Eileen Panepinto is a mixed-media artist, collagist and painter. She received her BFA with honors in painting from the School of Visual Arts, NYC. Since 1986 she has exhibited in numerous solo and group shows. Recently she was awarded two special recognition awards for her mixed media painting installations. In 2012, a commissioned work of hers was permanently installed in a community center in Brooklyn, NY. Her work is also in numerous private collections. Eileen has also been a teaching artist for many years teaching many different courses in various venues. She has also been a graphic designer and typographer. Eileen has known she was an artist since she was five years old. She lives in Weston, CT with her husband and their dog, Winnie.
The focus of my work is creating abstract and semi-abstract narratives about experiences, places, or states-of-mind through mixed-media construction, collages and paintings. I employ color for its evocative beauty and texture or found materials for their aesthetic and imaginative/associative qualities. The collaging or combining of elements helps to relate how I see reality. My process is influenced by the similar qualities that seem to make up dreams and thought patterns. Bits of images or thoughts and sensations (sometimes simultaneously) may juxtapose, blend together or overlap forming a whole: a memory, experience or dream. There is an ambiguity to this visual language which I believe engages the viewers’ imagination. Along these lines, and with a modernist approach to making art, I strive to create art that can speak to many people—imagination to imagination.
I am a painter and educator who divides his time between Manhattan and my Westport studio. A career as an illustrator and designer for books, films, television, and Broadway musicals has evolved into that of a painter, too. I am known for insightful portraits, and offer classes at my Westport studio. I am on the faculty of the Silvermine School of Art, and the Westport School District. I was awarded an Art Students League of New York scholarship to study at the School of Visual Arts in New York City. I am proud to have won many awards including this year’s J. Francis Murphy Award for Best Landscape at New York’s Salmagundi Club. I have been voted Best of the Gold Coast by Greenwich, New Canaan, Darien & Rowaton, Westport & atHome Magazines. I am a Fellow Member of the American Artists Professional League, the Salmagundi Arts Club, the Society of Illustrators, Audubon Artists, Allied Artists of America, and the Portrait Society of America. To learn more about me and my work, please visit www.stevenparton.com.
I paint in oils and acrylics in a traditional renaissance manner to give my subjects as much richness as possible. This is an indirect method, building up a monochrome grisaille underpainting over which I gradually add color with both transparent glazes and full bodied color. This is a time consuming and painstaking process. I enjoy the unique qualities it gives. It offers very delicate tonal variations impossible with other painting methods.
Wendy's work is full of motion and vitality. Her work is spontaneous and fresh, yet it exhibits her mastery of whichever medium she is using. After receiving a BA in Fine Art from Connecticut College in 1986, Wendy pursued a successful career in graphic design although painting remained her passion. In addition to painting, Wendy teaches classes and private lessons. She is a teaching artist and volunteer at the Smilow Cancer Center, Yale New Haven. Wendy is a member of the New Haven Paint and Clay Club, The Connecticut Watercolor Society and Exhibiting Member of Rowayton Art Center. She has won numerous awards and her work is in both private and public collections.
My work reflects a spontaneous reaction to my subject. So much is revealed in a moment and it is that immediate response, gesture and beauty that I aspire to paint. I aim for fresh, brilliant color that captures the light. I am fascinated by the human figure, with its expressive qualities and individuality. The turn of a head, the twist of the body or the placement of a hand can evoke the essence of a person. It is with a simple line and a well-placed brushstroke that this is revealed. When painting a landscape or still life, either bathed in sunlight or muted by cloud cover, I focus on color and light to uncover the scene. I consider myself an observer who aspires to capture the beauty of a simple life in paint.
Jay Petrow earned a BA in fine arts from Middlebury College. After graduating, Petrow had a long career as an editorial art director in New York City working for major consumer magazines such as Sports Illustrated, Time and BusinessWeek.
In the last 10 years Petrow has made major changes in his painting approach and his career. He gravitated to painting abstract expressionist works to explore his inner world and his emotional state in dealing with his son’s autism. Studying with abstract painters at Silvermine Arts Center in New Canaan, Petrow’s art has been on view in solo shows at local libraries and represented in group shows at the Westport Arts Center and the Silvermine Arts Center galleries.
Petrow also owns the Westport landscape company, PetrowGardens Landscape Design (www.petrowgardens.com), where he designs absract meadows using native grasses and perennials.
