It is said that the camera cannot lie; while I know this is not entirely truthful, I have found this notion to be instrumental in breathing life into a landscape that may fully exist only in my imagination. While I may point the camera at reality, what I gather is merely a reflection of that reality; and like any reflection, it is easily distorted, easily corrupted. What is real? When an image is created in near-infrared light, that question is not so easily answered. And by allowing the camera to see only a sliver of the adjacent visible color spectrum, and combining and rebalancing it with the near-infrared light, I am freed to explore a new tonality that opens up in the world around me. It is through the use of this spectrum that includes near-infrared light, that I endeavor to craft a reality that my intellect may say cannot be, but that I believe could be, if we could only see it.

While waiting for the Omega variant to make its appearance, I became busily engaged in an attempt to envision our next reality in an etching titled, perhaps somewhat prematurely, After the Deluge. In our new post-enlightenment world, where everything we have come to accept as a basis for getting along in the world is now wrong (instead: horse-ass medicine for covid, white supremacy, the antivax disease, lies are truth and vice versa, and no version of reality too insane to accept instead of confronting the one we actually have), our normal has been obliterated. Where to go from here with all the broken fixtures of our previously sort-of-functional world? Since I had no idea, I decided to spend time ruminating on this theme in the above-mentioned etching which for some reason ended up taking six months to complete. In addition to my press, images of several of the formerly functioning items and figures depicted are derived from some of my previous etchings.

When I was working on a series of etchings based on The Four Disgracers by Hendrick Goltzius, I kept returning to the hand in his depiction of the fall of Icarus. This obsession ultimately became the basis for A Way of Flying—The Invisible Hand, combined with a take on Goya’s mysterious etching from The Proverbs. Goya’s A Way of Flying provides no clue to interpretation, and efforts to connect it with political events for social commentary seem to fall short. I became interested in subverting these images to depict the consequences of Adam Smith’s invisible hand of the marketplace (so popular right now!), replete with riffs on the grotesqueries used so effectively by Hieronymus Bosch, to enhance the effect.

I created this work when coming to terms with my autism diagnosis. I have processing disorders that make certain things like sounds and smells much more intense than normal, and I never really knew that other people couldn’t hear electricity or that they felt any different than I did in these situations, so I started making a series of small works that illustrate how I see the world around me. The Feeling of Incandescent Lighting on a Cloudy Day has a dream-like setting that invokes the smell of rain, damp interiors, and the continuous buzz of the world around me.

This work is called The Urge. It is about compulsive urges and how they feel like they crawl under your skin and suffocate you. One thing that calms my compulsive urges is focusing on a point or action like making tiny lines or focusing all of your attention onto a certain sensation or object until the screaming in your head and body stops. I wanted to capture that feeling in this work with its contrasting figure and obsessive linework.

This work was part of a series that illustrated the meanings of cards by pairing them with contemporary issues. The Three of Diamonds means to put your head down, keep working, and not to get distracted by shiny objects. This is illustrated by a deceased seagull on a pile of plastic waste, since they often die by eating the colorful plastic instead of their natural diet. This piece is filled with symbolic elements. The halo, broken disc above its head, the presence of the plastic eye, and the large blue disc its feet are resting upon, are all references to symbols used throughout art history to denote sacred figures, sacrifice, and the presence of God.

This oil painting features three vibrant pink ranunculus flowers that have fully bloomed. Intentional technique effects were used to capture the intricate detail of the petals, preserving a smooth surface, and a strong illusion of form. Subsequently, I applied several thin layers of paint to create a sense of depth refining the form and its variations of colors. I choose a rich dark background to give luminosity to these magnificent blooms.

This painting is a self-portrait that explores the relationship between humans and the environment around us. Inspired by beautiful coral reefs I saw in Honduras while scuba diving and the vast variety of interesting plants everywhere around us, I wanted to forge a connection between humans and these two elements. I use vibrant colors to express the beauty of this earth. This piece was pivotal in helping me decide the direction I wanted to take my art.

My artwork is a study of light on the ordinary- how beauty is everywhere around us all the time.

This is a morning study of light and a yellow cut flower.

Working in transparent watercolor on paper, my goal to the establish a “”sense of place”” that allows the viewer to see what inspired me. Pouring primary colors onto partially masked paper creates unusual color mixing and effects.

Working in transparent watercolor on paper, my goal to the establish a “”sense of place”” that allows the viewer to see what inspired me. Pouring primary colors onto partially masked paper creates unusual color mixing and effects.

Amy S. Broderick uses forgotten photographs, discarded office supplies, found atlases, and related ephemera to make complex paper compositions. She cuts and weaves each page by hand to make elaborate layered structures and images. Her work marks time’s passing, as forgotten slivers of other people’s daily lives coalesce to tell new tales. This exhibition invites viewers to imagine a space where obsolescence and disconnection become the warp and weft of new territories.

Amy S. Broderick uses forgotten photographs, discarded office supplies, found atlases, and related ephemera to make complex paper compositions. She cuts and weaves each page by hand to make elaborate layered structures and images. Her work marks time’s passing, as forgotten slivers of other people’s daily lives coalesce to tell new tales. This exhibition invites viewers to imagine a space where obsolescence and disconnection become the warp and weft of new territories.

