Gallery Artists

Leonette Adler
"Red Barns" 
Oil on Canvas 
30 x 36 in 

"Throughout my artistic career, I have found that painting landscapes brings me the most joy. By blending color and shapes, I strive to show the eternal, yet changing beauty of nature."











Jocelyn Braxton Armstrong

"I Have a (feminist) Dream" 
Price per pair of wings: $1000
Porcelain   
Gesture is what interests me. Body language is beguiling. Gesture naturally conveys movement but can also be passive or strident, playful or seductive, regal and proud. Gesture tells a story. I come from a background in fashion photography, so gesture and form are essential elements in my ceramic sculpture. Much of my work is figurative, but sometimes I explore abstract or biomorphic territory and vessels with roots in organic matter take on an expressive human quality. I delight in this ambiguity, this duality, and this transformation. Using porcelain, forms are thrown, cut apart, altered and reassembled using black slip. The surface is sponged off, dried, then sanded, to enhance the “stitched effect of the scored black lines. I use these lines in an illustrative effect and sometimes the lines can express meaning.







Dan Bartges

"Camellias, Freshly Cut" 
Oil on Canvas 
14 x 11 in 
A full-time artist since 1996, Dan Bartges paints primarily in oils. He has been featured in national and regional exhibitions. His landscapes, still lifes and portraits have been acquired by a number of private and corporate collections including; Marriott, Federal Reserve Bank, Markel, ClubCorp, Owens & Minor, Lockheed Martin, Performance Food Group, Media General and Capital One. He has lectured on art and color at the Smithsonian American Art Museum, the Virginia Museum of Fine Arts and other venues. Bartges holds degrees from Hampden-Sydney College (VA) and the University of Richmond (VA) and has studied under several prominent artists, at the Modlin School of Art (U. of Richmond) and the Studio School of the Virginia Museum of Fine Arts. A native of Florida, he and his family reside in Virginia. When not painting, he enjoys tennis, squash and bicycling.







Charles Jos Biviano

"Thunderstorm Over Aylett"
Oil on Canvas 
24 x 30 in 
As a landscape painter, Jos has always been fascinated by the interplay of color, texture, and the luminosity on a subject as well as the story they tell through ever changing patterns of light, shade, and shadow. His compositions push the viewer for an emotional response. With few instances, his work often depicts the land with no elements of human intervention. Jos seeks to portray the land as God made it, and before Man spoiled it. While his earlier work followed more representational forms, Jos recently sought to conventionalize his subjects. These new, abstracted landscape paintings are intended to evoke memory and emotion through their use of light and dark; shade and shadow; color and form. While these paintings suggest landscape through abstracted layers of luminosity, they still allow our recognition of the environment.

 






David Camden

"Large Yellow Raku Bowl"
Raku 
24 x 15 x 17 in 
After receiving his degree in ceramics from Goddard College in Plainfield, Vermont in 1978, David Camden opened Camden Clayworks in Ashland, Virginia. In addition to apprenticing many students in his studio over the years, he has also taught pottery in the Richmond area, primarily at the Visual Arts Center of Richmond and has been involved in the many Artist in Residence programs at the local schools. He has been included in as many as fifty shows in the Virginia area and his works is in numerous private collections.









"Daybed"
Steel, Wood, & Cushion 
76 x 37 x 42 in 
Tom Chenoweth’s work is formal and structural. Energy and balance are primary concerns. Every piece is a conversation of material and stems from the physical experience of manipulating metal, achieving an organic grace and intuitive expressiveness while maintaining the integrity of the man-made structural materials. Tom earned a BFA and MFA in Sculpture. Tom specializes in furniture, lighting and sculpture. His work is in many private and public collections. Commissions are available by request.







 
I work with pottery in a spontaneous, exploratory manner exploring the inherent features of ceramics. While working with the clay and glazes, I develop an awareness of their possibilities and limitations. This process of discovery fuels my creativity. The better I know my materials, the easier it becomes to be expressive with them.

I allow my love of the wheel to be captured not only in the form of the pot, but in the embellishment of the finished piece. I focus on the basic form, but also combine and contrast textural elements as I investigate the clay and its features. The nature of clay offers me endless opportunity to intuitively express my creative impulses while allowing for a variety of outcomes.



 



Nancy Cozart
"Daffodil"
Raku 
8 x 8 x 8 in 

While I enjoy colorful and painterly works in acrylic or oil, traditional black and white photography, sculpture and mixed media, design and composition, it is really work in clay that’s my favorite. I am still learning to control my passion for getting into the mud and have learned that I am too interested experimenting with each design to be a production potter. I prefer to think of each piece as a gift to be passed on rather than a commodity.













Amy H. R. Donahue

"After Some Rain"
Oil on Canvas
12 x 24 in 
Amy studied at VCU’s School of the Arts, receiving her BA in Communication Arts. Now she lives in Midlothian with her husband, Mark, and dog, Theo. She paints full-time both on location and in her home studio. While subject matter can vary, she is drawn to paint the light as it interacts with the land. Her artwork often includes a hint of man-made structures settled among the natural world – a house, a figure, a pathway. Amy’s paintings attempt to depict both man and land as equally subject to the effects of the sun’s light and earth’s atmosphere.







