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2019 Montgomery County Studio Tour Sponsors

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Sandy Alves
My work is primarily the result of my love for art; it is both a challenge and an outlet, a discipline and a passion.I try to convey my own sense of reality or fantasy and hope to engage the viewer in sharing this pictoral illusion. I define my work as a balance between mastery of technique, an opinion to express and an emotional reaction.
Lisa Applegate
Dreams really do come true! After 30 years of working in the corporate world, it was time to begin living my dreams. Thanks to my husband's persistence we decided to take my hobby to the next level. I was ready for more. I wasn’t sure exactly what “more” was but, quickly came to the realization that life is too short not to be doing what you love. I have been making jewelry for nearly 20 years. I am a self-taught jewelry artist and have yet to find a medium that I haven’t enjoyed. To say I am addicted to color is an understatement. My sister and I had worked for nearly three years on developing a technique for painting lucite flowers. I must admit this is my true passion. My jewelry line consists of various techniques including wire wrapping, metal work, bead weaving, stitching, loom work and enameling, just to name a few.

We opened our new studio in October of 2018, which carries the name from where it all began - in our home, house number 36. Studio 36 carries beautiful hand-painted treasures, photography, jewelry and amazing handcrafted one-of-a-kind gifts including conversational Steampunk style lamps created by my husband, Jack. There is a story behind each piece so be sure to ask when you stop in. We offer a variety of classes. Be sure to check out our website for additional information.
Laszlo Bagi
My serigraphs are a combination of visual memories, color impressions, personal emotion, and experience, put on paper with the hope of evoking a response within the viewer. The art is planned and drawn; then each print is hand printed by me — one color, one sheet at a time. Each print is unique — the result of a slow, careful process.
Gillian Bedford
Gillian Bedford is a versatile artist who paints in watercolor, oils and acrylics. She uses watercolor for small studies on watercolor paper and then later paints oil on canvas or acrylic on canvas from them. For the last year Bedford has used acrylics because she has been on the road, across America, painting scenes from Michigan, Wisconsin, Iowa, Oregon, Washington, California, Arizona and in her studio in Huntingdon Valley, PA. Other times when making artwork Bedford draws directly on the canvas and builds up her paintings. Using acrylic paint has helped the artist be able to change up what she is doing quickly so that there can be better and better iterations before she settles on her final painting. The paintings, full of color and emotion have an expressive quality and an abstract nature, yet usually refer to an image or scene. She is an artist who has deftly described loud and quiet passion, thereby developing her own style and original body of work. Bedford is from a very artistic family dating back to Daniel Burnham, who was the chief architect designing the city of Chicago after the great fire in the 1860s. At Bryn Athyn College, Bedford studied social science and history. Later, she studied painting at Tyler School of Art and began to develop her signature style in understanding human emotion in her paintings. While each painting ?speaks for itself,? there is an underlying significance that describes the style and quality of her work.
Harry Boardman
I'm always on the lookout for something to paint, preferably an old neglected barn or outbuilding.  Pennsylvania's landscape inspires me to no end: the trees, sky, and rolling fields.  My primary medium is oil pastels: messy, rich, and unique in every way.  They are also an outstanding blend of painting and drawing.  Sketching in ink is a lifelong love. I build my own frames and try to handle as much of the creative process in-house.
I can be found in a former cigar factory in Souderton PA where I live and work with my wife Heather and our dog Crusher.  We've put our heart and soul into this building and have been welcomed with open arms by this charming revitalizing town.
Anna Boothe
With technical inspiration taken from a 19th C French glass-casting technique known as pate de verre, my glass assemblages are created in a kiln by fusing sugary particles of lead crystal. The individual elements are first hand-carved in wax or cast directly from botanicals; and once transformed into glass, are combined to create multicolored jewel-like objects I refer to as talismans (hand-held, free-standing and wall-mounted) and a variety of one-of-a-kind sculptural constructions including vessels, goblets and flacons. Imbued in each object is a reference to historical artifact, a sense of preciousness and the intangibility, yet familiarity that is associated with collaged memory. Many of the parts incorporated into the works are influenced by Buddhist iconography. From this vocabulary of symbols, often featured are plant and human forms, including the hand motif as it represents a ubiquitous cross-cultural human tool of expression, through its symbolic gestures of friendship, generosity, holding, letting go, etc.