Amy S. Broderick uses forgotten photographs, discarded office supplies, found atlases, and related ephemera to make complex paper compositions. She cuts and weaves each page by hand to make elaborate layered structures and images. Her work marks time’s passing, as forgotten slivers of other people’s daily lives coalesce to tell new tales. This exhibition invites viewers to imagine a space where obsolescence and disconnection become the warp and weft of new territories.

This is part of a portrait series that is a study on the composition of the face. Experimenting with the basic elements of the face, this work explores how positions, shapes of features can convey feelings or emotional states.

This piece was inspired by the story of Shakespeare’s Hamlet, specifically on the sister, Ophelia. She spirals down into madness after the death of her father and accidentally commits suicide when she decides to get into a stream and float down the stream with the wildflowers she has tossed in earlier. Her garments, soaked by the water, get heavy and pull her under. So, the scene seems peaceful, almost bucolic, but it foreshadows something tragic. I utilized the image of the teddy bear, an iconic symbol of childhood innocence, which floats down the waters of the subconscious, to give further meaning to the piece. Waiting in the shadows of the background is an alligator that is eyeing the teddy as it floats by, threatening the peacefulness of the scene. The pastoral woods in the background are behind the home where I grew up. I painted this image about a year after the death of my mom.

“Perhaps the hardest lesson to learn in this life is that not all dark places are in need of light. Even the brightest star will eventually implode and the darkness it leaves behind is the only way that we can see the light. Because this life is too short and our hands grow wrinkled and tire, we must teach our children how to sew. ( The Golden Thread) .”
-Rebecca Cristante

“Ignite” is an original hand cut and painted paper sculpture created from a linocut print.

Original oil painting on wood, of a grape vineyard in Central Italy.

Mother Earth is a multiple layered relief print. Inspired by mythology, earth goddesses and spirits, and their connection to women and motherhood. This work was printed from four separately carved blocks, that are each carefully registered and layered together to create one final image. Printed onto fine Kitakata washi.

Together is a set of handmade cast paper sculptures with floral inclusions. Inspired by the atmosphere created when women come together as a community, be it physically or metaphorically. Together explores the communal connections between women and one another.

Silver gelatin photographic print created using traditional wet darkroom techniques.

“Bibble Birds Arguing” is one of a series of still life paintings in which the same objects are used, but small changes are made to each composition to create a new point of view in each painting. The woven birds featured in the painted series were created by local Vero Beach folk artist Bibble Irwin.

“Bibble Bird Pink” is one of a series of still life paintings in which the same objects were used in each painting but small changes where made to each composition to create a different point of view in each painting. The woven birds in the still life were made by a local folk artist in Vero beach, Florida named Bibble Irwin.

“Bibble Birds Taking Flight” Is one of a series of still life paintings in which the same objects are used, but small changes are made to each composition to create a new point of view in each painting. The woven birds featured in the painted series were created by local Vero Beach folk artist Bibble Irwin.

For me, abstraction is that conduit between representational reality and imagination. My abstract work exists in the language of dreams, soft focus memories, or selective sharing of emotions. While the content of my work may allude to entities such as planets in the solar system, map structures, bacteria under a microscope or even bubbles from running water, the imagery is never depicting a real moment, but the imagined moment. I like to generate a feeling or impression while suggesting anonymity of the source subject matter. The imagined content of my work seeks to visually live in those moments before we drift to sleep or awaken, when our minds are flush with color, figurative distortions or feelings that have no distinctive form in our physical world.

A series of drawings exploring my experience with a detached retina and the following surgeries. Exploring thoughts of artificial sight, vision correcting hardware, interventions and manipulations. Pencil and tempura on board.

A series of drawings exploring my experience with a detached retina and the following surgeries. Exploring thoughts of artificial sight, vision correcting hardware, interventions and manipulations. Pencil and tempura on board.

A series of drawings exploring my experience with a detached retina and the following surgeries. Exploring thoughts of artificial sight, vision correcting hardware, interventions and manipulations. Pencil and tempura on board.

I have always been fascinated with postage stamps—the colors and patterns and lore. Last year I realized that postage stamps are tiny found papers that could be incorporated into my representational collages. I purchased a pound of cancelled international stamps, sorted them by color, and spent 5 months gluing them onto sheets of acid free paper. But what good are stamps without envelopes? I saved envelopes from junk mail, bills, greeting cards, etc., to use with my stamps. The result is my “stamps & envelopes” collage series, beginning with architectural renderings.

I have always been fascinated with postage stamps—the colors and patterns and lore. Last year I realized that postage stamps are tiny found papers that could be incorporated into my representational collages. I purchased a pound of cancelled international stamps, sorted them by color, and spent 5 months gluing them onto sheets of acid free paper. But what good are stamps without envelopes? I saved envelopes from junk mail, bills, greeting cards, etc., to use with my stamps. The result is my “stamps & envelopes” collage series, beginning with architectural renderings.

Made entirely of cut magazine pages, this collage is based on the artist’s self-portrait taken in the Mirror House at Howard Finster’s Paradise Garden.

