2020 art spotlights

Lisa McCutcheon’s mysterious and ambiguous photographic collages appear in WTP Vol. XI #5, courtesy of the Dolby Chadwick Gallery.

Garry Mitchell’s structural paintings, which experiment with shape, color, and composition, appear in WTP Vol. XI #5.

Pieces from award-winning textile artist Shea Wilkinson’s series “Dawning” appear in The Woven Tale Press Vol. XI #4.

Jennifer Lynch paints like a printmaker, using stencils, masks and rollers, and printmaking inks as her medium.

Noble Golden created gilded paper structures that “shimmer with quiet energy,” featured in WTP Vol. XI #3.

Jonah Jacobs creates organic forms using unconventional material, like oatmeal, in his sculptures that explore form and function.

Using altered imagery, Max Wolf seeks to develop nomenclature that speaks to one’s subconscious and explores identity.

Aurelija Pestene’s work, appearing in WTP Vol. XI #2, is a mix between photography prints on paper or canvas, and pointillism.

Alexey Adonin explores the point of convergence between abstraction and surrealism in his paintings from WTP Vol. XI #2.

Chao Ding’s paintings, inspired by “decayed textural layers and subtle colors left by the passage of time,” appear in WTP Vol. X #7.

Chuck Fischer’s installations, geometric abstract constructions, are composed of multi-layered elements made from common materials.

WTP artist Ann-Marie Brown describes working with encaustic as “unpredictable—the medium interrupts intention…”

Laurence Elle Groux’s stunning abstract ceramic stoneware objects appear in April’s Woven Tale Press Magazine.

Cynthia Parsons McDaniel finds inspiration in historical found objects in her floral collages in WTP Vol. X #3.

Exploring human existence, pieces from sculptor Ivan Kanchev’s “Man, Where Are You?” series are featured in WTP Vol. X #3.

WTP artist Nina Tichava describes her work as “visual collections of moments from daily life.” See her paintings in WTP Vol. X #2.

Paula Rae Gibson’s photography aims to capture the beauty of “those who have really lived life authentically.”

Jacoub Reyes creates allegorical woodcut prints based on the acculturation of the Caribbean and the world at large.

Daniel Featherstone shoots street photography amongst unaware passersby throughout New York City, capturing the diversity of New York.

Edward Lee, whose work appears in Vol. IX #7, uses digital art to practice “freezing memories, emotion, moments in time.”

“To take my inner visions with my hands and create a work of art for you, the viewer, that is the ultimate in self expression.”

Kim Triedman’s artwork, featured in WTP Vol. IX #4, is collage involving found and recycled objects to create a narrative thread.

Gloria Ortiz-Hernández on drawing: “Each gesture, each mark, has to be sought, each form to be discovered.”

Alayne Spafford’s abstract paintings are an exploration of color meant to evoke an emotional response in the viewer based on color, shape, and texture.

WTP artist Gladys Nilsson is known for her densely layered and meticulously constructed watercolors and collages.

The despair Tara Kennedy feels of different cultures and religions suffering in conflict drives her to communicate important messages of acceptance, empathy, and hope in her work.

Justin Peyser’s sculptures, featured in Vol. VIII #3, “investigate how we demarcate, claim, and control.”

Sherry Karver takes photographs of public places and writes imagined life stories over the figures in her work, to personalize individuals and emphasize all our unique stories.

Carolyn Case’s paintings rely on a beguiling density, gained from years of working and reworking a surface.

“Where lies the line between real ‘me’ and virtual ‘me’? And is it there at all?” Kateryna Borovschi’s new series explores the implications of the social media reality.

Marina Maltezou’s abstract paintings appear in WTP Vol. VII #10. Maltezou’s work has appeared in group exhibitions in Greece and Turkey.

Sahar Khalkhalian’s paintings “explore the loss of identity immigrants go through when they are forced to leave their homes and dive into the unknown.”

George Casprowitz’s abstract paintings are featured in WTP Vol. VII #9. See “Draft Status,” a selection from the magazine.

Ruth Bunnewell’s landscape painting is regarded as “putting a contemporary spin on traditional British landscape painting.”

Heather Gorham is both a painter and sculptor working in traditional media, such as acrylic, bronze, and wood, with a more recent focus on digital sculptural technology and 3D printing to add to her bag of tricks.

Jackie Abrams’ Woven Figures series speaks of “the importance of the women in our lives, of their strengths and sorrows, their growth and joys.”

Re-envisioning her paintings as raw material, Susan Dory deconstructs and reassembles her canvases, cutting, looping, overlaying, and sewing them onto colorful ropes.

