Renée A. Santhouse received a B.A. in English and Theater from the University of Connecticut, Storrs, and an M.A. in Fine Art Printmaking with an emphasis on Stone Lithography from California State University, Long Beach. Her Master’s Thesis compared the aesthetic qualities of stone and offset lithography, and explored the presentation of an edition of prints as a single piece of art. After formal graduation, she studied at Dieu Donne and the Center for Book Arts, in New York City and the Creative Arts Workshop, in Connecticut. Her instructors have included: Robert Blackburn, Charles Boer, Karla Streng, Richard Swift, Gene Sturman, Kumi Korf, Heidi Kyle, and Jim Van Eimeren.
Upon graduation, Santhouse worked as a printmaking and film instructor and then moved into advertising, print and website management, as art director and subsequently publications manager for a number of international corporations, in New York City and Connecticut. She founded and operated a marketing and advertising firm with national and international clientele while on a 3-year sojourn in Texas.
A practicing artist, Renée A. Santhouse has had numerous solo and group exhibitions of her artwork, specializing in plein air painting, printing and book arts, often combining digital media with more traditional techniques. She was one of the featured artists in the 4th Annual Connecticut Printmakers Invitational, at the Hygienic Galleries, New London, Connecticut, in 2015, and is the Curator and Communications Manager of an art collection in New Haven, Connecticut.
Renée is a member of the Ridgefield Guild of Artists, the Westport Arts Center and the Cultural Alliance of Fairfield County. She lives with her husband and dog in a home and studio in Wilton, Connecticut. Her 6-member band, Zu Zazz, plays an eclectic mix of hot string jazz and American roots music at area venues.
My artwork explores the abstraction and celebration of geological formations and events in time, based on history and on-site exploration. I strive to present a concentrated and dynamic view of a landscape that has the potential to excite. I often use the artistic processes of monotype and monoprint, free form techniques that requires quick execution, to emphasize atmosphere and color. These original prints are created using multiple plates and glazing, with water-based Akua inks, often in combination with original digital archival prints.
Dolores R. Santoliquido
During the past thirty-nine years Dolores R. Santoliquido has made her career as an illustrator, a fine artist and a studio art educator. Since 1990, Dolores returned to painting the subject matter she has the greatest passion for, as well as, a career primarily based in fine art. She is inspired by the beauty of our natural world and has focused her work on that subject matter which includes but is not limited to, flora, fauna and landscapes. Born and raised in Westchester County, Ms. Santoliquido currently resides in Brookfield, CT.
My life as an artist has been more like the path of a river than the path of a road. That river has ebbed and flowed, at times taking turns putting me into directions that I did not plan or choose, but I traveled them none the less. Each turn of the river has necessitated re-evaluation and reinvention. These things, re-evaluation and reinvention energize and reinvigorate my drawings, paintings, and sculptures. I believe reinvention is a constant in every artist’s life. Without recreating one’s self as an artist one’s work becomes stagnant and stale.
Anthony Santomauro, born in New York City, resides in Fairfield, CT since 1976. An artist for over 45 years, he works in pastel, charcoal, and acrylic. His professional career began 1975 with 1st Prize in the Juried Annual Exhibit of The Sumter S. C. Artist Guild with “Massimo” followed be a One Man Exhibition . Thereafter he received prizes in the Annual Exhibit of the S. C. State Fair, Sumter S.C. Iris Festival , 9th Young Artist Association of Fairfield Exhibit, and several CT Classic Artists Annual Exhibits.
Studying drawing at Silvermine Guild of Artists in New Canaan, CT, he was awarded the Faculty 1st Prize in drawing at the Annual Juried Student Exhibition of Silvermine School of Arts in 1998, 2000 and 2001. He is a member of the Easton Arts Council, Easton, Fairfield County Arts Association, Westport Arts Center, Westport Artist Collective and The Art/Place , Fairfield, CT.