After the deluge, an empty bed is overfilled, the calm wash of amber light soothes the forrest and prepares it for nightfall.

“Da N.Y. Block” is a series of four mixed media paintings with foundations built from layered materials— a combination of advertising, magazine, cardstock, and Bristol papers, which render their irregular shapes. A variety of mediums were used—a blend of acrylics, enamel paints, oil paints, crayons, and oil pastels. These paintings were created from a reference photo taken by the artist in Central Park, NY. They all were painted differently giving them distinct identities. Intentionally placed marks are present throughout the paintings to guide viewers on their journey as an observer.

This drawing might call to mind the textures of tree bark, rock formations from arid desert landscapes, the swirling of galaxies, or something entirely unique to you, the viewer. I’m drawn to abstraction because it is open ended, inviting both artist and viewer to find multiple points of connection and meaning in each work. Like my creative process, abstract art embraces both mystery and directness. The marks I make are straightforward and direct while the subject matter is undefined and fluid.

There is something both mysterious and straightforward in the creation of any artwork. I am intrigued by this duality and my creative process has evolved to take advantage of the intersection of chance and purpose. Actions such as pouring enamel are largely dictated by chance while the precision of drawing is conscious and planned. Each action influences the next as I search for a dynamic balance between chaos and order.

“Other Mummy,” acrylics on 16×20 canvas. A portrait of the essence of my grandmother. My favorite part of portrait painting is when I get the eyes just right, and suddenly the person’s spirit comes to life on the canvas. This is especially poignant when it is someone like my grandmother who has passed away, and suddenly she is right there in the room with me again.

“Gulf Aerial I” explores our past and present relationship to land and water, while also celebrating how beautiful something is when it’s accentuated by a fear of loss – of home, of innocence, and of land into water.

My artwork includes includes a variety of perspectives about animals and environments: their beautiful and varied shapes and patterns, animal behavior and relationships, the concepts of predator and prey, and how animals manage to survive both in and outside of human-created enclosures. I paint both captive and wild species, to study them and challenge my own ideas about nature. Unacknowledged as part of nature, humans tend to project themselves and their desired or imagined characteristics and emotions onto animals. Preserved in zoos, common to both rural and urban environments, the animals are considered by visitors to be either extraordinary, as pests or even despised rather than admirable, based on human perceptions and imaginings of the value of different species.

This piece is the result of experimentations that occurred during the early days of the pandemic. I was not going to my studio to paint as I would normally. Rather, I made do with a smaller space in my basement, deciding to work on smaller projects. During that time, I took some online courses to take my mind off the state of the world, and to spark some new creative directions. I made a series of experimental drawings, and engaged in some meditative activities using threads which I wrapped around various objects I’d collected from nature. I was also considering ways to make my strictly two dimensional work into something that wasn’t! Somehow I decided to combine two processes, so I began to tear apart the drawings, and re-assemble them into rolls, or scrolls, using the various threads I’d accumulated during an earlier bookmaking phase. Figuring out how to connect them involved using more threads, and eventually, glue for some.

In addition to drawings made into scrolled constructions, I repurposed old oil paintings on paper. I found the act of reimagining this piece into a sculptural work deeply satisfying. I tore up and then rearranged the sections of painting into something new, considering the colors, and sizes of the pieces. I used black threads as accents, their dangling ends to give a bit of movement to the piece, as I avoided wrapping the scrolls around their centers to emphasize the painted surfaces. The entire process gave me a new way to consider my work, and evoked thoughts of transformation and re-emergence, optimistic notions during the dark days of the pandemic.

Graphite and color pencil are my favored mediums for instant gratification in my illustrative work. Working with small defined spaces and specific themes allows me to escape and focus on the world I’m creating at the end of the pencil. The whimsy I bring to difficult or every day circumstances makes life seem a little less serious.

I began my creative career as a graphic designer. My life-long affection for grids and geometry is evident in my textile work. Play, planning, and improvisation define my process and help me to find harmony between traditional craft practices and a modern aesthetic. I form my initial composition through shape and color, then begin the exciting and expressive process of drawing with my sewing machine. While I work, I constantly nurture the tension between needing to having control and letting go.
Smokehouse is part of a series of small quilts called Housework that questions the ways that we view domesticity and the role of traditional craft in modern making. It is important to me that my work respects the long and storied traditions of quilt-making. Still, I strive to make work that is innovative, relevant, and provocative. In this work, the familiar language of quilt-making contrasts with my illustrative free-motion stitching to question assumptions around craft, and domestic roles.

Nature is the subject of my deepest love. Growing up in Latin America, my sensibilities were heavily influenced by a manner of thinking that comes mainly from the heart . . . I grew up in an atmosphere filled with vibrant colors, magic and mysticism . . . very much like the one perceived by the Magical Realist artists, writers and poets who find mundane, everyday life always infused with mystical, magical elements, such as in Pablo Neruda’s Odes to Common Things, wherein, . . .”I have a crazy, crazy love of Nature . . . not just the grandest, also the infinitely small . . . the planet is sublime . . . I love all things . . . many things have conspired to tell me the whole story . . . they were so alive with me that they lived half my life and will die half my death.”

