="left">“ ‘No Justice No Peace’ refers to the motto of the Baltimore uprising around Freddy Grey’s death at the brutal hand of a racist police. That event is part of the roots from which the Black Lives Matter movement emerged in 2020. The painting was created as a spontaneous expression of the personal and collective anger triggered by the event. It is conceived as a healing practice, in line with the teachings of my Painting For Life workshop. We need to embrace and express our dark emotions in order to process and transform their energy into a source of rightful action.”
<br></p>
<a href="http://www.noelle-imparato.com/" target="_blank" rel="noopener"> http://www.noelle-imparato.com/</a> — Noelle Imparato
No Justice No Peace, 2020

digital collage, 28 x 14”, contact artist for price</p>
contact artist directly for sales: <a href="mailto:chloe.s.irla@gmail.com">chloe.s.irla@gmail.com</a></p>
<p align="left">“ Home Work is an in-progress project based on data collected during my fall semester teaching,
working, and parenting from home during the 2020 COVID-19 pandemic. My worlds merged
more than I would have liked them to during that time. I kept track of my work time, time spent
with my daughter, my husband’s time spent with our daughter, time spent making dinner and
doing laundry, work meeting times, and my daughter’s virtual kindergarten time. The data is
assembled into colorful timelines using digital tiles created from scanned textiles. The textiles
are carefully chosen to represent each constraint. For example, my daughter’s yellow
bedsheets represent her sleep time and my teal bedsheets represent my sleep time. A segment
of my daughter’s hot pink backpack was scanned to represent her time attending virtual
kindergarten. Each line represents a full day with all 24 hours accounted for. With my selftracking
projects, I attempt to identify patterns and analyze the circumstances surrounding
each subject in order to humanize information for the viewer. Home Work presents the
overwhelming nature of the somewhat invisible labor of trying to maintain both professional
and personal obligations during a global pandemic.”<br></p>
<a href="http://www.chloe-irla.com" target="_blank" rel="noopener">www.chloe-irla.com</a> — Chloe Irla
Home Work: First 10 Days, 2020

acrylic on canvas, 21 x 28” framed, $800</p>
contact artist directly for sales: <a href="mailto:silvia.sagari@gmail.com ">silvia.sagari@gmail.com </a></p>
<p align="left">“My art expresses my feelings about the happy moments in my life, but also about the difficult times I have had, especially my many heart and brain surgeries.
When I paint, I feel strong, excited, exuberant! I feel it in my heart. The colors and shapes that guide my work pop into my head. Colors are my favorite language. As a Deaf artist who wears hearing aids, I know that there are many ways to communicate. Colors are the most direct and powerful. The piece I am presenting "House on Fire" brings my feelings of fear, same as a hurricane coming, fear that problems are coming. The peaceful colors on most of the houses contrast with the color of the house on fire.”<br></p>
<a href="http://www.yasmineiskanderart.com" target="_blank" rel="noopener">www.yasmineiskanderart.com </a> — Yasmine Iskander
House on Fire, 2020

acrylic on cardstock, 9 X 12", contact artist for price</p>
contact artist directly for sales: <a href="mailto:flora.iste@gmail.com">flora.iste@gmail.com</a></p>
<p align="left">“2020 was an awful year. It was rough for the world at large and for me personally. At the start of the year, I caught the flu. Upon recovery, I began a new job that turned out to be a letdown. Subsequently, I left it to quarantine because of the dystopian virus that still impacts our lives today. Thankfully, I moved back to Baltimore in November after a period in New Orleans and Los Angeles. During times of hardship, we often look for a silver lining. The confinement afforded me a hermetic existence that I so often romanticized. I looked inward and thought about what I wanted and what was good for me. Despite the ugly actions of some amplified by social media, I still longed for connection. I learned that I needed people more than I knew. 2021 was to be my triumphant return to painting, to hit the ground running…away from a period of missed connections and toward a renewed focus. My process continues to be abstract and textural, but the esoteric is more present per my long bouts of inner exploration. I have drawn much inspiration from the Symbolist painters, not as escapism but as an alternative logic to look to in a world gone mad.”<br></p>
<a href="http://www.glitterswamp.com" target="_blank" rel="noopener">glitterswamp.com</a> — Flora Iste
Fantastic Envelope, 2021

acrylic,marker, pen on cardboard, 13.25 X 18.25", contact artist for price</p>
contact artist directly for sales: <a href="mailto:flora.iste@gmail.com">flora.iste@gmail.com</a></p>
<p align="left">“2020 was an awful year. It was rough for the world at large and for me personally. At the start of the year, I caught the flu. Upon recovery, I began a new job that turned out to be a letdown. Subsequently, I left it to quarantine because of the dystopian virus that still impacts our lives today. Thankfully, I moved back to Baltimore in November after a period in New Orleans and Los Angeles. During times of hardship, we often look for a silver lining. The confinement afforded me a hermetic existence that I so often romanticized. I looked inward and thought about what I wanted and what was good for me. Despite the ugly actions of some amplified by social media, I still longed for connection. I learned that I needed people more than I knew. 2021 was to be my triumphant return to painting, to hit the ground running…away from a period of missed connections and toward a renewed focus. My process continues to be abstract and textural, but the esoteric is more present per my long bouts of inner exploration. I have drawn much inspiration from the Symbolist painters, not as escapism but as an alternative logic to look to in a world gone mad.”<br></p>
<a href="http://www.glitterswamp.com" target="_blank" rel="noopener">glitterswamp.com</a> — Flora Iste
Patron Saint of Glam, 2021

acrylic, marker,pencil on styrofoam, 14.5 X 16", contact artist for price</p>
contact artist directly for sales: <a href="mailto:flora.iste@gmail.com">flora.iste@gmail.com</a></p>
<p align="left">“2020 was an awful year. It was rough for the world at large and for me personally. At the start of the year, I caught the flu. Upon recovery, I began a new job that turned out to be a letdown. Subsequently, I left it to quarantine because of the dystopian virus that still impacts our lives today. Thankfully, I moved back to Baltimore in November after a period in New Orleans and Los Angeles. During times of hardship, we often look for a silver lining. The confinement afforded me a hermetic existence that I so often romanticized. I looked inward and thought about what I wanted and what was good for me. Despite the ugly actions of some amplified by social media, I still longed for connection. I learned that I needed people more than I knew. 2021 was to be my triumphant return to painting, to hit the ground running…away from a period of missed connections and toward a renewed focus. My process continues to be abstract and textural, but the esoteric is more present per my long bouts of inner exploration. I have drawn much inspiration from the Symbolist painters, not as escapism but as an alternative logic to look to in a world gone mad.”<br></p>
<a href="http://www.glitterswamp.com" target="_blank" rel="noopener">glitterswamp.com</a> — Flora Iste
Flowers by Window, 2021

archival pigment print, 16 x 24", contact artist for price</p>
contact artist directly for sales: <a href="mailto:janetjeffers@gmail.com">janetjeffers@gmail.com</a></p>
<p align="left">“As we grappled with the reality of a global pandemic in the months of 2020, I was also grieving the loss of one of my dearest friends to cancer in February, and my dear little dog died suddenly a few months later. Creative inspiration seemed a far stretch as I fought off depression, but I sought peace and solace in walking. I spent many hours and covered many miles in a form of moving meditation, on trails in the woods near our home, and also exploring the docks and boatyards along the Chesapeake Bay. Boatyards in the off-season are excellent for social distancing, and as I explored, I was captivated by the textures and forms in the undersides of derelict boats, and mesmerized by the constantly-changing reflections of boats in the water. These fleeting moments helped ignite my sense of wonder again, and reminded me that beauty and magic can be found even in the most unexpected places and the darkest times.”<br></p>
<a href="http://www.janetjeffers.com" target="_blank" rel="noopener">www.janetjeffers.com</a> — Janet Jeffers
Springs Eternal, 2020

archival pigment print, 24 x 16", contact artist for price</p>
contact artist directly for sales: <a href="mailto:janetjeffers@gmail.com">janetjeffers@gmail.com</a></p>
<p align="left">“As we grappled with the reality of a global pandemic in the months of 2020, I was also grieving the loss of one of my dearest friends to cancer in February, and my dear little dog died suddenly a few months later. Creative inspiration seemed a far stretch as I fought off depression, but I sought peace and solace in walking. I spent many hours and covered many miles in a form of moving meditation, on trails in the woods near our home, and also exploring the docks and boatyards along the Chesapeake Bay. Boatyards in the off-season are excellent for social distancing, and as I explored, I was captivated by the textures and forms in the undersides of derelict boats, and mesmerized by the constantly-changing reflections of boats in the water. These fleeting moments helped ignite my sense of wonder again, and reminded me that beauty and magic can be found even in the most unexpected places and the darkest times.”<br></p>
<a href="http://www.janetjeffers.com" target="_blank" rel="noopener">www.janetjeffers.com</a> — Janet Jeffers
Rise, 2020

graphite, conte crayon, chalk, colored pencil on paper, 5.75 x 8.5” , contact artist for price</p>
contact artist directly for sales: <a href="mailto:a.jones.wilson@gmail.com">a.jones.wilson@gmail.com</a></p>
<p align="left">“As we rounded the corner into February 2020, hearing something about a virus, seeing the raging fires in Australia on the news, feeling the pain of 39 dead in Baltimore City by February 1- ten more than the same time in 2019- there was a sense that this year would not be anything like those we had seen. I began to make work in March that dealt with the growing sense of dread as COVID-19 began to, seemingly, pop up out of nowhere. A few cases on the west coast quickly became dozens of cases across the nation. Meanwhile, conflicting information on what the….we were supposed to do also spread. Then, the news began to filter out about a woman named Breonna Taylor, a man named George Floyd. Before both were killed, Ahmaud Arbery was shot on February 23- but that news didn’t arrive for a while. Marchers converged and there were fireworks every night for months. The fireworks were beautiful- and also a bit terrifying because it was hard to tell if guns were being fired- and I saw the sparks falling like flower petals to the ground and the people rising up.”<br></p>
instagram <a href="http://www.instagram.com/a.jones.wilson" target="_blank" rel="noopener">@a.jones.wilson</a> — Annette Wilson Jones
Our Home is On Fire (gun/ bush/forest), 2020