In 2009 he was elected to Artist Membership in the Salmagundi Club, NYC where he exhibits annually in juried shows. He served as a member of the Salmagundi Club Board of Directors, Corresponding Secretary of its Executive Council and on its Admissions Committee . Salmagundi awards include -2009 Mortimer H. Freehof Award for “Japanese Girl” (pastel) , 126th Annual Members’ Exhibition ; 2010 Honorable Mention for “Moon Fall” (pastel) , Historic Black and White Exhibition: 2014 Hugh P. Botts Award "Massimo" (paste), Historic Black and White Exhibition.
Anthony Santomauro is a realistic artist whose detailed pastels, highly technical drawings and strong yet sensitive paintings merge feelings with visual reality. He uses portraits of humans and animals to explore the variety and intensity of the human emotional experience. The observers are initially engaged by the exquisitely beautiful realistic details of each piece, but eventually are involved in an intense relationship which draws them into the domain and creativity of the artist’s mind. Whether it is beauty, rage, melancholy, malevolence or goodness, they are emerged into the world, power and emotion of each of his creations.
I have been creating art, teaching and exhibiting nationally for over fifty years. My career began as a clay artist, producing functional and sculptural stoneware from my Norwalk studio. I created and led art tours to Japan, Greece and Italy for thirteen years. I taught art at New Canaan High School, winning national and state awards. Upon retiring from public school teaching, I moved to the Northwest corner of CT and established my studio at Whiting Mills. I am presently painting, teaching private classes and offering workshops in encaustic techniques. I exhibit nationally and work in a wide variety of media..
I am exploring the theme of Crows in this recent series of Encaustic paintings. Observing the intelligence and quirky gestures of these birds led me to capture their personalities in paint. In this work I am incorporating my love for drawing, painting, and composing visual stories. The encaustic wax medium allows me to work in layers, trapping fragments of color, memory and message in time. Working with the molten wax on birch panels is engaging a mix of alchemy and jazz. Colors are worked like chords until the metamorphosis of substance and meaning cools to a finished statement.
Mark J. Schiff
I love painting with watercolor and acrylic. Many say water media is a difficult medium to use because of the spontaneous effects when the paint bleeds and spreads across the surface. I feel that this is the beauty of the medium and the mystery. It reminds me of the unpredictability of life.
My fascination with watercolor began while I was riding my bicycle on a Backroads Cycling Tour in the wine country of Calistoga, California. The guides suggested a stop at a local artist’s studio. The artist, Barbara Nechis, invited us inside. I watched her paint with one large wash of watercolor. After this, I was hooked. When I returned home, I enrolled in a local high school continuing education course in watercolor. Since then I have studied with Phyllis Rutigliano of New Jersey, Barbara Nechis and Skip Lawrence . At the Westport Arts Festival in 2011 I was awarded Best in Category for watercolors. I am an associate sustaining member of the American Watercolor Society
I usually work on several paintings at the same time. They may be of different subject matter, but they have similar colors and intensities. I let my emotions spill out on the paper, canvas, or wood. I usually paint in my studio, but on nice days I often paint outdoors. The outside environment feels carefree and drives me to experiment, splashing paint across the paper or canvas—as well as the grass.
I am often asked if painting is a learned skill or if it is an inborn talent. I think it is a little of both. I believe that you can take courses, and they are very helpful-they teach you technique and theory. However, they don’t necessarily teach you how to paint. You need skills, but you have to let an inner need to be creative take control. Artists let creativity sweep over and envelope them, and the experience is completely absorbing. Otherwise, someone who has mastered the techniques creates a finished work of art that may lack sparkle. Instead of searching for your art, it is fine to let art search and find you.
I am fascinated with individuals in the arts who transition from their usual persona into a totally different, new, creative role. I have transition some of my painting to acrylic and oils. My interest in yoga, meditation, and music serve to intensify and magnify my skills and channel them in new, unexpected directions. They help to bring out the artist within. As an artist I channel my passion for the mystery and unpredictability of life into painting that people respond to and enjoy.