I am working to influence our human outlook away from a sense of entitlement, toward a sense of humility, awe and wonder with regard to the natural world. I believe our course toward a global warming catastrophe and our

Pulling from history, the abstract and personal experience, the expression in these works deal with potential adventure, the energy all around our daily lives and soul quenching experience.

Working from history, the abstract and personal experience, the expression deals with potential adventure, the energy all around our daily lives and soul quenching experience.

The work comes from history, the abstract and personal experience, and the expression deals with potential adventure, the energy all around our daily lives and soul quenching experience.

I am a Chinese-American adoptee from Yunnan province and grew up in Atlanta. It is important to me to have a connection to the Asian-American women I have chosen to showcase. Two of them are women in power, working on bringing good change to my hometown and state, and the third is me. The edited and distorted faces are recognizable but the representation isn’t limited. I have been cutting paper for over 10 years and have always been drawn to elements of my cultural and ethnic heritage.

My current body of work depicts the relationship between objects present in my childhood and the people I associate with them. Through my journey to learn more about my family’s history and contributions to Dark Corner, SC, I have uncovered the significance of preserving what is left of our history through my artwork. This act of preserving these memories has led me to work off of old family photos, specifically polaroids, as they are not archival quality and will one day cease to exist. These photos combined with the stories that have been told to me my whole life have led to my fascination with the peaches and moonshine my grandpa used to sell. I also feel as if peaches and moonshine are synonymous with southern states and depicting these objects might allow the viewer of my art to have a more personal tie to the art itself. Through this tie to southern culture, I hope to share my family’s story and contributions to the history of Dark Corner, SC.

My artistic creation is imbued with the essence of the ocean, which serves as a perennial source of inspiration for me. The medium employed is handmade paper.
I draw upon the ocean’s multifaceted character, wherein it imparts life lessons, emanates powerful energy, and exudes a mesmerizing aura that captivates the senses. The ocean’s duality, wherein it alternates between a placid calm and tumultuous turbulence, serves as a profound metaphor for the human experience.

In my work, I seek to encapsulate the ocean’s vastness, depth, and imposing grandeur, which is further accentuated by the hue of blue that holds a special significance for me.
Through my art, I endeavor to evoke a sense of wonder and awe in the viewer, while also inviting introspection and reflection on the enigmatic nature of the ocean and its subtle yet profound influence on the human psyche.

Flying to freedom was a common theme in legends and songs of the African diaspora, reflecting a desire to escape from slavery. Possibly rooted in African tales, it became a common narrative and metaphoric element throughout the African diaspora among enslaved peoples. It is also reflected in Negro spirituals, such as “All God’s Chillun Got Wings” and “Swing Low Sweet Chariot.” In a recurrent dream that this composition depicts, Harriet Tubman, strong, determined, clever and courageous, soars over rivers, fields, and hills as she shepherds escaped slaves to freedom highlighting the imagination, ingenuity and cleverness Tubman brought to her fight. Tubman was skilled in using disguises, creating diversions and cover stories, avoiding detection and improvising as circumstances changed. She had an almost uncanny ability to read her environment and then avoid obstacles or take advantage of inadvertent opportunities, leading many to give credence to her claims of divine visions.

Although African Americans had been marginalized in American society, Rosa Parks aspired to realize the promise of the Declaration of Independence that: “”We hold these truths to be self- evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” Parks believed in these words and the ideals behind them. Parks is a highly successful example of a citizen leader. Initiating the Montgomery Bus Boycott in 1955, Rosa Parks took her fateful steps into history and resolved to test whether America was truly a land where “all men are created equal”. She inspired America to live up to its ideals. This maquette of an over life-size bronze statue of Rosa Parks for the Alabama State Capitol is of a vigorous figure, stepping forward, turning her head and Stepping Towards Equality.

These are three pieces from a series of 5 sculptures titled “”Mystic Dance””. I was inspired by a 20th-century Armenian-Greek mystic Gurjieff’s mystic dances that he invented and are practiced to this day by his students. Deeply moved by watching these dances, I created these sculptures to express my impressions and admiration of them.

This piece is composed of three-dimensional forms inspired by two-dimensional renderings of cubes. Actual and implied space are thus combined into one structure

This piece is constructed of 91 individual paper pyramids. As their angles change slightly, the two tones create a gradient of color and a sense of movement and evoke a brewing thunderstorm.

Composed of 108 folded paper pyramids, this piece is inspired by quilting patterns and is intended as an exploration of the way color can created a sense of movement.

My FLIGHT series imagery—birds and winged creatures that overcome gravity through flight—often appears in my art and installations. It stands for overcoming the forces in life that weigh us down and offers an uplifting message of transcending adversity. My work is cross-disciplinary and often incorporates new media elements combined with paint and traditional fine art techniques. My experiments with creating round work in 2006 led to originating my large-scale “constellation” wall installation style in 2010.

FLIGHT artwork was purchased for Fulton County Public Art Program’s permanent collection and has been exhibited throughout Atlanta including: “Be The Change,” a 2021 installation on the Square in Decatur and “Spread Your Wings,” 2022, that was selected for Dunwoody’s Green Light Art project.