Anthe Capitan-Valais
The arts are my passion... Creating work is much like breathing, I simply do it because I must. Nothing in life is exactly what it appears to be and art in my estimation should reflect the same as life, the unexpected. I have always been an artist of some sort. When I was a child I would take the cardboard pieces out of my dad's laundered shirts to paint and draw upon. I couldn't wait for the next delivery of clean shirts as it would be loaded with many a blank canvas for me to make my creations. I use to get paint by number kits and I was never one to stay in the lines so with those paints, my imagination and the cardboard from my Dad's shirts... I would paint. Time passed and as a young adult I was a dancer which was fun and an exciting way of expressing myself. However, I was hit by a drunk driver and that put an end to my dancing career but not to the passion of what I felt when dancing, which remained within. Now through my love of art and creating artworks, I am able to once again express the movements I remember so vividly. Whether from live performances, classes, or from memory, the image of movement is incorporated into the work. The paintings I create are inspired by drawings that I have done by monitoring classes or attending performances where I draw, observing while in the audience. Utilizing my skills as a print maker I incorporate; monotypes, backgrounds painted on panels, or other substrates for my images of movement to be drawn upon. Once the drawings are completed from live movement whether, music, dance or other, I take them to my studio adding; colored pencil, paint, pen and ink, etc. creating mixed media works.
Joanne Legnini Carothers
With the rapid loss of open space and natural forests, I am driven to portray my love for organic, natural forms, and woodlands. Many of my pieces are made from pulp of recycled paper and may include bark for texture and added dimension. An optimist at heart, I try to make art that is uplifting, and at times with thoughtful commentary. I studied the German Expressionists, Impressionists, and many contemporary printmakers; with these influences my artwork is both representational and abstract. My passion for printmaking lies in the endless variety of techniques for manipulating materials to express my ideas. I find interesting textures using natural materials and found objects etched, inked, or impressed into thick rag paper. I also blend fields of color with more direct painterly techniques in monoprints, where accidents can be fascinating.
Carl Cellini
I am interested in the physics of our world; quantum theories, space, time and the repeating patterns and laws of our universe. When I paint I am searching for a unifying theory. Worm holes and DNA code fascinate me. All this may be seen by the viewer or not.They will have their own relationship with the paintings.
Polly Davis Chalfant
My most recent endeavors are into an imaginative world I call 'Polymorphia' (meaning many forms). Discovery occurs throughout the process, allowing poetic moods and multidimensional characters to unfold. My vision is to have these unique personalities and otherworldly places evoke an emotion in the viewers taking them on a journey of their own interpretations.
Catherine Colsher
My personal visions are expressed through finely detailed paintings and copperplate etchings. Although I enjoy exploring a variety of subject matter, I am particularly drawn to the serenity and elegance of nature and its many moods. A native of Philadelphia, I began my career in art as a graphic artist and pursued the fine arts full time in 1988. It is my passion to convey and honor the beauty of nature through my work.
Eileen Cressman-Reeder
When first seeing my work, I'm often asked, 'How do you come up with this stuff?' I don't know. But my hope is for my work to shed light on the humor of everyday life. Humor connects us in a positive way. Smiling and laughing is beautifully contagious. I aim to spread a little happiness to those who I touch through my art and teaching. Smile on, friends, smile on.
Leslie Ehrin
Leslie Ehrin started painting at sixteen months of age, when her mother introduced her to painting murals using tempra paint in the bathtub, with sheets of newsprint taped to the walls. Later, she earned Bachelor of Arts Degrees from The University of Pennsylvania, in Art History and English Literature. She then studied painting at Pennsylvania Academy of Fine Arts.

Professionally, Leslie climbed the corporate ladder in book publishing and then, for nine years, she managed the fundraising art gallery at Philadelphia Museum of Art, called “ArtWorks”, where she sold and rented local artists’ work to area corporations.

Leslie's Colorist painting style has evolved over the years as she has experimented with a variety of media. She uses acqueous media punctuated by thick, impasto surface texture that is inspired by nature and traveling to iconic landscape destinations. Rural landscapes and garden images from Tuscany, PA Farms, and S. Africa, along with coastal paintings from Maine, Nantucket and the Jersey shore characterize her work, as do abstracts. Her paintings have been sold to collectors on four continents through galleries, art consultants, art fairs, juried invitational exhibits and the internet. In addition to showing regularly at regional art centers, she has had One Woman Invitational Exhibits at The University of Pennsylvania Burrison Gallery, and Cabrini University. Locally, she has shown with Artist’s Equity Tri State, Pottstown Artist’ Association Guild, Paoli Hospital’s Fine Art Show, The Devon Horse Show Art Gallery, Immaculata Art Show, Yellow Springs Art Show, and Academy of Notre Dame Art Show and others. Leslie has taught as Adjunct Faculty at Cabrini College, The Wayne Art Center, and Long Beach Island Arts Foundation.