graphite, colored pencil on paper, ; 5.5 x 8.5“ , contact artist for price</p>
contact artist directly for sales: <a href="mailto:a.jones.wilson@gmail.com">a.jones.wilson@gmail.com</a></p>
<p align="left">“As we rounded the corner into February 2020, hearing something about a virus, seeing the raging fires in Australia on the news, feeling the pain of 39 dead in Baltimore City by February 1- ten more than the same time in 2019- there was a sense that this year would not be anything like those we had seen. I began to make work in March that dealt with the growing sense of dread as COVID-19 began to, seemingly, pop up out of nowhere. A few cases on the west coast quickly became dozens of cases across the nation. Meanwhile, conflicting information on what the….we were supposed to do also spread. Then, the news began to filter out about a woman named Breonna Taylor, a man named George Floyd. Before both were killed, Ahmaud Arbery was shot on February 23- but that news didn’t arrive for a while. Marchers converged and there were fireworks every night for months. The fireworks were beautiful- and also a bit terrifying because it was hard to tell if guns were being fired- and I saw the sparks falling like flower petals to the ground and the people rising up.”<br></p>
instagram <a href="http://www.instagram.com/a.jones.wilson" target="_blank" rel="noopener">@a.jones.wilson</a> — Annette Wilson Jones
Fireworks will light up the night and the sparks will fall to earth like flowers, 2020

watercolor and colored pencil on paper, 4 paintings, each 5.5 x 4.25", contact artist for price</p>
contact artist directly for sales: <a href="mailto:a.jones.wilson@gmail.com">a.jones.wilson@gmail.com</a></p>
<p align="left">“As we rounded the corner into February 2020, hearing something about a virus, seeing the raging fires in Australia on the news, feeling the pain of 39 dead in Baltimore City by February 1- ten more than the same time in 2019- there was a sense that this year would not be anything like those we had seen. I began to make work in March that dealt with the growing sense of dread as COVID-19 began to, seemingly, pop up out of nowhere. A few cases on the west coast quickly became dozens of cases across the nation. Meanwhile, conflicting information on what the….we were supposed to do also spread. Then, the news began to filter out about a woman named Breonna Taylor, a man named George Floyd. Before both were killed, Ahmaud Arbery was shot on February 23- but that news didn’t arrive for a while. Marchers converged and there were fireworks every night for months. The fireworks were beautiful- and also a bit terrifying because it was hard to tell if guns were being fired- and I saw the sparks falling like flower petals to the ground and the people rising up.”<br></p>
instagram <a href="http://www.instagram.com/a.jones.wilson" target="_blank" rel="noopener">@a.jones.wilson</a> — Annette Wilson Jones
Let's Talk About Something Else, 2020

digital drawing, 4800 x 2400 pixels, contact artist for price</p>
contact artist directly for sales: <a href="mailto:amycklainer@gmail.com">amycklainer@gmail.com</a></p>
<p align="left">“A facet of my work as an artist includes research, design, and implementation of
educational and organizational systems and objects in my role as a studio manager in a fabrication shop at Maryland Institute College of Art. <br>Shifts necessitated by the pandemic have meant that my work as an academic
fabrication professional has changed. Within these shifts, my awareness of my
position as a group member amongst other studio managers in similar roles on
campus has been highlighted. I am less siloed in my own academic department,
and have had the opportunity to work on projects with the studio manager group
that serve the campus in a more holistic sense.<br>
One of these projects is a clear and consistent fabrication shop manual, that can be
accessed and utilized by staff, faculty, and students across campus. The manual
includes tool and machine standard operating procedures, information about
materials and process, safety protocols, etc. My contribution as a group member
has been to illustrate tools and processes described in the manual.”<br></p>
<a href="http://www.amyklainer.com" target="_blank" rel="noopener">www.amyklainer.com</a> — Amy Klainer
90 Degrees, 2020

digital drawing, 3561 x 3312 pixels, contact artist for price</p>
contact artist directly for sales: <a href="mailto:amycklainer@gmail.com">amycklainer@gmail.com</a></p>
<p align="left">“A facet of my work as an artist includes research, design, and implementation of
educational and organizational systems and objects in my role as a studio manager in a fabrication shop at Maryland Institute College of Art. <br>Shifts necessitated by the pandemic have meant that my work as an academic
fabrication professional has changed. Within these shifts, my awareness of my
position as a group member amongst other studio managers in similar roles on
campus has been highlighted. I am less siloed in my own academic department,
and have had the opportunity to work on projects with the studio manager group
that serve the campus in a more holistic sense.<br>
One of these projects is a clear and consistent fabrication shop manual, that can be
accessed and utilized by staff, faculty, and students across campus. The manual
includes tool and machine standard operating procedures, information about
materials and process, safety protocols, etc. My contribution as a group member
has been to illustrate tools and processes described in the manual.”<br></p>
<a href="http://www.amyklainer.com" target="_blank" rel="noopener">www.amyklainer.com</a> — Amy Klainer
I Bought A House, 2020

mixed media, 31 x 16”, contact artist for price</p>
contact artist directly for sales: <a href="mailto:koskinic@gmail.com">koskinic@gmail.com</a></p>
<p align="left">“At the time I’m writing this, over 380,000 people in the U.S. have died from COVID-19 and many more have been living in isolation for months. The people who have been most affected include those who are autistic and intellectually disabled, people of color, LGBTQ+, chronically ill, incarcerated, houseless, and elderly. Despite the risk, many people, particularly conservative leaders and media, refuse to take proper precautions or outright deny the full reality of the COVID-19 pandemic. This blatant disregard for fellow human life seems to only be growing in the United States. While I’ve been self-isolating and working when I can, the reality of COVID-19 and my disposability as a Disabled Queer person has been constantly present. This sense of disposability is reflected in the use of trash (cardboard, pharmaceutical waste, makeup, wax, fabric, condoms) and trash aesthetics (horror imagery) throughout my work.”<br></p>
<a href="http://www.nickoski.com" target="_blank" rel="noopener">www.nickoski.com</a> — Nic Koski
Punish me torture me but let me live, 2021

mixed media, 17 x 16”, contact artist for price</p>
contact artist directly for sales: <a href="mailto:koskinic@gmail.com">koskinic@gmail.com</a></p>
<p align="left">“At the time I’m writing this, over 380,000 people in the U.S. have died from COVID-19 and many more have been living in isolation for months. The people who have been most affected include those who are autistic and intellectually disabled, people of color, LGBTQ+, chronically ill, incarcerated, houseless, and elderly. Despite the risk, many people, particularly conservative leaders and media, refuse to take proper precautions or outright deny the full reality of the COVID-19 pandemic. This blatant disregard for fellow human life seems to only be growing in the United States. While I’ve been self-isolating and working when I can, the reality of COVID-19 and my disposability as a Disabled Queer person has been constantly present. This sense of disposability is reflected in the use of trash (cardboard, pharmaceutical waste, makeup, wax, fabric, condoms) and trash aesthetics (horror imagery) throughout my work.”<br></p>
<a href="http://www.nickoski.com" target="_blank" rel="noopener">www.nickoski.com</a> — Nic Koski
Sleeping Myself In Chronic Wax, 2020

mixed media, 17 x 25", contact artist for price</p>
contact artist directly for sales: <a href="mailto:koskinic@gmail.com">koskinic@gmail.com</a></p>
<p align="left">“At the time I’m writing this, over 380,000 people in the U.S. have died from COVID-19 and many more have been living in isolation for months. The people who have been most affected include those who are autistic and intellectually disabled, people of color, LGBTQ+, chronically ill, incarcerated, houseless, and elderly. Despite the risk, many people, particularly conservative leaders and media, refuse to take proper precautions or outright deny the full reality of the COVID-19 pandemic. This blatant disregard for fellow human life seems to only be growing in the United States. While I’ve been self-isolating and working when I can, the reality of COVID-19 and my disposability as a Disabled Queer person has been constantly present. This sense of disposability is reflected in the use of trash (cardboard, pharmaceutical waste, makeup, wax, fabric, condoms) and trash aesthetics (horror imagery) throughout my work.”<br></p>
<a href="http://www.nickoski.com" target="_blank" rel="noopener">www.nickoski.com</a> — Nic Koski
Vorvolakas Die Alone, 2020

photograph, 11 x 14”, $180</p>
contact artist directly for sales: <a href="mailto:wlevy@comcast.net">wlevy@comcast.net</a></p>
<p align="left">“In the early months of the 2020 pandemic I sought comfort in nature. On the neighborhood walks which became a staple of my daily life I discovered an unexpectedly diverse array of compelling imagery hidden in plain sight. I found a lot of beauty, especially in the small details, but certain of these images appeared, unbidden, seeming to illuminate the fear that had begun to seep into my subconscious mind.”<br></p>
<a href="http://www.walterlevyphotography.com" target="_blank" rel="noopener">walterlevyphotography.com</a> — Walter Levy
Demon One, 2020

photograph, 7.5 x 14”, $180</p>
contact artist directly for sales: <a href="mailto:wlevy@comcast.net">wlevy@comcast.net</a></p>
<p align="left">“In the early months of the 2020 pandemic I sought comfort in nature. On the neighborhood walks which became a staple of my daily life I discovered an unexpectedly diverse array of compelling imagery hidden in plain sight. I found a lot of beauty, especially in the small details, but certain of these images appeared, unbidden, seeming to illuminate the fear that had begun to seep into my subconscious mind.”<br></p>
<a href="http://www.walterlevyphotography.com" target="_blank" rel="noopener">walterlevyphotography.com</a> — Walter Levy
Demon Two, 2020

photograph, 9 x 14”, $180</p>
contact artist directly for sales: <a href="mailto:wlevy@comcast.net">wlevy@comcast.net</a></p>
<p align="left">“In the early months of the 2020 pandemic I sought comfort in nature. On the neighborhood walks which became a staple of my daily life I discovered an unexpectedly diverse array of compelling imagery hidden in plain sight. I found a lot of beauty, especially in the small details, but certain of these images appeared, unbidden, seeming to illuminate the fear that had begun to seep into my subconscious mind.”<br></p>
<a href="http://www.walterlevyphotography.com" target="_blank" rel="noopener">walterlevyphotography.com</a> — Walter Levy
Lost in space, 2020