I began painting in an abstract expressionist style after many years of representational work in order to connect with and express my experience fathering an autistic child. The day to day stresses and struggles to be a good father for my son have at times been overwhelming.
Love, anger, humor, sadness, and loss become an explosive convergence of vivid color and expressive brush stroke. A subconscious level of interaction with my emotions and my spiritual energy informs me as I connect with my inner world and visualize what’s happening on the canvas. I maintain this conversation from within and without throughout the painting process.
The entire body of work approximates a place that I inhabit physically and psychologically. My goal in painting is to recreate on canvas what I am experiencing inside, from high states of agitation and angst to feelings of calm. Incorporating vibrant colors and layering textures on the canvas, I strive to reconstruct a path through my emotional world that produces areas of high kinetic energy and serenity on the canvas.
To view more images please visit www.jaypetrowfineart.com
Guy Phillips was born in 1936 in Sydney, Australia. He worked in advertising in Sydney, Toronto for four years, and spent time in New York. In his mid-thirties he left a management position in a large international advertising agency to become an artist. He lived in Italy and then London for four years at the end of the “swinging sixties”. He studied part time and gained a one-man show, successfully exhibiting a series “Man in a Chair”. Returning to Sydney, he had two one-man shows. Moved to Connecticut in 1981 with local exhibits and private sales. He has joined a co-op gallery in Chelsea NY and has a solo show scheduled for November 2016.
The figure has been my central interest with many variations: solitary figures, multi figures with an emphasis on movement, hard edge figures, figures defined by geometric shapes, and cutout figures on grids or suspended by strings. I have recently produced tall narrow vertical cutout figures framed in plywood. In addition to the figure, I have worked on cutout bridges and trees, and recently on windmills.
Pollack, a graduate of SUNY, studied at the Art Students League, NYC, the Roslyn Museum of Art, NY, the Drawing Studio, Tucson AZ and privately with Fran Bull and Gerry Samuels. She is a curator for the Bruce S. Kershner Gallery at the Fairfield Public Library, and a member of Art/Place Gallery, the Westport Artists Collective, Brag, the Ridgefireld Guild of Artists and the Surface Design Artists Association. She is a founding member of the Drawing Studio and the Sonoran Artists Collective, both in Tucson Arizona. Pollack studied and lectured at Asia Society Museum, NYC and has taught art to students aged 2-85+.
My new work is a response to the energy fields which swirl and spiral around and within us as well as far beyond. There are several layer to each piece-printmaking, collage and both machine and hand sewing. My intention is to evoke a reaction in the viewer of feeling both elation and release.
I come from a family of photographers and have been exploring the field since the mid-sixties. My greatest influences are my mother, my grandfather and my wife, an experienced artist and art educator. My grandfather, Louis, had a long-standing interest in photography. When he retired at 58, he began a series of second careers. My favorite was a children's photographer; I treasure hundreds of his slides. My mother, Arlyne, became an avid photographer after her retirement and still photographs now in her mid 80s. My interest in photography deepened during high school with the discovery of the dark room and some instruction from a friend. I have worked in film photography ever since and in the past few years have refined and practiced my skills while reading extensively. I hope to explore traditional photography, synthesizing my learning into an evolving vision to share with my audience for as long as possible.
Steve Pomerantz studied Sculpture and Pottery at Queens College with an independent study in theory and techniques in photography, silver gelatin and litho printing, and hand coloring. He has been in numerous juried shows in the last several years at the following galleries: The Carriage Barn, Ridgefield Guid of Artists, Westport Arts Center, New Pond Farm, and others. He also displays his art at the Marion Royal Gallery in Beacon, NY.
As a photographer, my eyes are drawn to the way light falls on subjects as well as their texture and form; subjects that resonate include old machines with their implicit deep history. They almost appear to move forward in space while all else recedes. I get lovesick over many including cars, trucks, and trains dating from the 1950s and earlier. I may enjoy modern technology but it doesn't make my heart sing like a 1951 Plymouth, even if it will never run again. I create film photos with old cameras developed and printed in my traditional darkroom. Are we seeing a pattern here? In taking the photograph and then printing the negative, I seek to share what has moved me.