Natalie Eisen
Painting and drawing has always been an escape for me. I discovered that I no longer had to live in the real world. I could visit places real or imagined and forget whatever it was that was troubling me. While working, all sense of time disappears and I am only in the place on the canvas. I prefer painting landscapes and natural things. Nature is always changing yet consistent and dependable in its beauty. I am inspired and uplifted by the changes, colors and shapes surrounding me in the outdoors. Viewing and painting these vistas take me to a place that is always rewarding, never disappointing. I want the viewer to feel like they are actually there on site, looking at what I have witnessed. I want them to hear the leaves blowing in the breeze, smell the flowers and feel the temperature. I paint in acrylics but was trained using oil paints. After developing an allergy to turpentine I switched to acrylics. I don’t use glazes to achieve depth, I use color and gel medium. Each subject touches me in a unique way. Some images are more realistic, some more abstract. It’s my way of allowing the viewer to create their own story about the painting.
Natalie Eisen
Painting and drawing has always been an escape for me. I discovered that I no longer had to live in the real world. I could visit places real or imagined and forget whatever it was that was troubling me. While working, all sense of time disappears and I am only in the place on the canvas. I prefer painting landscapes and natural things. Nature is always changing yet consistent and dependable in its beauty. I am inspired and uplifted by the changes, colors and shapes surrounding me in the outdoors. Viewing and painting these vistas take me to a place that is always rewarding, never disappointing. I want the viewer to feel like they are actually there on site, looking at what I have witnessed. I want them to hear the leaves blowing in the breeze, smell the flowers and feel the temperature. I paint in acrylics but was trained using oil paints. After developing an allergy to turpentine I switched to acrylics. I don’t use glazes to achieve depth, I use color and gel medium. Each subject touches me in a unique way. Some images are more realistic, some more abstract. It’s my way of allowing the viewer to create their own story about the painting.
Terri Elliott
Terri Elliott is a watercolor artist. Her work has a very organic feel. The love of nature and animals is apparent in her choice of subject matter. Her paintings show much detail. <br><br>Terri has lived in the Chester County for 3 years. She is a member of the Delaware Valley Art League and The Haverford Guild of Craftsmen.
Gail Fox
I have always painted nature. My first exhibited work, 'Tree,' painted at the age of five, was part of a traveling exhibition of children's art curated by the Philadelphia Museum of Art. My search has always been for particular locations and particular subjects that beg recording. In woods, alongside fields, in quiet gardens, in solitary places, I find a source for personal works. Like Wyeth, Winslow Homer, and Georgia O'Keeffe, I try to bring to life an equivalent of the intensity and beauty that I find in nature.
Lorraine Glessner
Using landscape as inspiration, connection and metaphor, my interest is in the exploration of human interaction and psyche-the navigation of the line between what is hidden and revealed to others. Real and imagined stories exploring inner demons, desires and vulnerabilities of the human mind fuel my work. The consequence of revealing what is hidden can be both a dream and a nightmare, causing a chain reaction gamut of emotions ranging from anguish to exhilaration. The amalgamation of these intense emotions and the simultaneous existence of danger and seduction within the earth and the body is what I investigate through my work. Recent paintings involve the process of digitally layering satellite image captures of abandoned manufacturing, amusement and housing development sites along with my own photographs of abandonment and loss encountered during urban hikes and cemetery explorations. These digital studies are translated into paintings beginning with a dense under-painting of organic forms consisting of swirling clumps of lines referencing roots and veins-the underlying channels integral to life. This framework serves as an infrastructure for subsequent layers of encaustic paint, fabric and human hair. Collaged fragments of found images act as another form of paint as well as trigger memory and create personal connections. Through the mark-making and painting process, the actual storied histories of the combined images is interwoven with my own personal experiences and imaginings about their history. As the painted and collaged layers accumulate, patterns begin to fuse, splinter and regenerate, acting as a metaphor for the volatility and vulnerability found in the relationships between earth and humankind and between humans themselves.