Analogue Collage, 6.5 x 4.75”, 2020, $150</p>
contact artist directly for sales: <a href="katanalippart@gmail.com">katanalippart@gmail.com</a></p>
<p align="left">“Over the course of the past year, I concentrated on creating works that would help to push themes of identity and home forward while acknowledging the transitional space that 2020 provided. Much of my previous work sought to resolve the broken ties between self and home. In the midst of exploring these topics, I was focusing more specifically on themes of metamorphosis: accepting change and further exploring the complexities of life, connection, and nostalgia. Collage has given me a platform to explore ideas in a way that as the material builds, the narrative begins to unfold. I have been interested in aspects of collage that blur the personal and collective narrative. With these selected works, I hope that viewers are attracted to the possibilities of space and question the space that they reside in.”<br></p>
<a href="http://www.katanalippart.com" target="_blank" rel="noopener">http://www.katanalippart.com </a><br> — Katana Lippart
A More Complex Connection (to Housing Memory),2020

Analogue Collage, 8.75 x 6.375”, 2020, $260</p>
contact artist directly for sales: <a href="katanalippart@gmail.com">katanalippart@gmail.com</a></p>
<p align="left">“Over the course of the past year, I concentrated on creating works that would help to push themes of identity and home forward while acknowledging the transitional space that 2020 provided. Much of my previous work sought to resolve the broken ties between self and home. In the midst of exploring these topics, I was focusing more specifically on themes of metamorphosis: accepting change and further exploring the complexities of life, connection, and nostalgia. Collage has given me a platform to explore ideas in a way that as the material builds, the narrative begins to unfold. I have been interested in aspects of collage that blur the personal and collective narrative. With these selected works, I hope that viewers are attracted to the possibilities of space and question the space that they reside in.”<br></p>
<a href="http://www.katanalippart.com" target="_blank" rel="noopener">http://www.katanalippart.com </a><br> — Katana Lippart
Capturing an Essence of Home, 2020

Analogue Collage, 6.25 x 3.75”, 2020, $195</p>
contact artist directly for sales: <a href="katanalippart@gmail.com">katanalippart@gmail.com</a></p>
<p align="left">“Over the course of the past year, I concentrated on creating works that would help to push themes of identity and home forward while acknowledging the transitional space that 2020 provided. Much of my previous work sought to resolve the broken ties between self and home. In the midst of exploring these topics, I was focusing more specifically on themes of metamorphosis: accepting change and further exploring the complexities of life, connection, and nostalgia. Collage has given me a platform to explore ideas in a way that as the material builds, the narrative begins to unfold. I have been interested in aspects of collage that blur the personal and collective narrative. With these selected works, I hope that viewers are attracted to the possibilities of space and question the space that they reside in.”<br></p>
<a href="http://www.katanalippart.com" target="_blank" rel="noopener">http://www.katanalippart.com </a><br> — Katana Lippart
The Water's Fine, 2020

Twigs attached to wooden armature with bark hand motifs, 84 x 90 x 90”, 2018, contact artist for price</p>
contact artist directly for sales: <a href="georgelorio@yahoo.com">georgelorio@yahoo.com</a></p>
<p align="left">“My sculptures subtly arouse concern with visual prods into contemporary issues. I use a narrative of social engagement to generate discussion with my constructions. These images comment on the privilege of class, the plight of the immigrant, and ecological destruction. Irony plays a role in these works. I frequently use found toys, which pique my interest. Toys are abstractions of adult accouterments. In reduced scale yet recognizable as cars, boats, houses or people, children and adults embrace and accept this sized version of reality to invent pretend narratives reflecting their interpretation of the image which may agree or disagree with my expressed polemic. Simplifying detail, accentuating their geometric quality, or modifying the color of the original toy, I alter the form and expand the context; however, the recognizable object alluding to the adult world is apparent. This credibility is very powerful to me.
”<br></p>
<a href="http://www.georgelorio.com" target="_blank" rel="noopener">http://www.georgelorio.com </a><br> — George Lorio
Clear Cut, 2018

Paint on constructed wood with vintage scaled doll house furniture, 10.25 x 11.5 x 10.25”, 2017, contact artist for price</p>
contact artist directly for sales: <a href="georgelorio@yahoo.com">georgelorio@yahoo.com</a></p>
<p align="left">“My sculptures subtly arouse concern with visual prods into contemporary issues. I use a narrative of social engagement to generate discussion with my constructions. These images comment on the privilege of class, the plight of the immigrant, and ecological destruction. Irony plays a role in these works. I frequently use found toys, which pique my interest. Toys are abstractions of adult accouterments. In reduced scale yet recognizable as cars, boats, houses or people, children and adults embrace and accept this sized version of reality to invent pretend narratives reflecting their interpretation of the image which may agree or disagree with my expressed polemic. Simplifying detail, accentuating their geometric quality, or modifying the color of the original toy, I alter the form and expand the context; however, the recognizable object alluding to the adult world is apparent. This credibility is very powerful to me.
”<br></p>
<a href="http://www.georgelorio.com" target="_blank" rel="noopener">http://www.georgelorio.com </a><br> — George Lorio
White Only, Only White: When America Was Great, 2017

Found wooden bunnies, US flag, and paint on plywood, 11.5 x 56 x 30”, 2015, contact artist for price</p>
contact artist directly for sales: <a href="georgelorio@yahoo.com">georgelorio@yahoo.com</a></p>
<p align="left">“My sculptures subtly arouse concern with visual prods into contemporary issues. I use a narrative of social engagement to generate discussion with my constructions. These images comment on the privilege of class, the plight of the immigrant, and ecological destruction. Irony plays a role in these works. I frequently use found toys, which pique my interest. Toys are abstractions of adult accouterments. In reduced scale yet recognizable as cars, boats, houses or people, children and adults embrace and accept this sized version of reality to invent pretend narratives reflecting their interpretation of the image which may agree or disagree with my expressed polemic. Simplifying detail, accentuating their geometric quality, or modifying the color of the original toy, I alter the form and expand the context; however, the recognizable object alluding to the adult world is apparent. This credibility is very powerful to me.
”<br></p>
<a href="http://www.georgelorio.com" target="_blank" rel="noopener">http://www.georgelorio.com </a><br> — George Lorio
Xenophobia: Who is an American?, 2015

Digital Inkjet Print, 12 x 15” (on 16 x 20” sheet), 2020, contact artist for price</p>
contact artist directly for sales: <a href="jon@jonmalis.com">jon@jonmalis.com</a></p>
<p align="left">“The majority of my creative practice relies upon the constructed image - for my work to serve as representational documents and catalogues, meticulous detail, notes and effort must be exerted in the creation of my work. However, without access to a proper studio for the majority of the pandemic, I’ve found myself chasing brief glimpses of the sun filtering through my neighborhood, backyard fences, windows, doors and into my house. Perhaps I’m seeking a glimpse of what normalcy felt like before the world went sideways, perhaps I see it as an escape from this psuedo-isolation, or perhaps i'm just no different than a moth to a lamp and flutter to the bright spots.”<br></p>
<a href="http://www.jonmalis.com" target="_blank" rel="noopener">http://www.jonmalis.com </a><br> — Jon Malis
untitled sunspot 049287, 2020

Digital Photograph, 16 x 16”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="dereck.magus@gmail.com">dereck.mangus@gmail.com</a></p>
<p align="left">“Despite these dark times, I was able to get a lot of work done in 2020: early in the year, slightly before the closure, an essay I wrote received Honorable Mention in the annual Art Writing Challenge hosted by Artblog, an independent online arts journal based in Philadelphia. They then invited me to become a contributing writer, focusing on the architecture and built environment of Baltimore. I create most of the imagery for my Artblog essays, including Vitruvian Man during Coronavirus, a digital collage that accompanied "On Dwelling, Anatomy and Architecture during Coronavirus," which was posted in April. In June, I took several digital photographs for the Penn Institute for Urban Research photo contest "Cities and Contagion," which asked photographers to "capture the ways that urban places have adapted in both planned and unexpected ways." The "square-set" of four social-distancing signs, Square Signs, was produced for the contest, and is an extension of The Square Project, my ongoing photography series of square items I find throughout the city. Lastly, I shot Still Life, with my digital SLR in the closing hours of 2020, on December 31st. It was inspired by the painting genre, but with a mixture of traditional and contemporary objects.
”<br></p>
<a href="http://www.dsmangus.com" target="_blank" rel="noopener">http://www.dsmangus.com </a><br> — Dereck Mangus
Square Signs, 2020

Digital Photograph, 8 x 12”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="dereck.magus@gmail.com">dereck.mangus@gmail.com</a></p>
<p align="left">“Despite these dark times, I was able to get a lot of work done in 2020: early in the year, slightly before the closure, an essay I wrote received Honorable Mention in the annual Art Writing Challenge hosted by Artblog, an independent online arts journal based in Philadelphia. They then invited me to become a contributing writer, focusing on the architecture and built environment of Baltimore. I create most of the imagery for my Artblog essays, including Vitruvian Man during Coronavirus, a digital collage that accompanied "On Dwelling, Anatomy and Architecture during Coronavirus," which was posted in April. In June, I took several digital photographs for the Penn Institute for Urban Research photo contest "Cities and Contagion," which asked photographers to "capture the ways that urban places have adapted in both planned and unexpected ways." The "square-set" of four social-distancing signs, Square Signs, was produced for the contest, and is an extension of The Square Project, my ongoing photography series of square items I find throughout the city. Lastly, I shot Still Life, with my digital SLR in the closing hours of 2020, on December 31st. It was inspired by the painting genre, but with a mixture of traditional and contemporary objects.
”<br></p>
<a href="http://www.dsmangus.com" target="_blank" rel="noopener">http://www.dsmangus.com </a><br> — Dereck Mangus
Still Life, 2020