In her works from WTP Vol. VII #7, Etsukuo Ichikawa uses molten glass as a fiery paint, scorching the surface of velvety, cast cotton paper.

Jo Stealey is a nationally recognized artist known for her mixed-media sculpture and collages utilizing handmade paper. From WTP Vol. VII #6, her installation “Forest.”

Patrick Hughes creates small-scale watercolor paintings that are both subtle and complex. “Composition 65” is one of many works appearing in WTP Vol. VII #6.

Chehalis Hegner is a former professional musician who turned to photography after losing sight in her left eye. In her Source Code series, she “present[s] the purity of spheres in an organic, mysterious, and sometimes haunting landscape.”

Audra Weaser, whose work appears in the WTP summer magazine, is interested in creating physically charged images reminiscent of watery landscapes.

Meticulously constructed sculptures by Bentley Meeker comment on the intersection of human culture and the natural world.

Jean Poythress Koon, whose work appears in Vol. VII #5, teaches coiled basketry for state guilds, conferences, conventions, and craft schools all across the country.

“In search of the intelligibility that is possible within painting’s sub-linguistic space, I’ve experimented freely with diverse techniques and media, a hybrid practice favoring a stylistic eclecticism that can belie its coherent underpinnings.”

“My works feature images of imaginary landscapes, empty or inhabited by unknown beings; landscapes that externalize the constant inner struggle of being human, that visualize conflict between good and evil, between light and darkness…”

“I think of these impermanent structures as machines without a purpose or machines that have lost their purpose, invoking rusting metropolises or ambiguous edifices, elusive images appearing as cloudy wrecks of a dubious age.”

“I am interested in the relationships established between things and the subject that sees, describes, analyzes and names them.” Patricia Lagarde’s LOOKING FOR EVA series appears in March’s magazine.

Francene J. Levinson’s paper art, influenced by the ancient Chinese art of paper folding called Zhe Zhi, appears in March’s Woven Tale Press magazine.

Abstract architectural paintings by Gordon Leverton appear in February’s Woven Tale Press magazine. Learn more about “Cidade da Luz” and his upcoming painting series.

“I don’t take pictures; I make photographs. My photographs not only act as my vision, but as my voice.” Caitlin Cloninger’s photography, from WTP Vol. VII #1.

Christina Saj’s MEDITATION series appears in November’s WTP Vol. VI #9.

Morten Lassen, Danish abstract painter, is featured in November’s Vol. VI #9.

Figurative oil paintings on mdf cutouts by Julio Alan Lepez appear in November’s Vol. VI #9.

Stacy Slaten’s drawings, exploring the human elements of birds, appear in October’s WTP.

Sky Kim’s fine art photography ECHOES OF SHADOW series appears in WTP Vol. VI #8.

Fiber art by Kathryn Shriver appears in WTP Vol. VI #7. Read more about it here.

Faizan Adil’s SONDER SECLUSION photography series appears in September’s Woven Tale Press.

Khaled Akil uses scanned images of fish in his works featured in this month’s magazine. See “Inversion” here.

Juno Morrow’s fine art photography decontextualizes mundane subjects to instill wonder. From WTP Vol. VI #7.

From WTP Vol. VI #6, Froso Papadimitriou’s “Pointless Self-Portrait 04.”

Greg Skol’s contemporary landscapes are featured in July WTP, Vol. VI #6.

Nguyen Thi Mai’s paintings appear in summer’s Woven Tale Press.

Our contest deadlines are right around the corner! Learn more about our first prize: a unique creative retreat in the Hamptons.

David Quinn’s impressionistic photography appears in the WTP 2018 summer issue.

Elizabeth Albert’s photography series, created with a Holga camera, appears in WTP Vol. VI #6.

Hanna Vogel’s sculptures, made from craft material, appear in WTP Vol. VI #6.

Eric Zener’s water-themed oil paintings appear in July’s WTP Vol. VI #6.

Jay Kelly’s small-scale sculptures, appearing in Vol. VI #6, are recognized for their whimsicality and enigmatic origins.

Michael Kesselman’s “junk” art appears in Vol. VI #6, questioning: “What is art, anyway?”

Keiji Shinohara’s woodblock printing appears in June’s WTP magazine.

Maria Martinez-Cañas’s “photo-based” mixed-media artwork, courtesy of Saul Gallery, appears in WTP Vol. VI #5.

Sharon Stepman’s photography appears in the June Woven Tale Press magazine.