Liz Griesser
Liz Schlag Griesser is a native of Chester County and has been in the graphics and art field for over 25 years. Upon graduating from Hussian School of Art in 1986, she was employed as a graphics designer in various busineses. While working full time, she founded Lizard Graphics, Inc. were she has refined her sense of design, space, color, and composition. After a long break Liz returned to her first love, painting. First by taking painting classes at Yellow Springs and then continuing with other classes and workshops. She paints in oil in a traditional style. Liz is a member of Flying Colors painting group, West Chester Guild of Craftsmen, Pottstown Artists Guild, and the Pennsylvania Guild of Craftsmen. It is was a thrill to establish her studio in the Yellow Springs village at Connie's House in late 2014.
Bob Hakun
I collect old, discarded items: some natural like bones or wood; some man made-like wheels or wire. I look for old things that show the graphic effects of aging: the beauty and harshness of the breaking down over time of all things. I look for things that are burnt, broken, rusty, crushed, bent, and stained. These things have an implied history or narrative. The final art work will tell a story or convey a message, but the interpretation of that message is up to the viewer. I do want the art to have an emotional presence but refined aesthetics are secondary to the context.
Barbara Handler
For the past several years, I have found myself moving away from figurative work and exploring what I could do with manipulating the pigments on the surface. Sometimes the work is purely abstract, and sometimes, the image suggests something figurative. I have learned to “go with the flow” and to allow the work to take me where it will. In my paintings, I enjoy exploring the relationships between dynamic colors and shapes. This series lead me to work with the juxtaposition of very warm and very cool colors, and the natural push-pull of the colors in relation to each other. Sometimes I can actually “feel” the vibrations of these elements, and the song within each image.
Carol Heisler
Carol Lee Heisler is an imaginative quilter who is driven by an incredible passion for self-expression through fabric. Her works are often noted for their unique style, elegance, and technique. Carol has developed an innovative style that blends precise realism with abstract expressionism. Her use of vibrant colors and strong lines make her work an excellent choice for a wide range of projects and purposes. Carol is accomplished in using traditional methods as well as modern technique. Her quilts have been featured in magazines and galleries across the nation. Although Carol loves to express her vision through art, she is also adept at creating commercial works and readily communicates the vision of her clientele.
Bradley Hendershot
Rural Pennsylvania and coastal Maine – regions that I know well, regions that have special meaning to me. An old stone mill, an abandoned farmhouse, an empty corncrib, an aging barn – each one a structure yet much more. Time and history have left their imprint. Each one evokes a special place, a special time. They are all a part of a rural community and a way of life that is quickly fading into the past. They are all a part of the Pennsylvania heritage that is rapidly disappearing. I’d like to feel, in a way, that I have preserved them in my paintings. A stately lighthouse watching over a stormy sea, a weath-ered lobster shanty on a tiny island, the pounding surf on a rugged shoreline – places that evoke special emotions. I’ve always loved the sea – the salt air, the sea spray, the energy of the surf, the legends of the coastal lights, the romance of it all. I hope these feelings come across in my paintings of two places that are very special to me – mid-coast Maine, and the remote Monhegan Island.
Michael Hill
My works are heavily influenced by architecture and nature. I believe that both nature and architecture are intertwined. I love the details and believe that’s part of the narrative in my works. I seek out subject matters that have light, color, and, texture to show the beauty of how I perceive the world. My paintings tell the stories of my journeys through life. I will stop take a photo, and then translate what I perceive and tell it though paint. I want to take the viewer with me through my journey in life, and hope they will enjoy my story, if it be beautiful and scenic, or hard and gritty.
Kimberly Hoechst
One of the greatest joys of having become a painter is going through each day perceiving things with an eye toward their potential to be expressed as art. The interplay of light and shadow inspires me to paint because this dynamic can make ordinary things intriguing or dramatic and reveal beautiful things in an unexpected way. Portraying this yin and yang is central to all of my work, and though it encompasses a range of genres &mdash; architecture with landscape, cityscapes, interiors, and still life &mdash; light and shadow, more than specific objects in my paintings, are my true subject. I work primarily in oils because I love the vibrancy, malleability and durability of this medium. I vary my results by working on a variety of surfaces including metals such as copper, zinc and aluminum, wood and hardboard panels, linen and canvas. My process involves direct painting done in multiple sessions. Over time I refine the depth and nuances of the shadows with transparency, strengthen the brightness of the light areas with opaques, and enhance the overall paint quality by building up the surface.