Donna Roper Doyle

"The Races at Montpelier"
Oil on Canvas 
30 x 24 in 
Donna Roper Doyle is an oil painter living near Richmond Virginia. A native of Washington D.C., with a BFA from Virginia Commonwealth University, Donna pursued a career in illustration and graphic design in New York City and Richmond, Virginia. Her last three years have been devoted exclusively to oil painting. Nature (in all its forms), human figures, and horses in particular are her favorite subjects. Working from life, imagination and occasionally from her photos, she endeavors to create intriguing painted images that capture the magic of a few of the special moments of her experience, imagination or dreams.







Louise Ellis

"Tube Bangle with Sterling Tulips"
Copper Tube, Forged Sterling Silver (raised and sunk) 
The first pair of earrings were miniature mobiles. They were heavy, pretty ugly and did not move well. I grew up thinking Alexander Calder was a god. Metal as a material and the work of Calder were my early influences. The work moved and was cold joined. My work took another direction as my interests in new techniques and/or materials developed. Gems became a part of my work as a need to explore the dimension of a secondary material. The antique button work is a result of my interest in the buttons and their history. The braided horsehair work is a result of my interest in the art of braided horsehair.








Paul Germain

"Celestial Portal, No.82"
Oil on Panel 
30 x 30 x 1.5 in 
Since childhood I have been fascinated by history, archeology and the relationship we have to the natural world. I suppose this curiosity might have manifested itself as a career in science or something equally rational. However, coming from a family of artists, (my mother and grandfather were both artists) I felt most comfortable in the arts. As these interests - history, archeology and art - merged, it seemed quite natural to use art as a means to explore these areas that continued to intrigue me. The painted figures in the caves at Lascaux, France provide a testament to the fact that our genetic biography impels us towards this. I feel as related to those first artists as to my own mother and grandfather. In my work I attempt to investigate our connections to the natural world using gestural, multi-directional brush strokes, mark-making and surface texture. The implication is one of transparency, depth, physicality and interchange.








''Between Heaven & Earth VI''
Acrylic & Oil Paint, Resin on Panel, 
and Silver Leaf 
36 x 48 in 
Time has always been a very important aspect of my work. It affects both our inner and outer landscape; how time alters our memories through our reaction to our experiences and provides each one of us with our own unique reality. So too the landscape through the seasons, erosion, climatic events, and man's hand, is constantly in flux, presenting us with new truths. My preoccupation with time as process is present in the construction of my work as well as the concept. Each experience, be it organic or constructed, leaves its mark. As a whole or in fragments, sometimes less defined than others, but always affecting what comes next. The use of clear thick coats of resin allows for a cataloguing of time and the change that it brings within each piece. It is change formed by time that creates the mystery within each one of us, and it is change that keeps us in perpetual awe of the landscape.








''Four Right Turns (1)''
Oil on Synthetic Paper 
60 x 60 in 
Each mark creates a need for the next mark until the whole work is fully composed into something mysterious even to myself, whose hand was present throughout the creation. I do not intend to form any distinct imagery. The mind, however, flows from experiences of the past, and often imagery and emotion are inevitable when viewing non-representational art. Everyone is affected by personal history, giving each viewer a unique perspective. I’m fascinated by the variety of responses evoked by one piece and how there is no perfect understanding. Imperfection is beautiful to me, and I embrace it in my own work as evidence of humanness. I stay true to the process of creating by not “cleaning up” the final form. It is important to me that I am honest with each step of the work’s development and do not place more emphasis on the most visible outer layer. The edges that seem unfinished are as much a part of the piece as the central composition because of the history they hold.









''Pass Run 3, Luray''
Oil on Canvas Board 
12 x 12 in 
Alla prima, au premier coup, all at once, first strike. Whatever you call it, my best work has always been about this—whether outside or in the studio, once I’ve completed my thought process, I work until the painting is done. Besides trying to capture the moment, the wind, the ripple, the sound and light, there is the physical factor that because of how I paint it is very difficult to go back and finish later. Touch up, yes; stop for a few days and come back, no. I use a painting knife almost exclusively, and that lays the paint onto the canvas very differently than a brush. Once the paint has begun to harden, I can’t push and pull the paint around, scratch and scrub, build and obliterate.I am drawn to areas that we see but don’t see. This leads to work being done in a series, expressing change over time, real or imagined, within myself or in the location.