From Anastasia Komarova’s SUPER NATURE series, “Body” appears in Vol. VI #5.

N.R. Hills’s collagraphs appear in WTP Vol. VI #4.

Renae Barnard’s installation work appears in May’s issue of The Woven Tale Press.

Rachel Singel’s nature-inspired prints are featured in WTP Vol. VI #4.

Cynthia Grow’s abstract paintings appear in WTP Vol. VI #4.

Fine art photography from Barry Masteller in WTP Vol. VI #3.

Margie Criner’s narrative sculpture and architectural painting appear in April’s magazine.

“I have no agenda but to follow what my eye tells me is interesting.” Darryl Hudak’s paintings, from WTP Vol. VI #3.

Susan Clinard’s sculpture, spanning a wide range of mediums, appears in April’s WTP magazine.

Jean-Luc Le Balp works as a printmaker, painter, engraver, and maker of artist’s books. See his work in Vol. VI #2.

“I redefine needle art techniques and transform the everyday into works of contemporary relevance.” WTP artist Jodi Colella.

Bill Hall has been a master intaglio printer at Pace for twenty-seven years and has worked with artists like Chuck Close and Helen Frankenthaler.

“My goal is to elicit a sense of magic in the viewer.” Shea Wilkinson’s fiber art appears in this month’s magazine.

Alan Bray, an artist based in Maine, paints in casein, a milk-based tempera that has virtually no drying time.

Britta Fluevog’s art and installations, often incorporating weaving and textiles, work to subvert the notion of the handmade and women’s work.

To create her large-scale paintings, Shirazeh Houshiary pours pigment and water over canvas and applies rigorous mark-making.

Gina Louthian-Stanley’s encaustic pieces, with their inherent atmospheric quality, are featured in January’s magazine.

“How can I be me and at the same time be standing outside of myself looking inward to see me?” Laura Noel shares non-traditional self portraits from her series THE INSIDE DOG BARKS THE LOUDEST.

Amalia Galdona Broche found inspiration from her childhood in Cuba for her sculpture series, A Search for Identity.

Catherine Spencer’s painting “Torn Seams” was a part of her prize-winning entry. See her work in the special winners edition.

“I explore color as a subject in itself. There is also an interest in the associations that can arise from the application of sparse and reductive painterly techniques.”

Ellen Koment’s encaustic wax pieces take the Elizabeth Sloan Tyler Memorial Award for Fine Art.

Tong Zhang’s dark watercolor paintings explore the moments between the familiar and unknown. From Vol. V #9.

William Crump’s collage work, inspired by spirits and narrative, appears in WTP Vol. V #9.

Maggie Evans’s works are abstract, symbolic images of collective behavior and psychological interiors of humanity.

Katherine Daniel’s bead sculptures act as sculpture, craft, and painting. From WTP Vol. V #9.

Amy Cheng’s rich images find influence from cosmological and artistic history of the Far East, the Middle East, and the West. From WTP Vol. V #8.

Emilia Dubicki’s abstract oil paintings explore the experience of memories and landscapes that are both real and imagined. From WTP Vol. V #8.

Yasemin Kackar Demirel’s mixed-media pieces attempt to deconstruct the feeling of groundedness. See her work in Vol. V #8.

Constantine Gedal uses the relationship between human beings and their surroundings to explore the collective subconscious.

“I look for myself everywhere as if life was a mirror, and I am a dark jar filled with all of it.” Douglas Max Utter’s paintings appear in WTP Vol. V #7.

Kate Breakey is internationally known for her hand-painted photographs. Beginning with a silver photographic image, she paints over this with many transparent layers of oil.

Rebecca Brodskis’s haunting paintings “articulate the sensation of being in the midst of an illusion.” See more of her work in WTP Vol. V #7.

Mayme Kratz creates “memory blocks”: found objects, spliced and artfully arranged, locked in translucent cast resin.

George Fellner photographs crystals and turns them into abstract expressionist prints, as in his “Illuminopolis,” which appears in WTP Vol. V #1.

Christopher Owen Nelson’s “Breathing Room” is one example of his unique landscapes, which incorporate alternative materials and a new creative process.

Erika Morillo’s digital photography series, Umbral, features her son Amaru and appeared in WTP Vol. V #1. See “Morning Shower.”

Brian Wehrung explains his process, which he calls Extractive Reductionism and is used in this piece: “The White Whale.”

Painter Eduardo Terranova moves away from the traditional two-dimensionality of painting by manipulating his canvases or using non-traditional material.

