Browse artists alphabetically: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

Hernan Garcia

 

About

Born in Bogota, Colombia, Hernan received a bachelor’s degree in both architecture and fine arts. He pursued further education at Scuola per Il arte E Il restauro Di Firenze ,Italy, He continued his education in Italy studying semiotics in Milan. After some years teaching and writing in the academy in Bogota, he emigrate to USA in 2000 , living and working in Miami , New York and now in Easton CT.

Hernan’s work (including paintings, drawings and others 3D mediums) has been exhibited in solo and group shows in galleries and art fairs throughout the United States, as well as Europe and Latin America. His work can be found in both public ,corporate and private collections. He also writes articles on the theories of art, music and contemporary art with a particular focus on language , communication and art history.

He currently resides with his son in Easton, CT.

 

Artist Statement

My work is a reflection on language, memories, symbols and their connection with spiritual practices. I'm interested in the diversity of spiritual development and all elements included in its ways and liturgies. The abstract vocabulary is ideal for this exchange of images where nothing is completely accurate or defined, I see every painting as an object of search and meditation. For me painting is a daily and focused practice and also a spiritual and emotional act, a metaphor for the sacred expressions like prayer or being a father.

 

Recollection
Recollection

Oil on canvas 72 x 48 inches $6,000

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Segno
Segno

Oil on canvas 18 x 18 inches $800

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Red Night
Red Night

Oil on canvas 72 x 48 inches $6,000

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Ira Ginsburg

About

Born in Flatbush, Brooklyn in 1945, I’ve been painting since childhood. I earned a B.A. in Literature from NYU, Washington Square College, and studied art and architecture at Pratt Institute in Brooklyn. After college, my wife, Carla Candiotti, and I served in the Peace Corps in Guatemala, working in Rural Community Development. During the war in Vietnam, we lived and worked in Toronto, Canada, where I apprenticed as an art glass painter at the Robert McCausland Studio, the oldest art glass atelier in Canada. My artwork during this period was represented by the Lillian Morrison Gallery in Toronto.

 

In 1975 I left McCausland’s to execute my own commissions. My “Phoenix” took first prize in ecclesiastical art at the Architects Institute of America Bicentennial Competition in Boston in 1976. I had a solo exhibit at Toronto’s Royal Ontario Museum in 1978. In 1979 the Actors Equity Association of Canada commissioned an art glass window for installation at the American Actors Equity Association headquarters at 165 West 46th Street in Manhattan. During the 1990s my work was exhibited at the CBGB gallery on the Bowery. For the last 35 years we’ve lived in our 100-year-old farmhouse in Westport.

Artist Statement

My oil paintings start with a sketch of the human form in motion. Images begin to emerge that are dreamscapes of humans and beasts, moving through tableaux of mythic rites, processions and journeys. These surreal scenes invariably embody the world’s ubiquitous preconscious archetypes and mythologies, and they are often reflective of the culture, literature and imagery of Mesoamerica, where I’ve spent time over the years. The paintings are walls of images, but they can also draw the viewer into deeper interior perspectives; a prolonged viewing is required to appreciate this compositional tension.

 

Untitled, 2016
Untitled, 2016

Oil on Canvas 64 x 84 inches $12,000

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Untitled, 2015
Untitled, 2015

Oil on Canvas 66 x 84 inches $12,000

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Untitled, 2014
Untitled, 2014

Oil on Canvas 64 x 84 inches $12,000

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Crucifixion, 2000
Crucifixion, 2000

Oil on Canvas 66 x 80 inches $15,000

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After Velasquez, 1999
After Velasquez, 1999

Oil on Canvas 66 x 120 inches $15,000

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Maya, 1998
Maya, 1998

Oil on Canvas 66 x 72 inches $15,000

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Lois Goglia

 

About:
Lois Goglia has exhibited artwork as close as her hometown in Cheshire, Connecticut, and as far away as Mexico and South Korea.  Lois has exhibited her artwork in United States art galleries and museums in Connecticut, Massachusetts, Florida, New York, and Pennsylvania. She has won prizes both nationally and internationally. Lois has also written reviews for Art New England Magazine. She has been investigating the relationship between Art and Science for over twenty-five years. Initially, Goglia used only X-rays from her husband’s veterinary hospital as part of her her artist’s vocabulary. Later, animal X-rays were supplemented with human X-rays donated to by medical professionals and researchers..