My work fuses photography, digital design, ink, paper, animal bones, and sculpture to develop deeply evocative, sometimes sweet but mostly painfully honest and emotional works, mining family dynamics and the quest for knowledge of self, and “happiness”. My series “Damaged” is on display at and you can view some selected works at my personal web site (always a work in progress) at
A graduate of the Cooper Union in the days when abstract expressionism was pushed hard, I felt like the left-handed boy being forced to write right-handed. Though my photorealistic and figurative style was tolerated at Cooper I was not a happy camper, so naturally I went over to the dark side: advertising. After a stint in the army I worked as an art director in various “MadMen” agencies. I was fortunate to graduate to the more creative shops working on many high visibility accounts, receiving national and international awards along the way.
In 1989, tired of the political intrigues of agencies, I had the good fortune of partnering up with Steve Lance. We went into business together on a handshake. This union lasts today though I have threatened his life on more than one occasion.
Among our successes are the launch and promotion of the Discovery Channel, its programming, its many channels and enterprises such as the Global Education Fund and Young Scientists Challenge.
Among our failures…ask me about my $2,000,000 baseball cap.
While advertising, graphic design and marketing remain my “day job”, I paint when not art directing. Satisfying not only my need to paint in the trompe l’oeil style but to satisfy the kid in me that loves all things having to do with aviation.
My interest in aviation has led me to join the American Society of Aviation Artists and the Air Force Art Program. Both have given me the opportunity to not only have my work exhibited in the many aviation museums throughout the country but to be part of the their permanent collections as well, including the Pentagon. The Air Force Art Program has also put me in the seats of many of our latest, hottest and historic aircraft. I am pleased to say I haven’t thrown up yet.
Presently I am exploring interactive 3-D anaglyph painting. You need 3-D glasses to see them.
Graduate of The High School of Music and Art where I was an Art Honors student and Hunter College where I was a Fine Arts Major. At Hunter College I was elected to Kappa Pi, the international Art Honor Society. Since 2014 I have been juried into 47 Art Exhibitions throughout the United States and won 16 prizes. I am currently working on a new body of work related to music. My work and résumé can be viewed on my website www.marlenesiff.com
My paintings, works on paper, and sculpture depict imagery of personal, spiritual and psychological issues and events. They are expressed through geometric shapes, color, light, space, texture, edges and movement, each interplaying with one another engaging the viewer to participate.
Lisa holds a BFA degree from the School of Visual Arts in Manhattan where she studied art and photography with Alice Beck-Odette, Stephen Frailey and Sid Kaplan.
There’s a moment when you see the light swim and finally settle, a look in a child’s face, a gesture that can’t be duplicated, a reflection in the water. That’s the moment when you take the picture. You see things out of the corner of your eye. The more you dance around and make adjustments the greater the chance of missing it. And if you miss it or you hesitate, you will always long for it and you will not be able to able to get it back. It’s gone for good.
Patricia Singer grew up in Montreal Quebec receiving a BA in English, also attending art and photography courses and then a Post Graduated Degree in Communication Arts, focusing on Photography at Concordia University. She immigrated to Connecticut in the late 1970’s.
Once in the US, she studied numerous healing modalities, primarily practicing Classical Acupuncture, Zen Shiatsu and Energy Healing. She has Master of Science Degree in Acupuncture from the Swedish Institute of Health Sciences, is a CT State Licensed Acupuncturist (LAc) and Nationally Board Certified, a Diplomat in Acupuncture with the National Certification Commission for Acupuncture and Oriental Medicine (NCCAOM), and an Ordained Interfaith Minister.
She lives in Newtown and has an Acupuncture and Healing Arts practice in Westport.
In May 2014, Patricia dealt with a heath issue leaving her with a sense of being "thrown off a cliff". Incorporating the skills and tools she learned as part of her eclectic healing training, she leapt into that mysterious abyss, using collage as a medium of expression and exploration. Her term, ‘Collage Alchemy' describes an alchemical process she employed with collage as her medium which, enabled insight and healing to occur.