Digital Photograph, 9 x 9”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="dereck.magus@gmail.com">dereck.mangus@gmail.com</a></p>
<p align="left">“Despite these dark times, I was able to get a lot of work done in 2020: early in the year, slightly before the closure, an essay I wrote received Honorable Mention in the annual Art Writing Challenge hosted by Artblog, an independent online arts journal based in Philadelphia. They then invited me to become a contributing writer, focusing on the architecture and built environment of Baltimore. I create most of the imagery for my Artblog essays, including Vitruvian Man during Coronavirus, a digital collage that accompanied "On Dwelling, Anatomy and Architecture during Coronavirus," which was posted in April. In June, I took several digital photographs for the Penn Institute for Urban Research photo contest "Cities and Contagion," which asked photographers to "capture the ways that urban places have adapted in both planned and unexpected ways." The "square-set" of four social-distancing signs, Square Signs, was produced for the contest, and is an extension of The Square Project, my ongoing photography series of square items I find throughout the city. Lastly, I shot Still Life, with my digital SLR in the closing hours of 2020, on December 31st. It was inspired by the painting genre, but with a mixture of traditional and contemporary objects.
”<br></p>
<a href="http://www.dsmangus.com" target="_blank" rel="noopener">http://www.dsmangus.com </a><br> — Dereck Mangus
Vitruvian Man during Coronavirus, 2020

Watercolor, watercolor pieces, inktense pencil, IKEA wrapping paper., 10 x10”, 2020, $150</p>
contact artist directly for sales: <a href="abbim@comcastl.net">abbim@comcast.net</a></p>
<p align="left">“Oh boy: Pandemic creativity. I found myself poring through old sketch books-lots of Sturm und Drang notations amongst the drawings-things never change. A long time ago I was supremely comforted by Annie Dillard’s admission in the New York Times: “I hate writing. I love having written.” During this global period of angst, I craved a push from the muse. Nope. I went back to my Japanese calligraphy practice. I couldn’t bring three paintings to the finish line. (They are still idling on the runway.) So. I took out decades old watercolors and cut them up and made collages, trying to be playful. It didn’t work. I agonized over these, too! I posted art on facebook. People told me I was working a lot. I didn’t feel that way. But that has been my way for more than 40 years.”<br></p>
<a href="http://www.abbimarchesani.com" target="_blank" rel="noopener">http://www.abbimarchesani.com </a><br> — Alberta Marchesani
Ay yai yai yai, 2020

Collaged watercolor over trimmed watercolor, sharpie, bingo marker, inked stamps from old print block, calligraphy dot.
, 10 x10”, 2020, $150</p>
contact artist directly for sales: <a href="abbim@comcastl.net">abbim@comcast.net</a></p>
<p align="left">“Oh boy: Pandemic creativity. I found myself poring through old sketch books-lots of Sturm und Drang notations amongst the drawings-things never change. A long time ago I was supremely comforted by Annie Dillard’s admission in the New York Times: “I hate writing. I love having written.” During this global period of angst, I craved a push from the muse. Nope. I went back to my Japanese calligraphy practice. I couldn’t bring three paintings to the finish line. (They are still idling on the runway.) So. I took out decades old watercolors and cut them up and made collages, trying to be playful. It didn’t work. I agonized over these, too! I posted art on facebook. People told me I was working a lot. I didn’t feel that way. But that has been my way for more than 40 years.”<br></p>
<a href="http://www.abbimarchesani.com" target="_blank" rel="noopener">http://www.abbimarchesani.com </a><br> — Alberta Marchesani
Call it. NOW. So many iterations I lost count., 2020

Watercolor, torn painting pieces, frog tape, metal leaf, foil paper bits., 7 x10”, 2020, $150</p>
contact artist directly for sales: <a href="abbim@comcastl.net">abbim@comcast.net</a></p>
<p align="left">“Oh boy: Pandemic creativity. I found myself poring through old sketch books-lots of Sturm und Drang notations amongst the drawings-things never change. A long time ago I was supremely comforted by Annie Dillard’s admission in the New York Times: “I hate writing. I love having written.” During this global period of angst, I craved a push from the muse. Nope. I went back to my Japanese calligraphy practice. I couldn’t bring three paintings to the finish line. (They are still idling on the runway.) So. I took out decades old watercolors and cut them up and made collages, trying to be playful. It didn’t work. I agonized over these, too! I posted art on facebook. People told me I was working a lot. I didn’t feel that way. But that has been my way for more than 40 years.”<br></p>
<a href="http://www.abbimarchesani.com" target="_blank" rel="noopener">http://www.abbimarchesani.com </a><br> — Alberta Marchesani
Trying for Spontaneity, 2020

Oil on canvas, 11.5 x 13”, 2020, $200</p>
contact artist directly for sales: <a href="jimmymac0239@gmail.com">jimmymac0239@gmail.com</a></p>
<p align="left">“Just prior to the lock down I had pretty much painted only live models. Then that all changed. As an alternative to live models, I found painting from photos to be boring, lacking a pulse and a lack of richness that comes with studying and capturing 3 dimensional forms directly. It didn’t engage me the way live subjects did. So I took to en plein painting so as to continue to work live, to work directly from life. I found my best subjects to be local and within walking distance of my home. Painting so close to home was comforting and made sense during a pandemic. Rather than feeling restricted by a lock down, I celebrated the familiar, enriching how I experience my local base.”<br></p>
<a href="https://www.instagram.com/jsm239/" target="_blank" rel="noopener">https://www.instagram.com/jsm239/ </a><br> — James McDonald
Pink House on Norman Ave., 2020

Oil on canvas, 11.5 x 13.5”, 2020, $200</p>
contact artist directly for sales: <a href="jimmymac0239@gmail.com">jimmymac0239@gmail.com</a></p>
<p align="left">“Just prior to the lock down I had pretty much painted only live models. Then that all changed. As an alternative to live models, I found painting from photos to be boring, lacking a pulse and a lack of richness that comes with studying and capturing 3 dimensional forms directly. It didn’t engage me the way live subjects did. So I took to en plein painting so as to continue to work live, to work directly from life. I found my best subjects to be local and within walking distance of my home. Painting so close to home was comforting and made sense during a pandemic. Rather than feeling restricted by a lock down, I celebrated the familiar, enriching how I experience my local base.”<br></p>
<a href="https://www.instagram.com/jsm239/" target="_blank" rel="noopener">https://www.instagram.com/jsm239/ </a><br> — James McDonald
Rainy Morning Montebello, 2020

Oil on canvas, 13.5 x 16.6”, 2020, $300</p>
contact artist directly for sales: <a href="jimmymac0239@gmail.com">jimmymac0239@gmail.com</a></p>
<p align="left">“Just prior to the lock down I had pretty much painted only live models. Then that all changed. As an alternative to live models, I found painting from photos to be boring, lacking a pulse and a lack of richness that comes with studying and capturing 3 dimensional forms directly. It didn’t engage me the way live subjects did. So I took to en plein painting so as to continue to work live, to work directly from life. I found my best subjects to be local and within walking distance of my home. Painting so close to home was comforting and made sense during a pandemic. Rather than feeling restricted by a lock down, I celebrated the familiar, enriching how I experience my local base.”<br></p>
<a href="https://www.instagram.com/jsm239/" target="_blank" rel="noopener">https://www.instagram.com/jsm239/ </a><br> — James McDonald
Late Day Montebello, 2020

Oil on canvas, Each Panel is 36 x 24”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="www.gmclemore6@gmail.com">www.gmclemore6@gmail.com</a></p>
<p align="left">“The art I have made this year has not been, at least in large part, a direct reflection of the events of the year. Rather, I have seen my art as a refuge, a method of escape and diversion from the events of the year. Between spending massive amounts of time working online, being bombarded with an insane year of politics and the election, civil unrest, and Covid 19, I have come to see my time painting as a near sacred and wonderful time. ”<br></p>
<a href="http://www.gregmclemoreart.com" target="_blank" rel="noopener">http://www.gregmclemoreart.com </a><br> — Greg McLemore
Nagasaki Sketchbook V; Downtown Nagasaki City, Watching the People Get On and Off the Trains and Busses, 2020

Oil on canvas, Diptych, Each Panel is 36 x 24”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="www.gmclemore6@gmail.com">www.gmclemore6@gmail.com</a></p>
<p align="left">“The art I have made this year has not been, at least in large part, a direct reflection of the events of the year. Rather, I have seen my art as a refuge, a method of escape and diversion from the events of the year. Between spending massive amounts of time working online, being bombarded with an insane year of politics and the election, civil unrest, and Covid 19, I have come to see my time painting as a near sacred and wonderful time. ”<br></p>
<a href="http://www.gregmclemoreart.com" target="_blank" rel="noopener">http://www.gregmclemoreart.com </a><br> — Greg McLemore
Nagasaki Sketchbook VIII The Chinese Buddhist Temple, 2020

Watercolor, 18 x 22”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="Chloesart03@gmail.com">Chloesart03@gmail.com</a></p>
<p align="left">"The year 2020 brought change and upheaval to our world at a level that I had not experienced in my short life. On the one hand the devastating pandemic rocked our world and disrupted every aspect of our ordinary lives. From March 2020 on the death toll from the virus began to climb at an alarming rate. The outside appeared normal but we were locked in our homes, in hiding from an invisible killer. Many wilted under the pressure of feeling isolated and cut off from their favorite friends and activities – I think this was especially difficult for the young and the elderly. After the killing of George Floyd 2020 also brought the most inclusive and widespread movement, in which Black, White, Asian, Native and other peoples all joined together to demand the justice for all that our constitution promises. During this time of upheaval and conflicting emotions, my artwork provided my greatest consolation.”<br></p>
<a href="https://www.instagram.com/chloesart03/" target="_blank" rel="noopener">https://www.instagram.com/chloesart03/</a><br> — Chloe Ndour
Inside/Out, 2020

Acrylic, 18 x 24”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="Chloesart03@gmail.com">Chloesart03@gmail.com</a></p>
<p align="left">"The year 2020 brought change and upheaval to our world at a level that I had not experienced in my short life. On the one hand the devastating pandemic rocked our world and disrupted every aspect of our ordinary lives. From March 2020 on the death toll from the virus began to climb at an alarming rate. The outside appeared normal but we were locked in our homes, in hiding from an invisible killer. Many wilted under the pressure of feeling isolated and cut off from their favorite friends and activities – I think this was especially difficult for the young and the elderly. After the killing of George Floyd 2020 also brought the most inclusive and widespread movement, in which Black, White, Asian, Native and other peoples all joined together to demand the justice for all that our constitution promises. During this time of upheaval and conflicting emotions, my artwork provided my greatest consolation.”<br></p>
<a href="https://www.instagram.com/chloesart03/" target="_blank" rel="noopener">https://www.instagram.com/chloesart03/</a><br> — Chloe Ndour
Self Portrait, 2020