Heather Teets is currently the Director of Fine Arts at Park Tudor School in Indianapolis, Indiana. See her photography in WTP.

Michael Woodhouse is a visual artist currently residing and working in Baltimore. See his experimentation with landscape.

Guilherme Bergamini is a Brazilian photographer who explores how photography can serve as a mode of expression for both political and social critique.

“The images are formed from the vocabulary of symbols that I’ve developed.” Sharmon Davidson’s colorful monotype collages appear in WTP Vol. V #5.

Bonnie Shanas creates figurative sculptures using wire mesh, forming the figure free-hand using only a single sheet.

Clarke W. Owens contemplates the age-old question among literary critics of interpretation vs. intent, and what makes true art.

Brut Carniollus takes, tweaks, processes, twists, mixs, collages, and abuses his images to create his collages featured in WTP Vol. V #5.

Aga Gzyl’s silicone-on-canvas works are inspired by the variety of materials she worked with designing interiors and facades for shopping centers and shop windows

“My current paintings present a playful expression of whimsical figures, yet the imagery is open to interpretation beyond whimsy.”

Richard Gilbert visits a former student’s senior art exhibition and finds himself reflecting on not only art but also teaching and writing.

Mara Elizabeth’s double-exposure photography aims to create images that blend documented and personal realities.

“I work mostly with organic and industrial material having multidisciplinary as a crucial aspect of my art practice and an incessant search of an organic link between several disciplines.”

Bergland describes his current work as a version of Neosurrealism with the objective of eliciting questioning attitudes in the mind of viewers.

Rachel Rozanski’s series of charcoal drawings, featured in WTP Vol. V #3, are influenced by biological and geological materials.

Why are you dependent on whom you are dependent? Paula Rae Gibson’s photo series explores love and all its forms in WTP Vol. V #3.

Mohan Sundaresan, featured in WTP Vol. V #3, creates his works by making two individual paintings, cutting them, and weaving them together.

“‘Waterlilies’ is primarily a caress, a drop of love from a mother to her children.” Sandrine Hermand-Grisel’s photography, inspired by her children swimming in the pool.

“Based on treks to desolate mountain peaks and desert lowlands, my paintings accept the rupture: eerie, barren, stressed, shadowed, beautiful otherworldly places cultivated by human-inspired encroachment.”

Hildy Maze explores human subconsciousness in her abstract series of paintings. Featured in WTP Vol. V #2.

Nathan Madrid’s series of portraits challenges preconceived notions about “the other” by forcing viewers to question whether or not the sitter is like them or not.

“I build my works with a sense of fragmentation that the graphic art tries to unite to rationalize.”

Specters on the Sound

Dead Cities Photo project explores what the world would look like if humans suddenly and collectively disappeared.

Incorporating plants and animals into surreal paintings.

Sedna, Goddess of the Sea

A bone and copper sculpture inspired by an Inuit legend of father and daughter.

Gathering Light 28

Janice Mason Steeves makes large, meditative paintings inspired by her travels around the world.

The Loon Series

Raabenstein uses layered pages and pure black ink to create the organic aesthetic in his Loon Series.

Spotlight: Kevin Bielicki

Kevin Bielicki, featured in WTP Vol. IV #7, uses botanical forms and material to inspire his sculptures.

Spotlight: Rebecca Jewell

Rebecca Jewell combines her knowledge of printmaking and anthropology to create her works, prints on material such as bird feathers, gold leaf, and eggs.

Under the Surface

Mixed media on cement-canvas works by Fišić, who identifies the series as “sculptural abstract paintings.”

Spotlight: Vincent Minor

Looking back on 2016 to January’s Vincent Minor, a musician turned photographer who makes haunting photos with digital manipulation.

Spotlight: Stephen Althouse

Stephen Althouse, featured in WTP, talks about the inspiration behind his photograph Wheel I and how his experience with the Amish influenced his decisions.

Spotlight: Vivian Calderón Bogoslavsky

Vivian Calderón Bogoslavsky creates acrylic paintings that are extremely personal in nature, revealing her inner emotions, wishes, and life experiences.

Spotlight: Ryan M. Schroeder

multi-media paintings that express a sense of isolation and decay. See his work in The Woven Tale Press.

Spotlight: Jane Skafte, Oil Spill

November artist Jane Skafte uses colored pencil, land-fault diagrams, schematics, and realistic portrait to observe the changing earth.