Artist Statement:
As  found my Art inspiration in my husband’s veterinary hospital. While sitting in the treatment room one day, my eyes fixated on an X-ray od a dog mounted on a light box hanging on a wall across the room. I found the animal image beautiful. Its value contrasts, textures, and anatomical shapes made the X-rays visually compelling. Medical professionals and researchers soon expanded my X-ray art vocabulary by providing me with human X-rays, ultrasound radiographs, mammograms, X-rays of DNA sequencing gels, and X-rays of cells growing in Petri dishes. Over the last twenty- five years I have cut and pasted X-rays, painted on X-rays, sutured X-rays, photographed X-rays, and collaged X-rays, and used computer technology to modify them. All six series of artwork I have created with this mélange of medical imagery retain an overarching Art/Science theme, but each series has a specific meaning.

Sword
Sword
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Petri Dish1 left
Petri Dish1 left
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Petri Dish 2 right
Petri Dish 2 right
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Maze
Maze
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A stitch in time
A stitch in time
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Lavalamp
Lavalamp
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Zvi Goldman

 

About:
I’m a native Israeli who lives in CT.  I draw ideas from my education and experience in life sciences, engineering, business and just life.  Topics related to human experience and condition inspire me.  I have always liked fixing and creating things.  I developed a special love for wood early in life that inspired me to take up wood sculpting professionally.  Wood sculptures and reliefs constitute most of my work.


Artist Statement:
Each work is its own being and an expression of deep reflection, my “Thoughts in Wood.” My art work is original and one-of-a kind.  I don’t believe in achieving perfection in my work although I care a lot about the final details.  I design my sculptures holistically to be interesting from all directions.  The outlines project flow and closure and bases are integrated with the sculptures. After conceptualization and sketching I experiment with constructing models.  Finally, the wood provides inspiration for the rest. I use a single block of wood in most instances, however, have utilized multiple types of wood when the piece calls for variations in textures or grains. I also work with epoxy clay and sea glass to create complex concepts. I hope you will enjoy my art as much as I have enjoyed creating it. www.zvigoldman.com, zvigoldman@hotmail.com
(203) 521-4366 Trumbull CT

Perfection
Perfection

Epoxy Clay, 12x12x19. This is made out of clay, as I needed to mold empty space in a precise way, in this case a collection of spheres merged into one. I believe that the only and true perfection is the ‘nothing,’ the void of all matter, energy, space and time. Anything else that may be described and measured, and therefore is bound, cannot be ‘perfect.’

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Insignificant
Insignificant

Maple, 9x8x12. We are observing the micro and macro as we are very insignificant in the middle. Or just the opposite? The dynamics, which we are part of it, starts with the speedy motion at the micro (the roots) and ends with the seemingly slow motion of the havens above.

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Conquered Earth
Conquered Earth

Maple, 5x9x12. Life on earth, culminating with human species, is represented by a dual-strand DNA structure.  Originating on earth or coming from other sources, human DNA has conquered the Earth, changing it in unexpected ways.

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Two of One
Two of One

Bubinga (Rosewood), 10x1x19. Two complementary aspects of a face are captured with a single line stroke. We can assume many appearances, many faces.

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Diversity Dance
Diversity Dance

Zebra, Cherry, 11x11x19. Diversity of players leads to both collaborative and disruptive behaviors. All are necessary to create healthy group dynamics and the prospect of promising potential. The inspiration to the ‘dancing weed heads’ came from the fiddle head plants observed in the Devil’s Den park in CT.

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Olive Angle
Olive Angle

Olive wood from Israel, 8x7x11. The faith of humanity depends on whether we can extend wings of kindness--ordinary people doing extraordinary things. When you become an angel to others, perfection is not possible or even important. The above narrative slowly emerged out of this scrap piece of olive wood (saved from the fireplace) as I slowly followed its cues.

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Larry Gordon

 

About:
Larry Gordon, founding principal of an architectural firm, received his Bachelor of Architecture from The Cooper Union School of Art and Architecture and his M. Arch from MIT on a Compton Fellowship.  His love of painting dates back to his attendance at Music & Art High School in NYC
. He was adjunct Associate Professor at New York Institute of Technology and a visiting critic at City University.