Katharine Krieg
Katharine Krieg (b.1970) is an artist working in the mediums of watercolor, oil and charcoal. Inspired by her surroundings, she feels her paintings are her answers to what she observes. A quiet sense of Introspection and the passing of Time are themes that recur in her works of still life and landscape. Katharine maintains a studio in Montgomery County, PA and holds an annual open studio in Maine each summer. She is honored to have been accepted into national as well as regional open juried shows and invitational shows. Her work can be found in collections throughout the United States and abroad.
Steven Kulp
Most of my work is done in whats call Found Wood, as the name implies it's that twisted stick you picked up and saw a bird, a horse, a dragon, then threw it to the side. Well I see the same thing, I just don't throw them to the side.
Alecia Miller
I like to touch things, to feel their textures in my hands, to connect with things on a tactile level. This has led me on an artistic journey through fabric, clay, and mixed media. The search for connections began early in my life. My parents came from different religious backgrounds, there was a blending of traditions, and after their divorce, exposure to a wide variety of beliefs as they searched for meaning. I read a lot about religion in those days - looking for similarities amongst the differences, searching for common experiences among people. Three main themes continually emerged - sacred geometry and the repetition that runs through all living things, man's relationship with nature, and childhood memories and experiences. I have become a collector of these things. A collector of signs and symbols that merge and flow across cultures; a collector of wonder and peace found in the woods; a collector of the sounds of bees and birds and wind and water; a collector of memories and mythologies that make up the stories of people's lives. As these work their way into my paintings, I hope to evoke the senses and spark some remnant of memory in the viewer - whether it is the quiet of their favorite hiking spot, the energy they feel upon waking, or a glimpse back through their childhood eyes.
Laurie Milligan
Sweetest Song Pottery is handmade and individually created which makes each piece unique. Items are both works of art and functional for daily use. My methods of creating are to primarily hand build, somtimes throw on the wheel, or a combination of both. Unless specifically noted on an item, the clays and glazes that I use are lead-free, non-toxic and food appropriate. Having conformed to a corporate environment for many years, I find a creative release in working with clay. My individuality is expressed through the molding and formation of usable vessels, decorative figurines, and jewelry. Adding slip, interactive pigments, and glazes, further enhances each piece and adds to its originality ... no two pieces are exacty the same. To find more information, please visit my web site or my Facebook business page: Sweetest Song Pottery.
Mary-Lynne Moffatt
Contemporary America Folk Art. One of a kind creatures and creations. White clay is the primary structure and “skin.” Working from and with common objects such as old clothes pins or paintbrushes, the clay is added and sculpted and assembled into the artists classic and quirky characters. One at at time, one of a kind. Sculpt. Assemble. Illustrate.
Lisa Muller
Painting can be a place to bring rhythm into focus. As I wrestle with the need to control my materials I realize they need to breathe just like I do. My own imagery keeps me guessing long past the last brush stroke.
Lee Muslin
Guided by intuition, I strive to produce work that is a compelling visual experience in my abstract, acrylic paintings. I create a complex surface using many techniques that may include collaging, stamping, stenciling and mark marking. Much is improvised as the artwork develops. A back-and-forth between spontaneity and intention characterizes my approach. Painting in the moment, I yield to the process to unearth the painting's potential. Then I step back to evaluate the formal concerns of line, color, shape and balance to influence my next move. This visual dance creates many layers of paint over line and texture leaving intriguing traces of what came before.