Overcoming is one of my themes. In these times of social justice struggles and COVID-19, the FLIGHT series offers a message of hope and inspiration to viewers. www.studiolejeune.com

My FLIGHT series imagery—birds and winged creatures that overcome gravity through flight—often appears in my art and installations. It stands for overcoming the forces in life that weigh us down and offers an uplifting message of transcending adversity. My work is cross-disciplinary and often incorporates new media elements combined with paint and traditional fine art techniques. My experiments with creating round work in 2006 led to originating my large-scale “constellation” wall installation style in 2010.

FLIGHT artwork was purchased for Fulton County Public Art Program’s permanent collection and has been exhibited throughout Atlanta including: “Be The Change,” a 2021 installation on the Square in Decatur and “Spread Your Wings,” 2022, that was selected for Dunwoody’s Green Light Art project.

Overcoming is one of my themes. In these times of social justice struggles and COVID-19, the FLIGHT series offers a message of hope and inspiration to viewers. www.studiolejeune.com

The focus of my current series, Adulting, is about our intermittent struggle with facing the challenges and monotony of the boring, uninteresting tasks that come with being an adult, such as, decision making, mature and healthy expressions of our feelings, paying bills, laundry, the DMV, etc. Often times this has us be more in touch with our inner child, who wants to have fun and not be bothered by these “”adult”” responsibilities. Sometimes this includes us having perceptions of themselves in a distorted or exaggerated fashion when dealing with these scenarios and this series is a humorous approach to expressing these thoughts and feelings.

The focus of my current series Adulting is about our intermittent struggle with facing the challenges and monotony of the boring, uninteresting tasks that come with being an adult, such as, decision making, mature and healthy expressions of our feelings, paying bills, laundry, the DMV, etc. Often times this has us be more in touch with our inner child, who wants to have fun and not be bothered by these “”adult”” things. Sometimes adults also have perceptions of themselves in a distorted or exaggerated fashion when dealing with these scenarios and this series is a humorous approach to expressing these thoughts and feelings.

Adulting, Wheel of Fortune – This piece reminds us that life is a journey with twists and turns. Are our destinations, ups and downs fate or manifestation or a little of both? The wheel highlights some of the stereotypical destinations we all could visit and Praying Pris is wanting us all to get what we want on the wheel.

Gender and power are core concepts in my work. I’ve spent two decades in “The Classic City” (Athens, Georgia) surrounded by a dual Greek culture. Fraternities and sororities separate students by gender and play a part in cementing gender roles and power structures for the next generation; ubiquitous Classical architecture (often accompanied by manicured landscape) is a constant reminder of Western ideals.

I create tiny “plays” with handmade props and puppet plasticine figures to reenact imagined dramas that might happen on any given home game day. These sets become animations and anchor works in a variety of media. Even though my work relies on humor, I’m asking serious questions about how branding, everyday rituals, and consumerism play into established power dynamics.

This work depicts some of the props I made for my newest animation in progress that shows not-so-exaggerated fraternity hijinks and is related to the Supreme Court’s recent decision to overturn Roe v. Wade.

Gender and power are core concepts in my work. I’ve spent two decades in “The Classic City” (Athens, Georgia) surrounded by a dual Greek culture. Fraternities and sororities separate students by gender and play a part in cementing gender roles and power structures for the next generation; ubiquitous Classical architecture (often accompanied by manicured landscape) is a constant reminder of Western ideals.

I create tiny “plays” with handmade props and puppet plasticine figures to reenact imagined dramas that might happen on any given home game day. These sets become animations and anchor works in a variety of media. Even though my work relies on humor, I’m asking serious questions about how branding, everyday rituals, and consumerism play into established power dynamics.

This work depicts some of the props I made for my newest animation in progress that shows not-so-exaggerated fraternity hijinks and is related to the Supreme Court’s recent decision to overturn Roe v. Wade.

Circus Tent is the first painting in a series examining the interplay of color and pattern.

I am not really a “swim in the ocean/ lie on the beach” person, but I still enjoy the beauty of the beach. In this painting I wanted to give the viewer a chance to see the coast with new eyes – combining what you see with connections from the mind.

Summer Kitchen, an earthenware sculpture, tries to hold onto to the bit of cool air at the back porch steps on mornings while working on the summer canning.

Empty Rooms.1, a porcelain sculpture, is part of a series on grief and change from a time when packing up a home that my family had lived in for over 100 years.

Empty Rooms.2, a porcelain sculpture, is part of a series on grief and change from a time when packing up a home that my family had lived in for over 100 years.

Inspired by GA farmland fading into the evening light.

An illusionary composition using negative and positive space, and hard-edge to draw the thoughtful eye through the tight composition from bird to bird.

In my body of work, I create black and brown in spaces where they get to rest and be gentle with themselves and each other because they’re often depicted as “”strong”” and “”resilient”” and they should get to just “”be””.