South African born artist Janet Slom creates powerful images that explore the dance; the interconnectedness of darkness and light. She has won numerous international awards and commissions. Her solo and group exhibitions have taken place at venues including the United Nations (NYC), the Adelson Gallery (NYC), Everard Read Gallery (Cape Town, South Africa), and Frank Pages Gallery (Baden-Baden, Germany). Her paintings are in collections internationally, including the South Africa Parliament (Cape Town, South Africa). Janet is on the faculty of Lehigh University's Iacocca Institute and adjunct faculty member for the Center for Mindfulness at the University of Massachusetts Medical School where her solo exhibition can be viewed until end October 2016.
Janet grew up on the flower farm Shambhala, a learning center for studies in Eastern philosophy, inspired by the legendary Himalayan kingdom and Tibetan belief that a harmonious and meaningful life are possible through gentleness, courage, self-knowledge and freedom.
I received my BA in Studio Art and Art History from Oberlin College in 2013, and my Masters in Fine Art from the Pennsylvania Academy of the Fine Arts in 2016. Much of my work is generated from a deep fascination with books, typography, and the various theoretical conceptions of embodiment and identity that persist within culture at large. At the moment, most if not all of the texts I chose to alter emphasize the dark corners of early 20th century American psychology, with a particular emphasis on the Eugenics Publishing Company.
As you view my images, take a moment to breathe deeply- imagine the smells of aged paper and beeswax, the weight and textures of the book in your hands, the sounds made by each page as you turn them, and the intimacy of this experience. As a Queer, Jewish person, the books that I choose to alter hold great personal significance to me, while simultaneously serving as a socio-cultural artifact illuminating the dark corners of American history. Through my process of reclaiming and transforming these barbaric and alarmingly recent texts, I aim to shed light on the oppressive foundations of American culture while exposing the ways in which these types of systems and rhetoric persist today.
Jane Swergold received her undergraduate training in the History of Art and in studio art at the University of Pennsylvania. She has a Masters degree from New York University’s Gallatin School. In 2005 she had a one woman show at China 2000, a gallery on 57th Street in N.Y.C. In June 2003 her sculpture was selected by Adam Weinberg, curator of the Whitney Museum in N.Y. as a winner at the Westport Art Center. The Gallery at the Train Station in Westport Ct. currently handles her sculpture. Maxoly gallery in Miami is showing some of her sculpture. Earlier works included large ceramic masks which were shown in a solo exhibition called “Identities Masked and Unmasked” at The Clay Arts Center in Portchester N.Y. For the past 20 years she has been an adjunct professor at Fairfield University. Previously she had her own interior design firm and was awarded first prize for her residential design by the Connecticut Chapter of the A.S.I.D.
I sculpt what I know- how it feels to live in the female body. The single figures, being armless intensifies the expressiveness of each figure. In groups these ladies interact. They express different moods and personalities, they move or are still, and their posture is relaxed or strained. Recognizing the strong relationship between the figures, I experimented with sculptures comprised of multiple figures. Here bodies merge reflecting generational, social or other familial connections, while the facial expressions reflect the varied moods and personalities of the individual or group. Rather than name or define these interrelationships, I let the viewer experience these sculptures based on his or her own history.
The basic forms are made from coils, which can be stretched and compressed into a female figure. The heads start as a simple pinch pot. They are made after the figures and are inspired by the posture of each figure. These sculptures are made of low fire earthenware, some are colored with oxides and slips. Flux is applied to some areas to provide sheen. They are fired multiple times until I have achieved the effect I want. Others are finished with terra sigulata, fired to cone 04 and then pit fired.
Professor Robert Harrist, Professor of art history at Columbia University has said this about Ms. Swergold”s work, ”the figures look modern , but also make you think about work from ancient civilations, Aegean or Asian. This is a mystery since there is nothing specifically Asian about the figures, yet they seen deeply informed by Asian ceramics, including Kofun figures from Japan. I especially like the ones in which the weight and torsion of the bodies under the long dresses is expressed in the poses- the way gravity works on the bodies and complicates the poses.”