Jeanne O'Shell
My current body of work focuses on dolls as the subject matter. I use dolls as a surrogate for the self, a way to access events and feelings much like child at play or a couple in a therapy session. I plan on using this as a transition between painting still life back into painting the figure. I hold the believe that the figure is the most powerful shape in art no matter what form it takes.<br> When I attended PAFA in 2010, becoming a painter wasn’t feasible to me. My passion was drawing comics and my exclusive goal was to perfect my drawing of the figure. In my mind the most powerful tool in art was a relatable protagonist, which could only be done visually by mastering gesture, proportion and anatomy. Although drawing the human body was my focus, some painting courses were mandatory and naturally unavoidable. As I painted outside of class, I gradually enjoyed it more and eventually declared it my major. My original outlook of becoming a comic artist vanished, I became very fond of Japanese culture which inspired me to make collages out of washi paper once I entered my studio years.<br> Up until a year after graduating I worked in collage almost exclusively. Eventually I began to try and cut extremely tiny pieces to make gradients. It became very frustrating, so I made the switch back into painting. I moved back into my parents and the only space I could make work in was the basement, which needed a massive cleaning. Here I found my old childhood toys, the kind of toys aimed at young girls. Dogs with long eyelashes and pearl necklaces, Barbies with glittery studs in their ears and hares that lived in cupcakes. Things that were very politically incorrect to assume that little girls wanted, and yet I did want it. Even today, the color combinations I favor most are the ones from old toys I cherished, which also were also like the washi paper I used.<br>There are companies that know what we want better than we do. My assumption would be they are mostly made up of men, perhaps these men knew me better than I know myself? I began to think that the feminine wasn’t a mystique but one of many algorithms that companies market to. I became fascinated with the dolls, a way for young girls identify with an object, to feel unique when in reality they were anything but. When at play a young girl feels like a protagonist but she is actually part of a larger machine. <br>When painting, I attempt to have the mentality of an engineer. I tailor my palette to my subject matter and try to stick to five colors or less. I try to think of what is the least amount or brushstrokes I can complete the painting in. What is the most efficient way to utilize the brush? Perhaps it’s better if I use something other than a brush, a knife or a found object might be more suitable. I spend more time planning than painting the final product. <br>I plan to continue to explore the relationship between dolls and the female figure. How an adult views a doll is very dissimilar to how an adult views the female nude, which I find it very fascinating since they share so many visual similarities. And I still hold that the best way to explore a visual relationship is with painting. <br>
Annie Patrizi
Annie Patrizi is a third generation graduate of Philadelphia College of Art and a self expressive naturalist hoping to connect with likeminded sensation seekers who have a passion for fine art.
Jeanne Petrosky
Jeanne Petrosky & Dennis Guzenski are partners both in art and marriage, collaborating on their hand made paper art . They have been pushing the limits of papermaking since 1987 by making all their own paper in an unconventional way. Spraying acid-free cotton fibers onto a wire mesh creating a light yet strong sheet of paper up to 4' x 8'. While the pulp is wet, the surface is textured with various tools. Once the paper is dry, it is sealed and embellished with acrylic glazes. Jeanne & Dennis?s art focuses on the appreciation of subtlety and the expansiveness of simplicity, seeing the interplay of color and texture within the form. Their use of texture, layering of papers and a dimensional presentation has become a part of their signature.
Cyndi Philkill
I have always loved art materials from as early as I can remember. This is what has drawn me to mixed media and assemblage. I love the way a paint brush feels in my hand, the richness of color that an oil pastel leaves as i draw it across the paper, the second skin that dried glue leaves on my fingers or the way old letters carry the memory and essence of the person who wrote it. <br><br>I utilize old paper, ephemera, hand-printed tissue paper, old letters, correspondence, found objects and other items that many people would throw away. <br><br>I love people, hearing their stories and discovering some insight into who they have become and why. My artwork often combines my love for people and their stories with using unusual materials and supplies to tell those stories. I try to offer some insight and curiosity about people and their lives to the viewer. <br><br>I currently work at a hospice and train volunteers to visit with hospice patients bringing them companionship and socialization. My current work explores the marginalization of the elderly and how we often miss or dismiss the experiences and inner-life of our elders. My mixed-media pieces encourage the viewer to see our elders as people to be seen and known beyond the external looking for their inner life, dreams and passions.
Lee Pohlsander
My artistic practice is based on exploration and observation. When a geographic move allowed me to explore a new (to me) physical world, I observed beauty in things otherwise unnoticed: a shiny manhole cover, fancy signs for businesses long gone, a child eating an ice cream cone, a woman standing confidently, the way the grass looks against the mountain when you are in a canoe, the quiet feeling you get on a warm day at the lake. Fine art expression combined with graphic sensibility gives me much to explore and develop. I can&rsquo;t wait to see where these paths go next. Let&rsquo;s view the world together, meandering toward beauty and meaning.