The Cyanosphere series consist of unique cyanotype photograms combined with both traditional and non-traditional artist materials to form mixed media pieces. The common presence throughout the series is the cyanotype image in the shape of a circle. Closer observation reveals that the circles are containers, holding objects, sometimes distinct, other times amorphous. The images deliberately invoke an idea of scientific observation and documentation. The simple shape of a circle (sphere) can become a stand-in for molecules, simple-celled organisms, persons, spaceships, or even galaxies. While I try to direct the viewer towards the narrative I see in the image with my titles, the simple geometry allows people to bring any interpretation to the image and create their own story.

This project started as a need to return to the physical art object. In the digital age it is all too easy to view images on the computer screen and say job well done. I needed to move off the screen and beyond the plastic ink-jet print to something created by the artist’s hand.

The Cyanosphere series consist of unique cyanotype photograms combined with both traditional and non-traditional artist materials to form mixed media pieces. The common presence throughout the series is the cyanotype image in the shape of a circle. Closer observation reveals that the circles are containers, holding objects, sometimes distinct, other times amorphous. The images deliberately invoke an idea of scientific observation and documentation. The simple shape of a circle (sphere) can become a stand-in for molecules, simple-celled organisms, persons, spaceships, or even galaxies. While I try to direct the viewer towards the narrative I see in the image with my titles, the simple geometry allows people to bring any interpretation to the image and create their own story.

This project started as a need to return to the physical art object. In the digital age it is all too easy to view images on the computer screen and say job well done. I needed to move off the screen and beyond the plastic ink-jet print to something created by the artist’s hand.

During 2020 and 2021, I found myself focusing on the more serious side of my art, adding that to the daily barrage of news we were all being fed about death, loneliness and division. It wasn’t until late 2021 that I realized I needed to steer myself in a different direction, reminding myself of the pure fun I have playing with color and line, with no direction or destination in mind, only listening to and letting my inner self choose my path.

During 2020 and 2021, I found myself focusing on the more serious side of my art, adding that to the daily barrage of news we were all being fed about death, loneliness and division. It wasn’t until late 2021 that I realized I needed to steer myself in a different direction, reminding myself of the pure fun I have playing with color and line, with no direction or destination in mind, only listening to and letting my inner self choose my path.

Over the last three decades, my mind has played tricks on me. At times this would be frustrating. At times exhilarating. But there was a constant stress associated with trying to reconcile the differences between the way my dyslexic brain interprets the world and how others view it. Art has always been a safe space to cultivate and express my experiences.

My artwork seeks to find a balance between abstract thoughts and the material world. I use contrast and texture to communicate in my process driven work. Mixed media painting, collage and sgraffito techniques are currently my most exciting expressions.

For a long time, I tried to hide the lines of color that defined me. My work is a form of meditation that helps to quiet the noise in my mind. The constant push and pull between right and left brain. The battle between conforming and being free.
This unique wiring helps me conceptualize information and communicate freely through a language more powerful then words.

“Spec in the Universe” is a fused glass portrait. The left side is an astrophysicist who observes space. The right depicts the universe. Between the two there is a contrast of of individuals on earth and the whole universe. Progress allows us to improve our view in greater depth enticing us to further our knowledge — to see the unknown, learn of new possibilities, and understand the outer surroundings of our realm.

“Healing Light”, from my Geometric Series, was painted in spring of 2020 in the middle of the political turmoil in the United States. In this difficult time I wanted to capture a sense of hope that I was yearning for — a deep need to bring the country together again through a sense of respect, humanity, community and working together.

“Healing Light” was built layer by layer, as I worked around the textures and colors that I found interesting. Through the use of light emerging from a strong vertical and horizontal structure, I capture a sense of hope and renewal that can come from changing the course of our country when it felt like everything we had built (the structure in the work) was crumbling before our eyes.

It’s the small changes that each person can make that will ultimately change the course of our country.

32830’s imagery depicts landscapes through which humans escape while engaging fantasy, early memories, and visions of ideal states of being. As the boundaries between fantasy and the everyday begin to dissolve the two begin to merge creating a confused and insulating affect. 32830 is an ongoing project that explores the nexus of these converging realities by recording the dioramas, facades, and the translated fabrications of fairytale landscapes found in Florida.

32830’s imagery depicts landscapes through which humans escape while engaging fantasy, early memories, and visions of ideal states of being. As the boundaries between fantasy and the everyday begin to dissolve the two begin to merge creating a confused and insulating affect. 32830 is an ongoing project that explores the nexus of these converging realities by recording the dioramas, facades, and the translated fabrications of fairytale landscapes found in Florida.

In the waters off Newport, R.I., the 2019 12-Metre World Championship was a competitive mix of technology, design, experience, skill, weather and finally luck. All of that is why a select few are drawn to these races. Framed, matted, signed, and numbered under museum glass with a black wood frame.

This is a self portrait taken with a group of mannequins. It is a bedroom scene with lots going on. Enjoy!

My concerns with our environment and endangered species have inspired my work with clay, using my hands to shape the earth in an essential way. I am aware of the resources I use as an artist and aim to conserve whenever I can. These sculptures were created with the intention that they can be displayed outside. Using high-fire clay I threw closed forms on the potter’s wheel, then altered and added clay to the pieces. Firing with wood produces marks on the surface and the placement in the kiln determines the amount of ash glaze that settles on each form. Thus, each sculpture may differ depending on these environmental factors as well as my own impressions in the clay.