Watercolor, colored pencil, India ink, 12.5 x 15.5”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="Chloesart03@gmail.com">Chloesart03@gmail.com</a></p>
<p align="left">"The year 2020 brought change and upheaval to our world at a level that I had not experienced in my short life. On the one hand the devastating pandemic rocked our world and disrupted every aspect of our ordinary lives. From March 2020 on the death toll from the virus began to climb at an alarming rate. The outside appeared normal but we were locked in our homes, in hiding from an invisible killer. Many wilted under the pressure of feeling isolated and cut off from their favorite friends and activities – I think this was especially difficult for the young and the elderly. After the killing of George Floyd 2020 also brought the most inclusive and widespread movement, in which Black, White, Asian, Native and other peoples all joined together to demand the justice for all that our constitution promises. During this time of upheaval and conflicting emotions, my artwork provided my greatest consolation.”<br></p>
<a href="https://www.instagram.com/chloesart03/" target="_blank" rel="noopener">https://www.instagram.com/chloesart03/</a><br> — Chloe Ndour
Anxiety, 2020

Mixed Media, 66 x 18”, 2020, $2,000</p>
contact artist directly for sales: <a href="Partlowart2020@gmail.com">Partlowart2020@gmail.com</a></p>
<p align="left">”The sculpture is an avatar of mitochondrial Eve, the first mother of all humankind. While weaving glass beads, copper wiring, and canvas patches around her rattan wicker body, I wondered about Eve’s first birthing experience. How did she know what to do, when to push, how to nurse? I imagine Mother Earth was her midwife, and they forged a bond. They made an agreement. Mother Earth would always support Eve’s labor and provide everything her children needed to live, grow, and thrive. In return, Eve would teach her children to care for Mother Earth’s offspring—her sweet waters and salt waters, the land, air, trees, flora and fauna—everything here. For millennia, Eve’s progeny honored that bond until some of her children forgot: we share a common ancestor whose blood, melanin, and molecules are in our DNA. We share a common home. Surely, Mother Earth feels her sister’s pain, symbolized by the ceramic hand at the base holding teardrops. This avatar begs us to remember. When we look at the smiling faces and names around her body, perhaps we will recall not only the tragic stories of their murders in 2020, but the sacredness of human life and the mothers’ sacred bond.” <br></p>
<a href="http://www.Partlowart.com" target="_blank" rel="noopener">http://www.Partlowart.com</a><br> — L. Nef'fahtiti Partlow-Myrick
Mothers' Bond, 2020

Tempura, 14 x 22’, 2020, contact artist for price</p>
contact artist directly for sales: <a href="Kateydid83@outlook.com">Kateydid83@outlook.com</a></p>
<p align="left">”Prior to the Covid Pandemic, I was constantly rushing through my days as a full-time Psychology student at University of Baltimore. Since then, my life has slowed down a little and I feel centered and more relaxed. I partly attribute this to my faithful attendance of Noelle Imparato’s “Painting for Life” workshops that I have been attending since the summer of 2018. While previously held in-person, the now weekly Zoom workshops have maintained, and perhaps even strengthened, their positive impact on me. I was amazed to witness Noelle’s success in establishing her practice virtually, through Zoom, providing a “we-space” for connecting with others. New members joined from as far away as Washington state and Toronto, and the strong connectivity within the group and its same positive influence in-person, was maintained virtually. No one could have expected the events that erupted because of the Covid pandemic. Every single person’s everyday life and routines were annihilated. The process that Noelle has taught during these “Painting for Life” workshops, have given me the motivation and the determination to embrace change in any and every way that has occurred or has yet to occur during these unprecedented times in our society. These paintings, created during the “Painting for Life” workshops, have been the number one means for maintaining my sanity and mental stability. Healing yourself is as good a way as any to help heal the world.” <br></p> — Katey Phelps
Together Again, 2020

Katey Phelps
George Floyd Calling Out for Mom, 2020
Tempura, 14 x 22’, 2020, contact artist for price
contact artist directly for sales: Kateydid83@outlook.com
”Prior to the Covid Pandemic, I was constantly rushing through my days as a full-time Psychology student at University of Baltimore. Since then, my life has slowed down a little and I feel centered and more relaxed. I partly attribute this to my faithful attendance of Noelle Imparato’s “Painting for Life” workshops that I have been attending since the summer of 2018. While previously held in-person, the now weekly Zoom workshops have maintained, and perhaps even strengthened, their positive impact on me. I was amazed to witness Noelle’s success in establishing her practice virtually, through Zoom, providing a “we-space” for connecting with others. New members joined from as far away as Washington state and Toronto, and the strong connectivity within the group and its same positive influence in-person, was maintained virtually. No one could have expected the events that erupted because of the Covid pandemic. Every single person’s everyday life and routines were annihilated. The process that Noelle has taught during these “Painting for Life” workshops, have given me the motivation and the determination to embrace change in any and every way that has occurred or has yet to occur during these unprecedented times in our society. These paintings, created during the “Painting for Life” workshops, have been the number one means for maintaining my sanity and mental stability. Healing yourself is as good a way as any to help heal the world.”

Found Object Assemblage Relief Sculpture, 8 x 8 x 13”, 2020, $250</p>
contact artist directly for sales: <a href="lpoppart@gmail.com">lpoppart@gmail.com</a></p>
<p align="left">”I am a narrative found object assemblage artist. My work is the exploration and expression of personal and universal narratives. I use artifacts and symbolic objects to represent stories about relationships with self(female), family, love, place, nature and other themes. These assemblage sculptures are from 2020 and record my response to current events including social inequalities, immagration policies, and the COVID quarantine. As you can see, I am a positive person and hang on to belief that we have the power to make this world a better place for all. My hope is that my visual response to these events might inspire others to explore their own personal feelings and make positive change. Reflection on personal narratives in order to better understand self and others is a very powerful experience that continues to draw me to the studio and my work.” <br></p>
<a href="http://www.lindapopp.com" target="_blank" rel="noopener">http://www.lindapopp.com</a><br> — Linda Popp
JOMO (Joy Of Missing Out), 2020

Found Object Assemblage Free-Standing Sculpture, 12 x 12 x 20”, 2020, $700</p>
contact artist directly for sales: <a href="lpoppart@gmail.com">lpoppart@gmail.com</a></p>
<p align="left">”I am a narrative found object assemblage artist. My work is the exploration and expression of personal and universal narratives. I use artifacts and symbolic objects to represent stories about relationships with self(female), family, love, place, nature and other themes. These assemblage sculptures are from 2020 and record my response to current events including social inequalities, immagration policies, and the COVID quarantine. As you can see, I am a positive person and hang on to belief that we have the power to make this world a better place for all. My hope is that my visual response to these events might inspire others to explore their own personal feelings and make positive change. Reflection on personal narratives in order to better understand self and others is a very powerful experience that continues to draw me to the studio and my work.” <br></p>
<a href="http://www.lindapopp.com" target="_blank" rel="noopener">http://www.lindapopp.com</a><br> — Linda Popp
They Need A Sheltered Nest, 2020

Found Object Assemblage Relief Sculpture, 15 x 15 x 3”, 2020, $600</p>
contact artist directly for sales: <a href="lpoppart@gmail.com">lpoppart@gmail.com</a></p>
<p align="left">”I am a narrative found object assemblage artist. My work is the exploration and expression of personal and universal narratives. I use artifacts and symbolic objects to represent stories about relationships with self(female), family, love, place, nature and other themes. These assemblage sculptures are from 2020 and record my response to current events including social inequalities, immagration policies, and the COVID quarantine. As you can see, I am a positive person and hang on to belief that we have the power to make this world a better place for all. My hope is that my visual response to these events might inspire others to explore their own personal feelings and make positive change. Reflection on personal narratives in order to better understand self and others is a very powerful experience that continues to draw me to the studio and my work.” <br></p>
<a href="http://www.lindapopp.com" target="_blank" rel="noopener">http://www.lindapopp.com</a><br> — Linda Popp
We Should Believe In Each Others' Dreams, 2020

Encaustic and mixed media on panel , 24 x 36 x 2”, 2021, contact artist for price</p>
contact artist directly for sales: <a href="lposhepny@gmail.com">lposhepny@gmail.com</a></p>
<p align="left">”My piece, Embracing Uncertainty, captures my frame of mind during one moment of 2020’s tumult. The piece is one in a still-emerging series documenting the evolution of my perspective called “At home with my thoughts”. As the lockdown began, I started to be conscious that my view of house and home was central to my frame of mind. I saw the space I was living in with new eyes. I wanted it to be a sanctuary from uncertainty. The world’s events first derailed me. I walked from room to room, picking up things “here,” putting them down “there.” Slowly, though, I began to realize that uncertainty is something that I am familiar with, something that I had embraced years ago when I started to explore abstraction in my art. Uncertainty starts all my paintings, allowing the materials, colors, lines, and shapes to dictate to me what they will become.” <br></p>
<a href="http://www.lynnposhepnyart.com" target="_blank" rel="noopener">http://www.lynnposhepnyart.com/</a><br> — Lynn Poshepny
Embrace Uncertainty, 2021

Charcoal and pastels on mixed media paper, 2021, contact artist for price</p>
contact artist directly for sales: <a href="timpweb@gmail.com">timpweb@gmail.com</a></p>
<p align="left">”Coming into 2020, my life was already enmeshed in a chaotic way of being that was just not sustainable. Then came Coronavirus, locking us down in fear and uncertainty. Top that off with Trump, the elections and the insanity of our current social condition, and you get the picture. In January, I found Noelle Imparato's “Painting for Life”... a weekly group workshop of sharing, being heard, resonating with each other, being supported, and being inspired to express ourselves through painting/drawing… Each session started with a short meditation followed by 50 minutes of painting whatever came up for each of us, trying to stay somewhat in that meditative state. Painting for Life helped me to navigate the confinement, the collective stress of 2020 and my stress at home. It was a way for me to pull deep emotional demons out and look them in the face. The paintings I’m presenting here came from these deeply healing sessions.” <br></p>
<a href="http://www.timpphotoart.com" target="_blank" rel="noopener">http://www.timpphotoart.com/</a><br> — Tim Prendergast
Little Boxes, 2020