Lorri Primavera
I trace my passion for making things back to early childhood. My father was a furniture make and I remember spending countless hours in his studio, sanding, assembling and watching the artistic process. However, even at a young age I knew I was drawn to smaller objects. I received a fine arts degree in sculpture and jewelry from The University Of Dayton and through the years have been passionate about painting, fibers, clay, wood, metals, mosaic and stained concrete. My husband and I have, with our two children, over the years renovated two sad little homes into jewels using many reclaimed, local and nontraditional materials along with our artistic talents. This was all before these ideas were considered “green”. These combined experiences come into play with every new creative experience. I am a firm believer in ?less is more? and think that what is left out of a piece is just as, or more, important than what is included. My process is intuitive and begins with shape and color but ultimately is about the wearer and how they will feel in one of my pieces. I strive to create jewelry that rise above trends and have a lasting aesthetic. One of the things I love most is when people tell me how good they feel wearing one of my pieces. It is a very intimate process from start to finish. In 1997, along with two other artist/friends, I co-founded Heron Studios, a working artist community in a local circa 1800?s fabric mill. Later in researching the building we found that some 100 years ago there had been a similar community. Today it houses over 20 artists studios and continues to grow into a wonderful artist enclave. It is such an inspiring place where critique and camaraderie are always on hand. It keeps me centered and connected in a way that having an isolated studio couldn?t. I believe that fine craftsmanship and creativity creates a web of community that makes us all stronger. I hope my philosophy and love of what I do is evident in my work. To find out more about Heron Studios visit us at
Dale Roberts
The work that I am currently engaged in is the pursuit of a direct reaction to the physical, visible world. I Paint from life, with the aim of producing an evocative result using paint as a metaphor to stand for what is seen and felt. The principle medium with which I carry out my major work is Encaustic, a paint I make in the studio from dry pigment, dammar resin and beeswax. The character of the medium, and the methods I have developed to use it have become integral to my interpretation of themes and subject. The landscape with all the changes of climate, light, qualities of space and texture has become my primary source of inspiration. Often that landscape becomes more interesting when punctuated or even violated by man- made structures and changes. The permanence of encaustic, its tactile qualities and rare qualities of luminosity make the medium well suited to the concerns and emphasis I wish to impart to my work. It is my hope to reward the viewer on many levels both visually and viscerally as they spend time considering the paintings I’ve produced.
Jeff Schaller
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Jeff Schaller
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Roberta Schlesinger
I think of all my extensive body of work as an exploration in defining beauty*. My work in floral watercolor ranges from hyper-realistic traditional botanicals to more impressionistic works. My goal with my botanical work is to capture the beauty of nature in a way that educates and informs the viewer. My watercolor portrait/collage work also seeks to define beauty by depicting portraits of modern women in a variety of historical and literary roles. The watercolor portraits of women feature collage backgrounds and often, collage clothing and accessories. 'Defining Beauty' is also the title of my current retrospective show in Georgetown, Texas.
Angela Serricca
I am a metal artist and photographer who creates decorative, wearable & memorable means of expression. I've been a member of the PA Guild of Craftsmen since July 2018. I am a 2007 graduate of Tyler School of Art (of Temple University) where I earned my Bachelor of Fine Arts degree for both Metalsmithing and Sculpture. While in college, I experimented with paper pop-up influences and how it could transition to design elements in sheet metal. My smallest jewelry piece created using this technique was a pair of 1/2" square earrings that cradled the earlobe. The largest sculptural piece created with this technique was a giant 3'H x 6'L bent sheet of steel that was installed 6' high up in a corner to mirror the steps adjacent to it. After graduation, I worked for 8 years as a portrait photographer capturing memorable moments at a chain studio and then at a local photo company. I then decided it was time to rekindle my love of metalworking and ventured out on my own to focus on merging my creative passions. In June of 2015, I officially started my own business named Serricca Studios. I enjoy exploring surface, dimension and space, as well as the unity of organic imagery with minimal and structural design. Therefore, I decided to revisit my pop-up techniques used back in college. "Garden Collection" was my first jewelry study that later became the primary style choice for both my jewelry and sculptural work. My work currently consists of one-of-a-kind, series and custom artwork that utilizes my knowledge in sculpture, jewelry and photography. Copper is my preferred metal of choice due to its warm color tone, ability to fuse with vitreous enamels, to react with colorful patina solutions and to chemical etching processes. Through use of a piercing and sawing technique, sheet metal is hand-cut and formed to create dimensional designs influenced by nature and paper pop-up techniques. Surfaces may feature a patinated or enameled finish to complete the piece as a wearable work of art for personal adornment, or decorative artwork for personal expression.
Lynnette Shelley
'One of my primary artistic interests is exploring animals, icons and archetypes. Whether painted on cave walls, portrayed as omens or totems or even worshiped as personifications of the gods, animals were a favorite motif for our ancestors, and they still continue to infatuate people today. Animalistic imagery and themes can be seen in pop culture in everything from folklore and mythology to cartoons, logos and mascots. My artwork takes a closer look at this archetypal animal kingdom. Reinterpreted through art, abstraction, decorative element and contemporary vision, these creatures speak to our collective unconscious. In addition, I like to paint artworks incorporating endangered or extinct animals, and also unusual animals, to bring awareness to what we as humans are doing to our planet, as well as to explore all the varieties of life around us'.
