Russell_Hill...

Deeply thoughtful, Warren Travis both relishes and is daunted by the painting process, and philosophical about its challenges. He often works in series, investigating subjects over time, from shifting perspectives, interested in observing changes in what (and how) he sees. “I carry my landscapes with me. From the pass to the north, deserts and mountains of El Paso Del Norte, where I was raised, onto my destiny, California, where I arrived in 1960. The abundance of nature from shore to mountains has constantly replenished my spirit. Now, in Columbia, Missouri with decided seasons of snow, spring, summer, and autumn, my work attempts to capture the ineffable power of nature--a spring from my greying. Not renderings, but reminders of this fragile terrain. I carry my landscapes with me.” - Artist, John Warren Travis Additional Details: Embellished frame

The striking colors that are present in Jeon's work resonate with the viewer through the simplicity of design, while strongly relating to the concepts present. Ah-young Jeon is currently living and working in South Korea. “As a person who is living in a generation bombarded by information and new forms of social interaction, my work is about how I feel and how I think in this time period and culture. I am interested in the progress of emotions like stress, anger or happiness etc., and how we act or react to these emotions. How our emotions changes and what motivates that change, and how people deal with the current social environment and what people believe in or do not believe, interests me a great deal” Artist: Ah-young Jeon

Deeply thoughtful, Warren Travis both relishes and is daunted by the painting process, and philosophical about its challenges. He often works in series, investigating subjects over time, from shifting perspectives, interested in observing changes in what (and how) he sees. “I carry my landscapes with me. From the pass to the north, deserts and mountains of El Paso Del Norte, where I was raised, onto my destiny, California, where I arrived in 1960. The abundance of nature from shore to mountains has constantly replenished my spirit. Now, in Columbia, Missouri with decided seasons of snow, spring, summer, and autumn, my work attempts to capture the ineffable power of nature--a spring from my greying. Not renderings, but reminders of this fragile terrain. I carry my landscapes with me.” - Artist, John Warren Travis Additional Details: Black frame

Deeply thoughtful, Warren Travis both relishes and is daunted by the painting process, and philosophical about its challenges. He often works in series, investigating subjects over time, from shifting perspectives, interested in observing changes in what (and how) he sees. “I carry my landscapes with me. From the pass to the north, deserts and mountains of El Paso Del Norte, where I was raised, onto my destiny, California, where I arrived in 1960. The abundance of nature from shore to mountains has constantly replenished my spirit. Now, in Columbia, Missouri with decided seasons of snow, spring, summer, and autumn, my work attempts to capture the ineffable power of nature--a spring from my greying. Not renderings, but reminders of this fragile terrain. I carry my landscapes with me.” - Artist, John Warren Travis Additional Details: Black frame

Holly Van Hart is an internationally exhibited artist known for her abstracted nature paintings. Van Hart’s work explores her fascination with the limitless opportunities we have in our lives. Images of abstracted forests, trees, fields, and flowers are used to symbolize abundance and the generation of new life and new ideas. “My abstract nature paintings are meant to spark new excitement about the limitless opportunities we have in our lives. Images of abstracted forests, trees, fields, and flowers are used to symbolize abundance, connectedness, opportunity, and the generation of new life and new ideas. These paintings highlight the promise of our own creativity and capabilities, to be nurtured and explored and stretched to their fullest potential. Look carefully at each painting and you’ll be welcomed into a world of realism contrasted with my abstracted view of nature. Take a visual stroll through these forests and fields. You’ll see realistically painted trees and flowers, juxtaposed against vibrating blocks of color representing the sky, trees, leaves, fields and shadows. The overall effect is to balance the excitement of my visual world with the calm of nature, and to invite reflection on nature’s abundance.” -- Holly Van Hart Silicon Valley, California

Maps of the Imagination reflects my interest in maps, cartography, topography and the residue of human footprint. Creating an underlying structural grid, poured paints and richly layered surfaces reveal and conceals the strata and crust of evolved time. The topographies lead the viewer on a path beyond maps, grids, and lines, into an unknowable geography where surface, strata, and landforms evoke a sense of an imaginary place.

“I started using this unconventional and fragile medium because it resembles the fragility of life. I can show through my works how beautiful and ephemeral that fragility can be.” Larisa Safaryan's unique sculptures on eggshells are her subtle but direct expression of the joy, energy, and emotionality that she carries inside her. The sculptures are delicate but intense, elaborate yet simple, harmonious and elegant. The spirit of innovation and excitement is at the heart of all that Larisa Safaryan creates. The love, passion, and thought that goes into each of her sculptures is truly inspirational.

Irena Orlov is an artist whose path in the fine arts has led her to a unique expression of mood and color. The combination of antique and a very clean, crisp modern design sense creates a highly prized, individual art style. Her images begin spontaneously and give expression to personal creativity and insight. Each piece is unique in design. Irena often prefers to think of herself as a craftsman, constructing, or interpreting imagery and messages from her conscious and subconscious mind. “I've been drawn by the magical beauty behind fine arts and design since childhood. Having a successful carrier in architecture and design for quite a long time, I began to deal with fine art.”