Acrylic with plastic leaves, 35.125 x 18.125", 2021, $800</p>
contact artist directly for sales: <a href="treesrpeace@gmail.com">treesrpeace@gmail.com</a></p>
<p align="left">” This work is totally from my mid Nov , 2020 Dream in the 9th month of the pandemic . I am content this work closely appears
As the realism , dreaminess, values and colors in my dream. ” <br></p> — Theresa Reuter
Dream during Pandemic, 2020

Real seashells, rocks, and faux pearls, 11 x 21”, 2021, contact artist for price</p>
contact artist directly for sales: <a href="ljricheymgmt@gmail.com">ljricheymgmt@gmail.com</a></p>
<p align="left">Liza Jane’s aim is to amplify voices that often go unheard, in whatever medium possible. She hopes to inspire change in viewers, from her sustainable art sculptures, mantra paintings, to visual storytelling through film and photography.
During the 2020 pandemic, Liza Jane moved from NYC to Baltimore with a group of artist friends. Together they continue to elevate/collaborate with local Baltimore artists, shooting music videos, photo shoots, creating wearable art pieces, and more. This collection is a visual representation of the spirits Liza Jane feels are around her, from messages to get active in this world, to the visual sculptures of what they may look like. This is a period of great collective awakening on our planet, revealing huge imbalances in our current climate- from racial injustices, LGBTQ+ advocacy, the pressure of climate change and more, we all need to collectively take huge steps forward NOW. She wants to inspire radical change in viewers, to feel supported and reminded of their purpose on this planet, in order to truly heal our only planet. <br></p>
<a href="https://www.instagram.com/_lizajane/" target="_blank" rel="noopener">https://www.instagram.com/_lizajane/</a><br> — Liza Jane Richey
Pearl Head, 2021

Organic moss, 11 x 21”, 2021, contact artist for price</p>
contact artist directly for sales: <a href="ljricheymgmt@gmail.com">ljricheymgmt@gmail.com</a></p>
<p align="left">Liza Jane’s aim is to amplify voices that often go unheard, in whatever medium possible. She hopes to inspire change in viewers, from her sustainable art sculptures, mantra paintings, to visual storytelling through film and photography.
During the 2020 pandemic, Liza Jane moved from NYC to Baltimore with a group of artist friends. Together they continue to elevate/collaborate with local Baltimore artists, shooting music videos, photo shoots, creating wearable art pieces, and more. This collection is a visual representation of the spirits Liza Jane feels are around her, from messages to get active in this world, to the visual sculptures of what they may look like. This is a period of great collective awakening on our planet, revealing huge imbalances in our current climate- from racial injustices, LGBTQ+ advocacy, the pressure of climate change and more, we all need to collectively take huge steps forward NOW. She wants to inspire radical change in viewers, to feel supported and reminded of their purpose on this planet, in order to truly heal our only planet. <br></p>
<a href="https://www.instagram.com/_lizajane/" target="_blank" rel="noopener">https://www.instagram.com/_lizajane/</a><br> — Liza Jane Richey
Moss Head, 2021

canvas and acrylic paint, 72 x 48", 2021, contact artist for price</p>
contact artist directly for sales: <a href="ljricheymgmt@gmail.com">ljricheymgmt@gmail.com</a></p>
<p align="left">Liza Jane’s aim is to amplify voices that often go unheard, in whatever medium possible. She hopes to inspire change in viewers, from her sustainable art sculptures, mantra paintings, to visual storytelling through film and photography.
During the 2020 pandemic, Liza Jane moved from NYC to Baltimore with a group of artist friends. Together they continue to elevate/collaborate with local Baltimore artists, shooting music videos, photo shoots, creating wearable art pieces, and more. This collection is a visual representation of the spirits Liza Jane feels are around her, from messages to get active in this world, to the visual sculptures of what they may look like. This is a period of great collective awakening on our planet, revealing huge imbalances in our current climate- from racial injustices, LGBTQ+ advocacy, the pressure of climate change and more, we all need to collectively take huge steps forward NOW. She wants to inspire radical change in viewers, to feel supported and reminded of their purpose on this planet, in order to truly heal our only planet. <br></p>
<a href="https://www.instagram.com/_lizajane/" target="_blank" rel="noopener">https://www.instagram.com/_lizajane/</a><br> — Liza Jane Richey
Call Your Muses, Now is the Time, 2020

White charcoal and ink on paper, 11 ⅜ x 16 ⅛”, 2021, contact artist for price</p>
contact artist directly for sales: <a href="LucasJRougeux@gmail.com">LucasJRougeux@gmail.com</a></p>
<p align="left">”Energy is the main force of life and the drive of all things. My work showcases the manifestation of energy as prismatic light; fractured, moving, and both ordered and chaotic. Using geometric and linear aesthetics, I capture energy as something uncontained while acknowledging a sense of order. Through myth and the spirituality of the soul, my work touches on the essence of an individual both in everyday uniqueness and the interconnected divine. 2020 urged both me and my practice to reckon with the overwhelming presence of the unknown. Quarantine forced contemplation of self and personhood in dark times: the precious, unique, connected, and miraculous. Tumultuous times call for a pleading need to understand the reason behind it all. My work peaks the intrigue and mystery of the unknown, the void, to be both fearful of it and comforted by it.” <br></p>
<a href="https://lucasjrougeux.wixsite.com/artist"target="_blank" rel="noopener">https://lucasjrougeux.wixsite.com/artist</a><br> — Lucas Rougeux
Rite of Emanation, 2021

White charcoal on paper, 8 x 8”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="LucasJRougeux@gmail.com">LucasJRougeux@gmail.com</a></p>
<p align="left">”Energy is the main force of life and the drive of all things. My work showcases the manifestation of energy as prismatic light; fractured, moving, and both ordered and chaotic. Using geometric and linear aesthetics, I capture energy as something uncontained while acknowledging a sense of order. Through myth and the spirituality of the soul, my work touches on the essence of an individual both in everyday uniqueness and the interconnected divine. 2020 urged both me and my practice to reckon with the overwhelming presence of the unknown. Quarantine forced contemplation of self and personhood in dark times: the precious, unique, connected, and miraculous. Tumultuous times call for a pleading need to understand the reason behind it all. My work peaks the intrigue and mystery of the unknown, the void, to be both fearful of it and comforted by it.” <br></p>
<a href="https://lucasjrougeux.wixsite.com/artist"target="_blank" rel="noopener">https://lucasjrougeux.wixsite.com/artist</a><br> — Lucas Rougeux
Seraph, 2020

White charcoal and burnishing pencil on paper, 8 x 8”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="LucasJRougeux@gmail.com">LucasJRougeux@gmail.com</a></p>
<p align="left">”Energy is the main force of life and the drive of all things. My work showcases the manifestation of energy as prismatic light; fractured, moving, and both ordered and chaotic. Using geometric and linear aesthetics, I capture energy as something uncontained while acknowledging a sense of order. Through myth and the spirituality of the soul, my work touches on the essence of an individual both in everyday uniqueness and the interconnected divine. 2020 urged both me and my practice to reckon with the overwhelming presence of the unknown. Quarantine forced contemplation of self and personhood in dark times: the precious, unique, connected, and miraculous. Tumultuous times call for a pleading need to understand the reason behind it all. My work peaks the intrigue and mystery of the unknown, the void, to be both fearful of it and comforted by it.” <br></p>
<a href="https://lucasjrougeux.wixsite.com/artist"target="_blank" rel="noopener">https://lucasjrougeux.wixsite.com/artist</a><br> — Lucas Rougeux
Visitation II, 2020

Acrylic on cradled panel, 10 x 8”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="lynnryb@yahoo.com">lynnryb@yahoo.com</a></p>
<p align="left">”My current painting practice and methods are spontaneous and come from within. I have no
preconceived ideas beyond selection of colors and a strong desire to express with paint. Large
brushstrokes, vigorous gestures and drawing directly on the canvas from paint jars are some of the
techniques I use to make compelling statements on small canvases. I add depth to non-representational
elements to take the viewer deeper into my vision of the world. My abstractions express emotions, the
profound dynamics of the human experience, and the depth of what lies beneath the surface of life. In
2020, the world found itself in the grip of extremes: the Covid-19 pandemic, the many natural disasters
and extreme weather situations, the extreme political unrest and the loss of financial stability, to name a
few. In response to these events, most often I sought to remain positive and uplifting with my work, as in
my submission “Autumn Sparks.” As time went on, the precariousness of the global situation seeped into
my work and expressed itself in my painting submissions “It Came to Be,” and “Fathomless.”
” <br></p>
<a href="http://www.lynnrybicki.com" target="_blank" rel="noopener">www.lynnrybicki.com</a><br> — Lynn Rybicki
Autumn Sparks, 2020

Acrylic on canvas, 8 x 10”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="lynnryb@yahoo.com">lynnryb@yahoo.com</a></p>
<p align="left">”My current painting practice and methods are spontaneous and come from within. I have no
preconceived ideas beyond selection of colors and a strong desire to express with paint. Large
brushstrokes, vigorous gestures and drawing directly on the canvas from paint jars are some of the
techniques I use to make compelling statements on small canvases. I add depth to non-representational
elements to take the viewer deeper into my vision of the world. My abstractions express emotions, the
profound dynamics of the human experience, and the depth of what lies beneath the surface of life. In
2020, the world found itself in the grip of extremes: the Covid-19 pandemic, the many natural disasters
and extreme weather situations, the extreme political unrest and the loss of financial stability, to name a
few. In response to these events, most often I sought to remain positive and uplifting with my work, as in
my submission “Autumn Sparks.” As time went on, the precariousness of the global situation seeped into
my work and expressed itself in my painting submissions “It Came to Be,” and “Fathomless.”
” <br></p>
<a href="www.lynnrybicki.com"target="_blank" rel="noopener">www.lynnrybicki.com</a><br> — Lynn Rybicki
Fathomless, 2020