Brad Smith
I use traditional furniture techniques including a 100 year old ax handle lathe. I use local hardwoods and recycled wood and parts.
Kimberly Stemler
My paintings are densely patterned, focused on color, filled with yearning. I am captivated by the earth’s linear quality, the moment of place where sky touches earth and what happens in those remaining spaces that eventually arrive at our feet. I chisel away at the natural world, patching together bits and pieces, composing and rebuilding the landscape. Repeated fragments, dissected skies, slabs of earth. Separating the land with paint, my intent is to look beyond and through. Capturing moments, glimpses of creation, landscapes, the order of atmosphere and the outside world. Its central formations and ecosystems, fields stumbled upon or driven by- caught in a glance; newly trampled ground on previously unchartered territory. Giving the viewer recollection- a sense of having been there. This reminiscence also gravitates towards objects that inhabit a past. I attempt to capture their wistfulness, the nostalgic quality that they hold so dear. A celebration of their existence; a commemoration of remembrance. My work is about the recognition of the subtleties of life and environment. These are the moments and pieces i attempt to capture and recreate: accumulation and repetition, intricacies found in the structure of organic objects, the concept of time and space through light and layers.
Matthew Stemler
The invitation extended by a piece of artwork usually begins with appeal created by its surface. Surface, however, is only the skin on the piece. It stands on the shoulders of a history whose origins, unless borrowed, probably began with a single mark. The subsurface is a series of actions and reactions that connect to the surface. This connection holds a balance and tension that, like a string to a kite, takes the surface to lofty heights. Therefore, scratching the surface in an artwork is a contextual revelation. 
Joseph Szimhart
Art finds value in sharing things made special. My paintings continue to explore the human experience, nature, and unusual juxtapositions: A curious yellow chick nose to nose with a porcupine, a raven watching large dice fall from the sky, and lately a man riddled with cancer a week before he died. I worked as an art instructor and a street portrait artist for fourteen years mostly in Santa Fe, NM after graduating from the Pennsylvania Academy of Fine Arts in 1975. An expressionist portrait occasionally appears on my easel. I was a Goggleworks studio artist in Reading, PA from 2011 to 2018 when my wife and I bought a house in Stowe, PA with an attached studio that was once a ceramics workshop.
Janice Trusky
Vici Quod Locus & Terra Incognita For me, art is a reflection of life, a reflection of self. I look toward the recognition of life as being ongoing and continuous. I work toward a connection between the physical and the spiritual. Some of my works have Latin titles such as Terra Incognita meaning unknown territories or Vici Quod Lucus meaning time and space. Using this early language is a way of connecting ancient times to today thus assisting its existence. I begin by placing lines and shapes on the surface. I then work on creating an environment for them. Through creating an environment, some of these markings disappear while others become more prevalent. Existing upon an atmospheric surface, some of the markings that were once void of emotion are now charged with energy. By retaining an element of chance and chaos by juxtaposing hard lines against an atmospheric surface, I create an aesthetic form over a natural form. The two co-exist yet defy any planar standard. The contradiction creates a complimentary environment, not having one dominate over the other. Many of the works have snaps and circles. The snaps are lines created through a physical process of stretching string containing dry pigment across an area and then snapping it. The process instantly transfers the dry pigment onto the work in progress. These snaps cover a distance of space on the surface much like a memory can bring us to a moment in time from years before in a split second. The circles represent pockets of energy, which may vary in size, color, and transparency. These acknowledge my personal belief that time and space have relative meanings. The difficulty for abstract art today is to sustain the sense of spiritual stimmung in the face of society that assimilates abstract art as simply another kind of communication and so makes us insensitive and unresponsive to it. As (Mier) Shapiro wrote, experiencing art as well as creating it involves 'a process ultimately opposed to communication as it is understood now'. Authentically spiritual abstract art does not so much 'communicate' as 'induce an attitude of communication and contemplation.' The Spiritual in Art, Abstract Painting 1890-198.
Natalie test
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Helena van Emmerik-Finn
In my paintings, I strive to portray the intrinsic beauty of my subjects by capturing the light and atmosphere that brings them alive. My recent travels have contributed to my sense of place in time, and though many of the scenes in my pastels are somewhat timeless, I like to believe that I have managed to marry the past with the present.
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