Spotlight: Lorna Bieber

Lorna Bieber’s found photography appears in November’s The Woven Tale Press and a new exhibition at the Paul W. Zuccaire Gallery at Stony Brook University

Still Standing

Take a closer look at Virginia Vilchis’s, Still Standing, featured in this month’s issue of Woven Tale Press, “an extraordinary visual experience.”

Les Aimants 3

A collage by Alice Harrison: “Combining things with a former life with new materials is a wonderful challenge.”

Vortex

by Patricia Russac, ink and pastel on paper 38” x 50.” Russac on drawing from nature. See her work in Vol. IV #8.

Statement

A look at Alison Ye’s ceramic sculpture “Statement,” inspired by personal and others’ love stories. See more of her work in October’s issue, Vol. IV #8.

Claystack

Claystack by Baczeski is Claystack is an “object experiment” created by dipping an entire straw bale into clay slip, and then firing the resulting mound.

See her work in The Woven Tale Press Vol IV #7

“I create art that is inspiring and mostly from found objects. The purpose is to restore back function and beauty to these objects.”~Miabo Enyadike.

Renee Magnanti: “During my investigations of patterned motifs, textiles became paramount along with their history.”

“My work aims to chart the reality that our lifetime is uncertain and random…”

Cybèle Young’s paper sculpture, from WTP Vol. IV #5.

“My works allude to natural phenomena”

Artist Ruggero Vanni: “My works allude to natural phenomena, in a raw state, devoid of the limiting constrictions of literal representation.”

Connections with the Earth

I approach a new painting without preconceived ideas, choosing instead to let the spirit of the artwork guide me, building up layers of oil, sand, marble dust, sawdust and stone on canvas.

Photographer Stephen Scott Gross creates extraordinary painterly effects in his photographic renderings of flowers.

One photographer’s exploration of dualities and opposing qualities in nature.

Allison B. Cooke discusses her paintings

“My paintings celebrate the interplay of past and present, imagined and tangible, that which is lost and what remains.” —Allison B. Cooke Spotlight on The Woven Tale Press.

Hyper-realistic colored pencil

“My drawings are hyper realistic: they capture minute details of the subjects that I portray, but they are only an illusion of the actual reality. I became obsessed with drawing branches and tree trunks by looking at them through magnifying glasses that allowed me to peer deeper into an astonishing world of abstract shapes and patterns.” —David Morrison

Where one might have difficulty putting her into a genre as an artist, Erickson has categorized herself simply as a “Conceptual Crafter.”

“After years of struggling to be a painter, I realized that my calling was not to draw or paint on canvas, but instead to mold inanimate objects into vibrant images.” —Federico Uribe

Couple: Pastel on Paper Technique allows her to “…change anything at any time, forever” [dropcap]T[/dropcap]he heavy-bodied acrylic-based ink [I use] is red-earth colored, like blood, and the hard pastels melted in water are like paint. My technique allows me to change anything at any time, forever. Even an ink line can be made narrower with …

Burnt Offering: Caldera Working by hand: the importance of tactility [dropcap]…t[/dropcap]actility is paramount; I work only by hand so that I can feel what is happening beneath my fingers. I know that there will always be areas of depression in the enameled surface that are not polished, but this is all right with me, because …

Portraiture (Portrait Photography) as Narrative Vincent Minor displays his digital portrait photography, also called portraiture, in The Woven Tale Press IV:1 …I began exploring new ways to express myself, through characters and storytelling with digital photography/manipulation. I started using self-portrait as a means…of creating a narrative from a concept into a visual image.     …

Beau Wild’s Lost Letter Fragments, from WTP Vol. IV #1.

Dissolution acrylic and enamel on canvas 20”x20"

By Dana Filibert steel, foam, repurposed objects, epoxy paint 8′ x 4′ x 10′

art by Garth Evans and poetry by Leila Philip. Excerpted from Water Rising, a collaboration between an artist and writer.  See their work in this month’s Woven Tale Press, and a Press interview. Signals He came at night or in the early hours, we were never sure. Always it was morning when we found the …

“Golden’s Light,” acrylic on canvas, 31″ x 29″ By Richard Malinsky of malinskyexpressionism.com “What sets my work apart from Abstract Expressionism is a return to atmospheric depth, and an evocative poetic link to contemporary color field abstraction.” See more of his work in The Woven Tale Press Vol. III #8

Silly Ole Proverbial Box by Francesca Tabor-Mozilla “As a painter, I continuously struggle to create order and balance out of Chaos.”

You think you know your main character so well. You know where she came from, where he went to school, the name of her chosen dagger, and why he never goes to bed before three in the morning. But if you think you know everything there is to know about your character, think again. To …