Paper, ink, gold leaf on watercolor paper, 20 x 16”, 2021, $650</p>
contact artist directly for sales: <a href="lesart55@gmail.com">lesart55@gmail.com</a></p>
<p align="left">”Back in March 2020, I witnessed how coldly oblivious nature was to the problems of humans, how inexorably the seasons would continue to progress, virus or not. During these past months, I've gone to ground; I've gone under, to a dark and secret place, to rest, to transform and begin again. Unable to source materials in the usual way, my images have become more magical and imaginary by using what I can readily find.” <br></p>
<a href="http://lesart55.wixsite.com/laurensilex"target="_blank" rel="noopener">http://lesart55.wixsite.com/laurensilex</a><br> — Lauren Silex
Going To Ground, 2021

vinyl LP record and acrylic paint, 12" diameter, $90</p>
contact artist directly for sales: <a href="mailto:utopiandreamer1954@gmail.com">utopiandreamer1954@gmail.com</a></p>
<p align="left">“I live and work in Baltimore, Maryland. I am an artist who loves to create colorful and meaningful surreal artwork. Looking for a different palette I began to cut images using LP Vinyl Records. Some of my creations reflect the events the year of 2020 have brought us. Like many others, I found this year to be particularly difficult and a blessing in disguise. A blessing in disguise because many have taken the time off for soul searching, creating beautiful works of art and becoming entrepreneurs..”<br></p>
<a href="https://bakerartist.org/portfolios/valerie-smith-0" target="_blank" rel="noopener">bakerartist.org/portfolios/valerie-smith</a> — Val Smith aka Utopian Dreamer
The Musicians, 2021

archival pigment print, acrylic, ink, pastel, graphite on fine art paper,
12x12" framed, 2020, $275<br></p>
<p>contact artist directly for sales: <a href="mailto:info@bridgetZsullivan.com">info@bridgetZsullivan.com</a></p.>
<p>“The COVID pandemic has turned the local, very local, environment into my subject. Walking the neighborhood was initially an effort to stay calm and structure the passage of time each day. I walked with my family and a friend exploring the streets and alleyways. I explored our neighborhood like a kid – learning the lay of the land on foot – mapping the hills and hidden parts in my mind. I began photographically collecting the garages. They reminded me of the garages I grew up with and the conversations and activities that took place in and around them. A garage is often a forgotten structure but steadfast and essential in their service to a home. Each of these garages tell a unique story. Through my work I spend time reflecting on the visual and symbolic significance of the subjects as they relate to my personal investigation of life and death and the human experience as realized in health and illness.” <br></p>
<p><a href=“http://www.bridgetzsullivan.com”target="_blank" rel="noopener">www.bridgetzsullivan.com</a><br></p> — Bridget Z Sullivan
Demure, 2020

Acrylic on paper, 22 x 28”, 2021, contact artist for price</p>
contact artist directly for sales: <a href="petestern@verizon.net">petestern@verizon.net</a></p>
<p align="left">”For the last three years, working with Noelle Imparato in her Painting for Life workshops has been a valuable and transformational part of my life experience and navigating the challenging waters of personal challenges and understanding the events of the world around me in this past year. From the intensely disturbing brush fires in Australia caused by global climate change, to the support that I have received for my recent decision to embrace a life of sobriety after years of struggling with my addictions, to the terrifying political upheavals of our nation’s recent history, my participation in PFL has provided me the inspiration to work within a group setting to express and to process the intellectual and emotional issues that have come about in these difficult times.
” <br></p>
<a href="https://bakerartist.org/portfolios/peter-stern"target="_blank" rel="noopener">https://bakerartist.org/portfolios/peter-stern</a><br> — Peter Stern
Assault, 2021

Acrylic on paper, 22 x 28”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="petestern@verizon.net">petestern@verizon.net</a></p>
<p align="left">”For the last three years, working with Noelle Imparato in her Painting for Life workshops has been a valuable and transformational part of my life experience and navigating the challenging waters of personal challenges and understanding the events of the world around me in this past year. From the intensely disturbing brush fires in Australia caused by global climate change, to the support that I have received for my recent decision to embrace a life of sobriety after years of struggling with my addictions, to the terrifying political upheavals of our nation’s recent history, my participation in PFL has provided me the inspiration to work within a group setting to express and to process the intellectual and emotional issues that have come about in these difficult times.
” <br></p>
<a href="https://bakerartist.org/portfolios/peter-stern"target="_blank" rel="noopener">https://bakerartist.org/portfolios/peter-stern</a><br> — Peter Stern
Support, 2020

Acrylic on paper, 9 x 12”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="carol.f.tankard@gmail.com">carol.f.tankard@gmail.com</a></p>
<p align="left">”“Karen” was painted during Noelle Imparato’s Painting For Life class in the summer of 2020 as a technique to process my deep emotions. This weekly class has helped me discover the healing, calming, and joyful feeling of painting during a time of intense internal and external change. As a psychologist, I have appreciated the opportunities to share, listen and give support to others as the emotions in our paintings require. I have also enjoyed discussing the general themes of wellbeing Noelle offers. The diverse international group has formed a trusting bond, and this in itself has been a journey and a gift. ” — Carol Tankard
Karen, 2020

Photographs, 2020, contact artist for price</p>
contact artist directly for sales: <a href="maxine.taylor2@gmail.com">maxine.taylor2@gmail.com</a></p>
<p align="left">”“What a lesson the year 2020 has been. Building new habits and finding a new passion. When I discovered caterpillars eating my parsley that led me right into studying their life cycle. This year I studied the life cycle of the swallowtails, let the caterpillars eat my parsley and then discovered butterflies laying eggs on new parsley plants. Subsequently I discovered a tiny worm-like critter emerging from an egg on the parsley. They grew fast and consumed the parsley faster. Eventually they formed a chrysalis, initiating the process of becoming a butterfly. Then one day emerged from the chrysalis, unfolded their new wings to dry and hung from a branch I had put into the tent to keep them safe from the birds. After a few hours they were ready to be released to find nectar to strengthen themselves for the flight abroad.
I was delighted to learn that my butterfly bush attracts Monarch butterflies. This spring I will plant milkweed, which also attracts Monarchs. In 2021 the Monarchs and Swallowtails can multiply. I will create paintings representing the amazing stages of the symbiotic life cycles of the butterflies and caterpillars. First, I must become more familiar with the intricacies of the life cycles, stage by stage then translate this new passion into art form. As an abstract painter, turned collagist, I am processing it all on a subconscious level allowing it to evolve as did the butterfly emerging from the chrysalis.” <br></p>
<a href="https://www.maxinetaylorfinearts.com"target="_blank" rel="noopener">https://www.maxinetaylorfinearts.com</a><br> — Maxine Taylor
Swallowtail Release 5, 2020

Oil on Canvas, 26 x 24”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" davidthompsonstudios@gmail.com"> davidthompsonstudios@gmail.com</a></p>
<p align="left">”My usual focus is on forms found in nature and the outdoors. However, because of the isolation from COVID I was able to produce more art than any other year, and it allowed me to explore new themes, pallets and design. Without leaving the house, I was drawn to focus on domestic subject matter and reflecting on what home means to me. Familiar sights offered plenty of subject matter- the way light reflects off of a mirror, shadows cast by everyday objects and pets resting in sunlight. These sights gave me a sense of continuity, comfort and calm in a year like no other.” <br></p>
<a href="http://www.Davidthompsonstudios.com" target="_blank" rel="noopener">www.Davidthompsonstudios.com</a><br> — David Thompson
Sunlight and Shadow, 2020

Oil on Canvas, 30 x 24”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" davidthompsonstudios@gmail.com"> davidthompsonstudios@gmail.com</a></p>
<p align="left">”My usual focus is on forms found in nature and the outdoors. However, because of the isolation from COVID I was able to produce more art than any other year, and it allowed me to explore new themes, pallets and design. Without leaving the house, I was drawn to focus on domestic subject matter and reflecting on what home means to me. Familiar sights offered plenty of subject matter- the way light reflects off of a mirror, shadows cast by everyday objects and pets resting in sunlight. These sights gave me a sense of continuity, comfort and calm in a year like no other.” <br></p>
<a href="http://www.Davidthompsonstudios.com" target="_blank" rel="noopener">www.Davidthompsonstudios.com</a><br> — David Thompson
Mirror, Mirror, 2020

Oil on Canvas, 20 x 20”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" davidthompsonstudios@gmail.com"> davidthompsonstudios@gmail.com</a></p>
<p align="left">”My usual focus is on forms found in nature and the outdoors. However, because of the isolation from COVID I was able to produce more art than any other year, and it allowed me to explore new themes, pallets and design. Without leaving the house, I was drawn to focus on domestic subject matter and reflecting on what home means to me. Familiar sights offered plenty of subject matter- the way light reflects off of a mirror, shadows cast by everyday objects and pets resting in sunlight. These sights gave me a sense of continuity, comfort and calm in a year like no other.” <br></p>
<a href="http://www.Davidthompsonstudios.com" target="_blank" rel="noopener">www.Davidthompsonstudios.com</a><br> — David Thompson
The Quilted Cat, 2020

Mixed Media, 7 x 10”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" chloewack@gmail.com"> chloewack@gmail.com</a></p>
<p align="left">”My work and process reflect the physical and emotional strain caused by this past
year. Disconnection and isolation are portrayed visually in these works as the figures are
either alone or distanced from each other.The only readable expression in any of them is my
own in “NO!...”, which is something I think a lot of us are struggling with as we try to adapt
how we communicate with each other while wearing masks. In relation to my process, I felt
psychologically torn by the need to work through my emotions by making art, while at the
same time battling with the mental and physical exhaustion of just trying to live through this
pandemic and keep going. In particular, the process of working on the two larger pieces was
very slow as I struggled to find any purpose in making art when I felt like I should have been
doing something more useful.These works are a record of my anxieties from this past year
and explore the tension in my relationships and artistic process.
.” <br></p>
<a href="https://www.chloewack.com"target="_blank" rel="noopener">https://www.chloewack.com</a><br> — Chloe Wack
Erin has her own issues with you (do you wish someone else was in your quarantine pod instead of me), 2020