My concerns with our environment and endangered species have inspired my work with clay, using my hands to shape the earth in an essential way. I am aware of the resources I use as an artist and aim to conserve whenever I can. These sculptures were created with the intention that they can be displayed outside. Using high-fire clay I threw closed forms on the potter’s wheel, then altered and added clay to the pieces. Firing with wood produces marks on the surface and the placement in the kiln determines the amount of ash glaze that settles on each form. Thus, each sculpture may differ depending on these environmental factors as well as my own impressions in the clay.

I have transformed photographs into a 3-color screen print. I enjoy the discipline of simplifying an image to essentials. The manual nature of printmaking is a welcome respite in our digital world.

I have transformed photographs into a 3-color screen print. I enjoy the discipline of simplifying an image to essentials. The manual nature of printmaking is a welcome respite in our digital world.

Reflections on the dynamic changes in life, inspired by the ocean. Through the ebb & flow of deliberate, accidental, and spontaneous marks I explore the tension between the expected and the unexpected to evoke the ever-changing and colorful nature of the world with its unpredictable ups and downs.

Reflections on the dynamic changes in life, inspired by the ocean. Through the ebb & flow of deliberate, accidental, and spontaneous marks I explore the tension between the expected and the unexpected to evoke the ever-changing and colorful nature of the world with its unpredictable ups and downs.

Trees, like people, are shaped and molded by their environment, and each one is unique and beautiful.
They embrace and endure their circumstances, weather storms, survive bone-chilling cold and drink up withering sunlight.
Nature’s fragrant blossoms burst onto our senses in the springtime, reminding us that renewal and life are infectious.
We too can share our blossoms of joy with the world.
If we give of ourselves like this tree does, our problems will diminish.

My paintings are complex, imaginary, and mapped landscapes that deal with ideas of identity, rootlessness, and belonging; attempting to answer that persistent and ubiquitous question “Where are you from?” In form, this piece combines a variety of maps from multiple places with layers of mapping symbols and personal iconography to create a newfound place of belonging.

My paintings are complex, imaginary, and mapped landscapes that deal with ideas of identity, rootlessness, and belonging; attempting to answer that persistent and ubiquitous question “Where are you from?” In form, this piece combines a variety of maps from multiple places with layers of mapping symbols and personal iconography to create a newfound place of belonging.

My paintings are complex, imaginary, and mapped landscapes that deal with ideas of identity. In form, this piece combines a variety of maps of Atlanta with layers of mapping symbols, personal iconography, and divisive symbolism to weave together an understanding of the identity of the South.

My work begins as a hunt and ends in an intuitive culmination. I am drawn to vintage books for the inherent mystery and authentic energy they hold: an unknown provenance, a mostly undocumented exchange of hands; stains, writings, marks creating an overlapping personal history infused in the aging pages and worn covers. I use the book pages or covers as a base for my pieces and any images I find inside as my inspiration. I then scan, print, collage, paint and draw intuitively to create a composition that centers around the contrasts and energetic subtleties that exist between the physical and spiritual worlds. By adding my work to these books and sending them back out, I feel I am giving them new life while simultaneously imbuing myself in its history.

My work begins as a hunt and ends in an intuitive culmination. I am drawn to vintage books for the inherent mystery and authentic energy they hold: an unknown provenance, a mostly undocumented exchange of hands; stains, writings, marks creating an overlapping personal history infused in the aging pages and worn covers. I use the book pages or covers as a base for my pieces and any images I find inside as my inspiration. I then scan, print, collage, paint and draw intuitively to create a composition that centers around the contrasts and energetic subtleties that exist between the physical and spiritual worlds. By adding my work to these books and sending them back out, I feel I am giving them new life while simultaneously imbuing myself in its history.

This body of work merges science and art by exploring the complicated relationships between observation, representation, and understanding. The images were realized through the creation of three-dimensional sculptures for the purposes of making photographs. At times referencing lunar models, Apollo era images, and telescopic astrophotography, this body of work bridges a gap between historic and modern modes of scientific representation while re-contextualizing and bringing them into a contemporary vernacular. The images presented using historic photographic processes such as salt prints and cyanotypes as well as more contemporary silver gelatin and inkjet prints. The transformation of sculpture to prints provides a contextualization of photography’s ability to render convincing, useful, yet misleading scientific imagery. In their presentation, the images encourage the viewer to take a closer look at science, the imagery that represents it, and how it impacts popular understanding.

This body of work merges science and art by exploring the complicated relationships between observation, representation, and understanding. The images were realized through the creation of three-dimensional sculptures for the purposes of making photographs. At times referencing lunar models, Apollo era images, and telescopic astrophotography, this body of work bridges a gap between historic and modern modes of scientific representation while re-contextualizing and bringing them into a contemporary vernacular. The images presented using historic photographic processes such as salt prints and cyanotypes as well as more contemporary silver gelatin and inkjet prints. The transformation of sculpture to prints provides a contextualization of photography’s ability to render convincing, useful, yet misleading scientific imagery. In their presentation, the images encourage the viewer to take a closer look at science, the imagery that represents it, and how it impacts popular understanding.