Medium- Oil on canvas
Kimberly Porio has studied painting for over 12 years. She studied and was greatly influenced by, the now deceased, Arlene Skutch. Her work has been accepted to a variety of juried shows throughout Fairfield County. Over the years, Kimberly has joined The Pink House Painters group of Westport in exclusive exhibits at The Westport Historical Society, The Carriage House Gallery in New Canaan, the UCONN Gallery in Stamford, the Blue Lemon restaurant in Westport and the Fairfield Arts Center. Her work was featured at the Meeting Room in the Easton Library and The Pious Bird home furnishings store in Fairfield with fellow painters Karen Kent and Carmela Kaufman. She also participated in the Sudan Canvas Project at the Fairfield Arts Center. In the spring of 2012 her paintings appeared at the UCONN Gallery in Stamford with her fellow Pink House Painters. She is a proud member of the Westport Artists Collective. She was part of the Collective’s exhibit at Java in Westport Spring of 2014, as well as the Collective Member’s exhibit November 2014 and 2015 at the Westport Arts Center. Currently, her work can be purchased at Millie Rae’s boutique in Westport CT.
Kimberly's first artistic love is dance. She has been dancing for over 35 years and has been a professional instructor in both Ballet and Jazz for the past 20 years. She lives in Westport with her husband, John, and their three children, Anabelle, Sean and Ryan.
My work has always been inspired by the natural world. Whether it is the clouds in the sky, the light through the trees or the sun reflecting off the still water, I have always been drawn to the simple pleasures that surround me. I strive to create paintings that are both beautiful and thought-provoking. I am constantly working to create interest in the negative spaces of my work to ensure a cohesive painting. I try to infuse color, substance and shifts in value to entice the eye to “wander” around the painting. I like to paint quickly and efficiently to create what I see in my mind’s eye. Then, I mix colors directly on the canvas as I find that is both exciting and unpredictable. I strive to work against my desire for order and try to reveal what is unexpected. As a dancer, I always try to ensure all my life’s work is full of grace and fluidity. That includes my paintings.
AMERICAN FIBER ARTIST TINA PUCKETT is a self-taught artist who has been weaving since 1981.
Tina is much influenced by the bittersweet vine that grows locally in the northwest corner of Connecticut where she lives. The character of each piece of vine literally dictates what form each basket, bowl, wall sculpture or piece of furniture will take. As Tina then applies her imagination and sense of color to the structural form and to the weaving, indescribably dynamic and colorful works of art emerge.
Tina's study of set design in college developed her understanding of both color and construction. She has created her own weaving technique, which she calls "Dimensional Weaving," in which she lays down layer upon layer of reeds of different colors to produce multi-hued, richly-textured, highly dimensional woven sculpture. With her knowledge of construction, Tina is also able to build very sturdy pieces of furniture.
Tina's works have been exhibited in museums, art galleries, libraries and at craft show events both nationally and internationally. Her work has also been featured in magazines, newspapers, books and on television. Please visit Tina’s website, tinasbaskets.com, for a full listings.
I was celebrating my 45th birthday when my grandmother Fern said to me, "I am ninety years old, exactly twice your age, and would like to give you some words of wisdom."
“You are about to begin the most important years of your life, so do what you are meant to do.”
Well, I thought about those words for a while and came up with some very distinct feelings about what it is that makes me feel most fulfilled. Weaving had become a very important part of my life — and even more so, using natural materials that inspired what the finished product would become as far as shape, color, design and especially function was concerned. I would dedicate my life full time to this craft that “called” me.
My woven pieces have varied functions. Some have utility — like the humble egg baskets from New England.
A lot of my objects, such as my wall hangers, come from “doodling”. Doodling helps me visualize form and technique.
The tables that I design came from an idea that I had many years ago — finding natural elements such as bittersweet to form the base, and then weaving the separate pieces together. I had studied set design in college, which was very useful because it had taught me a lot about carpentry and how to construct very solid pieces.
Weaving is a lot like painting. You can lay down layers of colors and textures to bring forth subtle or vibrant imagery.
I enjoy the diversity of the act of weaving, and I can’t tell you what I will be creating tomorrow, but I do know that I have a lot of interesting pieces of Bittersweet vines that are ready for my imagination….
I just have to step into my studio and “let it all flow….
60" x 24" x 6"D This piece can also be separated and each mountain hung separately.
Framed with Alder
64" x 36" x 7" D Can be hung Vertical or Horizontal