Charcoal on BFK, 27 x 20”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" chloewack@gmail.com"> chloewack@gmail.com</a></p>
<p align="left">”My work and process reflect the physical and emotional strain caused by this past
year. Disconnection and isolation are portrayed visually in these works as the figures are
either alone or distanced from each other.The only readable expression in any of them is my
own in “NO!...”, which is something I think a lot of us are struggling with as we try to adapt
how we communicate with each other while wearing masks. In relation to my process, I felt
psychologically torn by the need to work through my emotions by making art, while at the
same time battling with the mental and physical exhaustion of just trying to live through this
pandemic and keep going. In particular, the process of working on the two larger pieces was
very slow as I struggled to find any purpose in making art when I felt like I should have been
doing something more useful.These works are a record of my anxieties from this past year
and explore the tension in my relationships and artistic process.
.” <br></p>
<a href="https://www.chloewack.com"target="_blank" rel="noopener">https://www.chloewack.com</a><br> — Chloe Wack
why would you want to move to Tennessee right now?”, 2020

Acrylic on Canvas, 28 x 22”, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" chloewack@gmail.com"> chloewack@gmail.com</a></p>
<p align="left">”My work and process reflect the physical and emotional strain caused by this past
year. Disconnection and isolation are portrayed visually in these works as the figures are
either alone or distanced from each other.The only readable expression in any of them is my
own in “NO!...”, which is something I think a lot of us are struggling with as we try to adapt
how we communicate with each other while wearing masks. In relation to my process, I felt
psychologically torn by the need to work through my emotions by making art, while at the
same time battling with the mental and physical exhaustion of just trying to live through this
pandemic and keep going. In particular, the process of working on the two larger pieces was
very slow as I struggled to find any purpose in making art when I felt like I should have been
doing something more useful.These works are a record of my anxieties from this past year
and explore the tension in my relationships and artistic process.
.” <br></p>
<a href="https://www.chloewack.com"target="_blank" rel="noopener">https://www.chloewack.com</a><br> — Chloe Wack
“NO! (and other things I should have said when you did that to me)”,2020

Archival Inkjet Print, 8 x 10”, 2020, $200</p>
contact artist directly for sales: <a href=" samwelsch1@gmail.com"> samwelsch1@gmail.com</a></p>
<p align="left">” These images echo a sort of haze I feel I have been in for almost a year now. Not only is my mind fogged, but the days seem to blend into one another like a watercolor painting. But instead of the vibrant blues of the sky, or the splashes of green grass, I am met with a sense of dullness. The imagery I have chosen mimics the desaturation I have often felt. Though abstract, and unclear, these images reflect for me, the moments in which some light shone through. However dull the world has seemed this past year, there have still been moments of grasping onto creativity as though it were a lifeboat.” <br></p>
<a href="https://www.instagram.com/samwelsch_/"target="_blank" rel="noopener">https://www.instagram.com/samwelsch_/</a><br> — Samantha Welsch
Untitled, 2020

Photograph, 2020, contact artist for price</p>
contact artist directly for sales: <a href=" Delvont.w@gmail.com">Delvont.w@gmail.com</a></p>
<p align="left">” I draw, I write, I build, and do photography many have their reasons for loving, practicing and wanting to excel in the arts. Mine is the fact that I see art as not only as something beautiful that people can express themselves with, but also a life story that can be told in many forms, when I draw I picture the story that goes behind it and the path the story is behind just the naked eye, every story I write I play the melody of life the character is going threw, each love, each hardship, each person they may touch on the way inside and outside the book. When I build sets I imagine it as if I'm bringing the story to life for everyone can see and feel, as if when they step on that set they can feel the emotion that was put into it and the path the characters walked through. On their way to the climax of their lives, and whenever I take a photo I think about a deep meaning that can be brought from it, a pretty picture can be done by many but a story being told in that beauty is harder to come by. Every time the shutter closes something new is captured and shown at its purest form, unedited, unfiltered, then it can go through so many changes and still have the same look but have a whole different emotion behind it that makes it unique and beautiful.” — Delvonta Wilson
Youth but Bound, 2020

Gesso, Eggshells, Ink, and Enamel on Canvas, 16 x 20” Round, 2020, contact artist for price</p>
contact artist directly for sales: <a href="monicayounart@gmail.com">monicayounart@gmail.com</a></p>
<p align="left">” For me, 2020 was a year of self-reflection. The isolation took away time from friends and family, which meant that I was alone with my own thoughts more than ever before. A seemingly endless cycle of positivity to self-loathing occurred week by week. Most of my daily interactions became media based, which allowed me to consume more information on social issues and also question my worth. There were times when I was frustrated beyond belief and others when I felt a cold sense of calm and numbness. These pieces are a representation of how I looked at the world, while isolated from it.” <br></p>
<a href="http://www.mayounart.com"target="_blank" rel="noopener">http://www.mayounart.com</a><br> — Monica Youn
Chaos, 2020

Acrylic on Wood Panel, 24” Round, 2020, contact artist for price</p>
contact artist directly for sales: <a href="monicayounart@gmail.com">monicayounart@gmail.com</a></p>
<p align="left">” For me, 2020 was a year of self-reflection. The isolation took away time from friends and family, which meant that I was alone with my own thoughts more than ever before. A seemingly endless cycle of positivity to self-loathing occurred week by week. Most of my daily interactions became media based, which allowed me to consume more information on social issues and also question my worth. There were times when I was frustrated beyond belief and others when I felt a cold sense of calm and numbness. These pieces are a representation of how I looked at the world, while isolated from it.” <br></p>
<a href="http://www.mayounart.com"target="_blank" rel="noopener">http://www.mayounart.com</a><br> — Monica Youn
Thriving, 2020

Acrylic on Wood Panel, 10 x 8”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="monicayounart@gmail.com">monicayounart@gmail.com</a></p>
<p align="left">” For me, 2020 was a year of self-reflection. The isolation took away time from friends and family, which meant that I was alone with my own thoughts more than ever before. A seemingly endless cycle of positivity to self-loathing occurred week by week. Most of my daily interactions became media based, which allowed me to consume more information on social issues and also question my worth. There were times when I was frustrated beyond belief and others when I felt a cold sense of calm and numbness. These pieces are a representation of how I looked at the world, while isolated from it.” <br></p>
<a href="http://www.mayounart.com"target="_blank" rel="noopener">http://www.mayounart.com</a><br> — Monica Youn
눈 (nun), 2020

Concrete Sculpture, 36 x 12”, 2020, contact artist for price</p>
contact artist directly for sales: <a href="rgzyne@hotmail.com">rgzyne@hotmail.com</a></p>
<p align="left">” 2020 was a year of intensity and concentration that enabled me to focus on issues of grief, death, and struggle. As a grief educator/counselor for a local hospice (Heartland Hospice) I deal with bereaved patients and families every day. The Covid crisis only amplified my need to serve and to be creative, reflecting the challenges of families as they deal with the loss of their loved ones. The human face is the topography of suffering and concrete has become the raw medium in which I now explore and manifest the moods, feelings, and experiences of that suffering.
” <br></p>
<a href="http://www.richardgordonzyne.com"target="_blank" rel="noopener">http://www.richardgordonzyne.com</a><br> — Richard Gordon Zyne
Covid Blues, 2020

Concrete Sculpture, 3 Separate Sculptures, 18” tall, 2020, contact artist for price</p>
contact artist directly for sales: <a href="rgzyne@hotmail.com">rgzyne@hotmail.com</a></p>
<p align="left">” 2020 was a year of intensity and concentration that enabled me to focus on issues of grief, death, and struggle. As a grief educator/counselor for a local hospice (Heartland Hospice) I deal with bereaved patients and families every day. The Covid crisis only amplified my need to serve and to be creative, reflecting the challenges of families as they deal with the loss of their loved ones. The human face is the topography of suffering and concrete has become the raw medium in which I now explore and manifest the moods, feelings, and experiences of that suffering.
” <br></p>
<a href="http://www.richardgordonzyne.com"target="_blank" rel="noopener">http://www.richardgordonzyne.com</a><br> — Richard Gordon Zyne
The Sentinels, 2020

Artists featured in the exhibition:
Kathleen Adrian, Kiane Artis, Jude Asher, Beverly Baptiste, Ruby Bassford, Loring Boglioli, Dominique Butler, Schroeder Cherry, Melissa Cormier, Diane Dennis, Julie Dietrich, Jim Doran, Heather Dorst, Grace Doyle, Donald Edwards, Abby Fitzgibbon, Amanda Hays, Elli Maria Hernandez, Jodi Hoover, Jessie Houff, Samantha Iaconi, Noelle Imparato, Chloe Irla, Yasmine C. Iskander, Flora Iste, Janet Jeffers, Annette Jones-Wilson, Amy Klainer , Nic Koski, Walter Levy, Katana Lippart, George Lorio, Jon Malis, Dereck Mangus, Alberta Marchesani, James McDonald, Greg McLemore, Chloe Ndour, Nef Partlow-Myrick, Katey Phelps, Linda Popp, Lynn Poshepny, Tim Prendergast, Theresa Reuter, LJ Richey, Lucas Rougeux, Lynn Rybicki, Lauren Silex, Val Smith, Therese Spadaro, Peter Stern, Bridget Z. Sullivan, Carol Tankard, Maxine Taylor, David, Thompson, Chloe Wack, Samantha, Welsch, Delvonta Wilson, Monica Youn, and Richard Gordon Zyne

An in-person group exhibition is planned for later this year, when it is healthful to do so, and will be held at Hamilton Gallery located at 5502 Harford Road, Baltimore, MD. The virtual, online exhibition, and the in-person exhibition Bearing Witness – the artists’ tenacious view, are co-sponsored by HAC|HG and a grant from Baltimore Promotion of the Arts.

Hamilton Arts Collective|Hamilton Gallery (HAC|HG) a 510c3 art center located in North East Baltimore strives to support the arts and artists by means of providing space for artistic expression, creative exploration and community involvement. We are a community resource operated by a collective of artists. We welcome creative initiatives that meet the needs of the community. Artists and those who support the arts from our community and elsewhere are invited to be involved. Visit the HAC website for more information: www.hamiltonarts.org