This body of work merges science and art by exploring the complicated relationships between observation, representation, and understanding. The images were realized through the creation of three-dimensional sculptures for the purposes of making photographs. At times referencing lunar models, Apollo era images, and telescopic astrophotography, this body of work bridges a gap between historic and modern modes of scientific representation while re-contextualizing and bringing them into a contemporary vernacular. The images presented using historic photographic processes such as salt prints and cyanotypes as well as more contemporary silver gelatin and inkjet prints. The transformation of sculpture to prints provides a contextualization of photography’s ability to render convincing, useful, yet misleading scientific imagery. In their presentation, the images encourage the viewer to take a closer look at science, the imagery that represents it, and how it impacts popular understanding.

“3” is a Surreal/Visionary landscape that invites the viewer to explore and suspend belief, and ultimately connect with the unconscious in order to complete the story.

“10” is a Surreal/Visionary landscape that invites the viewer to explore and suspend belief, and ultimately connect with the unconscious in order to complete the story.

The seaside town of Provincetown has been one of my inspirations for decades. The beauty of the town in sunlight continues into the evening. No longer aware of the vastness of the surrounding ocean I find myself focusing on how buildings emerge from darkness when lit by surrounding light sources.

The seaside town of Provincetown has been one of my inspirations for decades. The beauty of the town in sunlight continues into the evening. No longer aware of the vastness of the surrounding ocean I find myself focusing on how buildings emerge from darkness when lit by surrounding light sources.

A whimsical ceramic sculpture, depicting an English badger in a waist coat. The work was hand sculpted and painted using a combination of low fire underglaze and later acrylic coatings. Part of the artist’s Goblin Market collection, the creature reaches out, kindly offering his hand.

Low fired, frit painted, ceramic strawberries arranged in Cone 10 reduction bowl. A collage sculpture relating to sensory memory and trauma healing.

Sublime redefines what makes a still life, documenting the passage of time through recontextualizing components of visual art history. Instead, this work considers still-life history to be small passages of time depending on which aspects of the paintings you choose to focus on. Similarly, Sublime recalls times from some of the most defining moments in my life, thinking about recontextualizing a still life with a contemporary voice. Multiple digital clocks flash, cataloged over twenty years, the various times, with different technologies, all the last impressions of moments right before sublime experiences. Shifts of time are represented by the slightest shift in digital clocks, just as they’ve changed throughout time.

My work is concerned with narrative and symbolism. It is an investigation of images of personal significance and an attempt to translate the personal into a universal reading by using symbols and metaphor. Visual storytellers Lynd Ward and Frans Masereel, as well as comix and graphic artists are an influence in much of my work. The visual iconography of medieval woodcuts and altarpieces serve as inspiration and a system of communication based on images and commonly understood symbols as opposed to reliance on the written word.

“Jazz Drummer” represents an example of an important art form invented by Black people. Not taking for granted the years of hard work and skill required to achieve the greatness that so many have achieved without being so-called “Famous”.

I want to challenge viewers to question the textures, patterns, and organic entities placed before them as I strip office supplies of their commonplace function. With each piece, I create or utilize a mechanical process of sorts and repeat that process to develop a form or effect. Light is important because it emphasizes a blurred distinction between familiar reflective surfaces and in some cases creates a paradox of fragility. My work is a testament to the monotony of the daily grind and revealing the beauty in the mundane.

See You Tomorrow is an abstract painting created by Amy Strand as part of her larger body of work portraying the intimate yet universal moments of everyday life. She uses expressive gesture and whimsical color pallets to invoke a sense of nostalgia and sanctuary within the confines of a canvas. See You Tomorrow was created as a kind of vessel within Amy’s artistic world. The energetic shapes within the painting are reminiscent of a floral arrangement, one that is being continuously replenished and repositioned, forever changing but always an expression of kinship and love. The work stands as a window, inviting the viewer in to take rest.

This work is part of a Parade Series which documents the participants in a parade of little known characters. These parade participants are demonstrating their part of an overall awe of the world.

This tiny patriot is celebrating her citizenship after being denied this right because she had two dads. Both fathers, who are US citizens, had to wait for their daughter to become a legal resident until a new administration was voted in. Voting matters.

“Highlight Current” was inspired by a weeklong visit to the village of Selsey, England, a small seaside town on the English Channel. The evening sun would burn hot and make the Channel appear golden. I drink in visual experiences like these, where I feel focused and clear and calm.

I am a quilt artist and my response to this challenge naturally emerges from my discipline. As I was designing and constructing this piece, I couldn’t help but reflect on the idea of a quilt as a metaphor for our community. Decatur is a diverse and vibrant city. Like a quilt, each piece (person) is unique and essential. We are stitched together by our individual and shared stories. Like a quilt, our assembled community is greater than the sum of its parts. This piece is a contemporary interpretation of the City of Decatur logo. The traditional craft of quilting combined with the modern design represents the history and future of our beautiful city.