Book pages, printed papers, found objects form figure, raised texture background, acrylic paint “I relish the combination of contemporary design with the unexpected utilization of found, recycled, and/or repurposed materials. In my collages I use a combination of found materials (e.g., book pages, wrapping paper, fragments of antique hardware, etc.) and acrylic paints to create mixed media works on wood panels. Textured backgrounds are created using joint compound and stencils or by gluing die cut letters and numbers. Backgrounds are then painted with acrylic paint then layered with papers to create the subjects. Acrylic glazes are added to lightly shade and give dimension to the subjects. Letters and numbers are often incorporated into my art, as a graphic element or to convey a thought or theme. When we are exposed to letters and numbers we are conditioned to make sense of them and figure out, "what does it mean?" "what does it say?" The goal with these works is to strip away the inherent meaning of specific letters and numbers and use them as objects to build the composition of the piece. When people interact with them, I want to engage both the left brain (where logic resides) and the right brain (where creativity resides) in hopes that they are free to experience the elements in a new way - to create something totally unique.” - Kerri Warner

Colors extracted from natural plants and flowers and adhered dried flowers on canvas. I gathered most of the plants leaves in the Fall of 2018. Together with some dried leaves and flowers, and extracted colors and using earth pigments, I created this piece

The images represented here were taken from helicopters flying at altitudes of 500 to 5000 feet over the fringes of the San Francisco Bay and its tributaries. Most depict areas from the southern tip of San Francisco Bay to South San Francisco on the western side and to Alameda on the eastern side. The remaining photographs come from other areas as far north as Suisun Bay. My interest in these tidal areas developed quite by chance while flying on commercial assignments over much of California. Some of my pilots fly out of the Oakland, Hayward, and San Carlos airports, and our flight plan invariably takes me over some part of the bay I quickly found that I was fascinated by the coloration, shapes, and reflections that combined with each other where the waters of the bay gave way to land. I was viewing scenes created by tidal ebb and flow, the intrusion of commercial interests, and nature’s constant readjustments to these forces. The results were beautiful, unusual, and sometimes disturbing abstract images. San Francisco Bay is a massive water collection and discharge system pumping billions of gallons of water daily using its tides and tributaries as engines. The edges and corners of the bay exhibit the most visible changes on the ground with the south end of the Bay being the most pronounced. These areas are like the edges of a sink that are left with residue after it has drained. From the air the evidence of this activity is even more dramatic. Currents can be seen creating channels of water rushing in different directions running side by side, the incoming one color, the outgoing another. As the water recedes, streams, rivulets, mud, rock, scars, and debris become visible along the shoreline with unusual light reflections and color changes. Color in the salt pond areas of the south end of the bay can become particularly intense.

Book pages, printed papers, found objects form figure, raised texture background, acrylic paint “I relish the combination of contemporary design with the unexpected utilization of found, recycled, and/or repurposed materials. In my collages I use a combination of found materials (e.g., book pages, wrapping paper, fragments of antique hardware, etc.) and acrylic paints to create mixed media works on wood panels. Textured backgrounds are created using joint compound and stencils or by gluing die cut letters and numbers. Backgrounds are then painted with acrylic paint then layered with papers to create the subjects. Acrylic glazes are added to lightly shade and give dimension to the subjects. Letters and numbers are often incorporated into my art, as a graphic element or to convey a thought or theme. When we are exposed to letters and numbers we are conditioned to make sense of them and figure out, "what does it mean?" "what does it say?" The goal with these works is to strip away the inherent meaning of specific letters and numbers and use them as objects to build the composition of the piece. When people interact with them, I want to engage both the left brain (where logic resides) and the right brain (where creativity resides) in hopes that they are free to experience the elements in a new way - to create something totally unique.” - Kerri Warner

The images represented here were taken from helicopters flying at altitudes of 500 to 5000 feet over the fringes of the San Francisco Bay and its tributaries. Most depict areas from the southern tip of San Francisco Bay to South San Francisco on the western side and to Alameda on the eastern side. The remaining photographs come from other areas as far north as Suisun Bay. My interest in these tidal areas developed quite by chance while flying on commercial assignments over much of California. Some of my pilots fly out of the Oakland, Hayward, and San Carlos airports, and our flight plan invariably takes me over some part of the bay I quickly found that I was fascinated by the coloration, shapes, and reflections that combined with each other where the waters of the bay gave way to land. I was viewing scenes created by tidal ebb and flow, the intrusion of commercial interests, and nature’s constant readjustments to these forces. The results were beautiful, unusual, and sometimes disturbing abstract images. San Francisco Bay is a massive water collection and discharge system pumping billions of gallons of water daily using its tides and tributaries as engines. The edges and corners of the bay exhibit the most visible changes on the ground with the south end of the Bay being the most pronounced. These areas are like the edges of a sink that are left with residue after it has drained. From the air the evidence of this activity is even more dramatic. Currents can be seen creating channels of water rushing in different directions running side by side, the incoming one color, the outgoing another. As the water recedes, streams, rivulets, mud, rock, scars, and debris become visible along the shoreline with unusual light reflections and color changes. Color in the salt pond areas of the south end of the bay can become particularly intense.

expressive figurative female, strong warm colors

This Landscape / Seascape piece makes quite a calming statement in a space.

Using glaze, lacquer, resin, and mosaic techniques, Lucani reveals the narrative hidden underneath the photographic moment. Lucani’s most well-known series, ICONS, is made from compositions of hundred of images relating to his subjects, revealing an entire narrative within one single art work. He now works out of an oversized Barn in the Hamptons where he holds celebrity acclaim and world renown representation. By capturing the portrait of his subjects with layers of related and biographical images, Lucani is able to explore both the past and the present in each work, representing the soul of his subjects by exploring the subjective entirety of their lives.

Mixed media Asian-Inspired abstract

Mixed media abstract