Artist Statement:
I have continuously been involved in the arts as a painter – dividing my day between his architectural practice and painting.  I believe both arts complement each other and reinforce the creative process.My years as an architect have influenced my art and informed my work.  The paintings and drawings begin with a formal linear structure.  The Grid is then manipulated, changed and removed.  I use transparency, overlapping shapes and images.  My painting aims at a joyful and playful celebration of color– embracing excess.Except for a general overall concept, I have no preconceived idea for an individual work and, instead,  let the painting take me on a journey.  I hope the viewer will have a direct relationship with the painting.  I have decontextualized the painting.  The shapes become dematerialized and abstract . Each shape produces a powerful effect, but together their decorative impact is based on linear form and color.  The use of color is divorced from subject and independent from the picture meaning.I have used contrast between vertical banding and the sharp curves that play against it, inflecting the entire surface with a counterpoint between straight and curving rhythmic beats.  I have eliminated the distinctions between ground and figure upon which traditional composition depends.

GORDON  STUDIO, 72 BEACH  AVENUE, LARCHMONT NY 10538

T: 914   834 0806 • F: 914   834 5912 • larry@gordonstudio.net

 
Solitude
Solitude

Acrylic 36’ X 36” $2,750.00

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Westport Win
Westport Win

Acrylic 30” x 40” $5,000.00

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Ambiguity
Ambiguity

Acrylic 30”x40” $5,000.00

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Mythical Moment
Mythical Moment

Acrylic18”X36” $2,500.00

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Illusions 16
Illusions 16

Acrylic 18”x36’ $5,000.00

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Perplexity
Perplexity

Acrylic 30” x 40” $5,000.00

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Katheryn Gray

 

About:

Katheryn Gray received her BA in art and art history from Ithaca College. She has since studied at Parsons School of Design, The National Academy of Art and Maryland Institute of Art in Sorrento, Italy. Following her life-long passion for the visual arts, she has enjoyed a professional career in both graphic and interior design. She currently resides in Weston.

Artist Statement:
I paint primarily in oils. I love the diversity of pigments and transparency that oils have to offer. I choose subjects that inspire me in terms of mood, light or a particular perspective. I am drawn to scenes that imply a subtle narrative. I try to capture these elements in my work and impart them to the viewer.

 

Jen Greely

 

About:
Born and raised in Sonoma County, CA, Jen Greely earned B.A. degrees in Economics and Italian from UC Davis, and a M.A. degree in Demography from the University of Pennsylvania. Her professional experience ranges from government research in banking regulation, to teaching internationally on the collection and graphical representation of data, to academic research on religious populations. Her last professional position was on faculty as a researcher at Georgetown University in Washington, DC.
 
In 2004, Greely left the academic realm to focus on her family, and she now lives in Westport, CT where she works out of her home studio as a painter. Drawing on familiar scenes from the natural world, along with the emotional physical events of our wider society, she explores the juxtaposition of order and chaos, serenity and loss, beauty and decay. Greely's art connects viewers with natural media, familiar pattern and form to explore current events, our communities, bodies, and sense of self. Her newest work, incorporating printmaking and encaustic painting, utilizes layered line and repetitive form as a means to explore universal human emotions. See more of Greely’s work at www.jengreely.com ..


Artist Statement:
As an artist, I explore moments of unexpected or hidden emotion in everyday objects and scenes. I express these moments through gestural line drawings, painting, printmaking, and site-specific installation. Through repetitive and rotated imagery, drawn knots anthropomorphize into human-like forms surreptitiously caught dancing, embracing, hiding, or fighting. By stripping the body of its human form and personal identity, but leaving intact gesture and interaction, these works express universal emotions and actions.Visual storytelling is an underlying theme in my art, and chosen compositions seek to depict straightforward moments with a hidden past. A timeless and peaceful ocean horizon might be juxtaposed with drowning, or a thawing pristine snowy lake scene hints at the decayed detritus encased below. Installations include carefully chosen and arranged objects or clothing that invite viewers to interact with familiar scenes in new and unexpected ways, revealing personal histories through visual allegory.

Disappear, 2017
Disappear, 2017

15 x 15 inches (28 x 22 inches overall) Carborundum Monotype on Hahnemuhle paper $550

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I Do, I Don't, 2017
I Do, I Don't, 2017

12 x 12 inches Diptych, Encaustic on cradled birch panel, private collection, Philadelphia

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Leap, 2017
Leap, 2017

8 x 8 inches, Encaustic on birch panel, $300

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Defeat, 2017
Defeat, 2017

8 x 8 inches, Encaustic on birch panel, $300

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Emerge, 2017
Emerge, 2017

15 x 15 inches (28 x 22 inches overall) Carborundum Monotype on Hahnemuhle paper $550

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Hang, 2017
Hang, 2017

8 x 8 inches, Encaustic on birch panel, $300

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