''Inlet, NC- Wanchese Near Manteo''
Acrylic on Canvas 
30 x 40 in 
Barbara Duke Jones is a passionate and tireless champion of art education and the creative spirit. She feels that this spirit is ageless and should be encouraged and nurtured in all individuals. It refreshes the soul and enriches our experiences with the surrounding world. The works of Barbara Duke Jones reflect her continued interest in the landcape. Exhibits have included a series of small works in oil of the American Southwest and oils, watercolors and oil pastels created on location in Italy. The Parker Company selected work by Barbara from an independent on-site study in Tuscany, Italy, for their 1996 brochure promoting travel to that region. Additionally, Auto-Europe selected her work for the cover of their brochure on auto travel in Italy.






 

''Reflecting Light II''
Oil on Canvas 
19 x 25 in 

"Nature has been manipulated through a range of materials, all of which have been transformed and repurposed so that they transcend definitions and traditions. The outcome is an art experience, which enters a mystical realm where ritual, geneology and anthopological roots are explored."








Cri Kars-Marshall

''Mauve Free Form''
Stoneware with Vitreous Slip 
10 x 10 x 8 in 
Simplicity of design and a fascination with curves and intersecting lines are important elements in building my sculptures. I’m inspired to create open abstract shapes with sensual folds and joyful colors, and in the process am discovering new potential in both form and finish. Working occasionally with malleable aluminum mesh I’ve found this medium offers a refreshing contrast to my work with ceramics. Most of my mesh pieces can be hung in the air, allowing for shadows and motion. In both clay and metal the exploration of open spaces is an integral part of my final forms.





 


Elizabeth Kinahan

Lou
Oil on Canvas
14 x 11 in
 
Elizabeth Kinahan is a representational oil painter depicting the flora and
fauna of the American west. Through passionately rendered images, she exposes the soul of each subject, and reflected within it, the soul of mankind. The work thereby creates an implied narrative, with animal as storyteller, and where man is at once hero and villain. Elizabeth received her Bachelor of Fine Art degree from the College of Saint Elizabeth in 2004. Her artwork has been exhibited extensively throughout the southwest and the east coast, and can be found in numerous collections across the United States, Australia and the Middle East. She is a co-owner of Studio & Gallery, in downtown Durango, Colorado, and works to support efforts to rescue and protect both wild and domesticated animals.






''New Bridge''
Oil on Canvas
30 x 30 in
Carol Anna Meese has traveled, lived, studied and worked in Mexico, Italy, The West Indies, Nepal and Bangladesh. Her paintings have progressed through many exhibitions and competitions throughout the United States and abroad. She has exhibited at The Studio Arts Center International, Florence, Italy, and had duo exhibitions at L’Alliance Francaise de Dhaka, Bangladesh and at The Third Eye, Katmandu, Nepal. Numerous accolades include the seasonal program cover for The Richmond Symphony. Meese was awarded “Best in Show” at The Montpelier Center for the Arts, Virginia, and featured in a book on Madonna. She has won numerous awards for her mixed media paintings of photography and oil paint on canvas. Her current body of work is progressing toward the abstract and is inspired by the coast and mountains of the Mid Atlantic. She is represented by Galleries in Virginia, Washington DC, and North Carolina.









''Three Urns''
Pastel 
18 x 18 in 
Dan Michael, IAPS-MC, was born in Virginia, and raised in Michigan, in 1983 received a B.F.A. in Graphic Design in a joint program between Aquinas College and Kendall School of Design. After having worked as a graphic designer and illustrator for advertising agencies, the state of Virginia, and as a free-lance artist, he began painting full-time in 2008. Dan prefers pastel as a medium because of its directness, just pastels and textured paper. Pastels are simply pure pigment, the same pigments used in watercolor and oil paint, with just enough binder added to form it into a stick. His goal is to create paintings filled with light, atmosphere and a variety of textures. Because of the inherent ability of pastel to reflect light, and its versatility of application and manipulation, Dan believes reaching his goal is far more attainable.









''Blue Ridge April 2013''
Acrylic on Canvas 
36 x 48 in  
When I began to paint, after not having touched a piece of artwork for years, I came to art with little formal training, and 30 years of making my way through the world. When Professor Steve Cushner, at the Corcoran School of Art, asked his class “What do you want to accomplish when you paint?” my answer was that I wanted to incorporate systems theory into my paintings - linking my subjects with their before's and after's, as dynamic rather than static. Of course, I had no idea how to do this. For years, I painted, learning my materials and capabilities. One day, a studio guest asked me how I produced my work. While explaining that I often painted over old paintings that didn’t satisfy me, I realized that each previous painting had left parts of itself to participate in the newer painting. The new painting became an unexpected and unpredictable image incorporating elements of everything that came before.









''The Ancient Ones''
Mixed Media, Oil, Metal Leaf, Patina on Panel 
24 x 24 in  
Few times in the history of art are as symbolically and visually compelling as that of the Italian Renaissance. This continues to influence my paintings as I use elements of deep color, texture, gold leaf and pattern to present that sacred historical richness in a contemporary context. Using these elements in my paintings is my way of expressing the quiet solemnity or simmering energy of places that are sacred to me.
Layering is very important both symbolically and visually. Surface shapes, created as negative space, top randomly placed geometric grids of underpaint and act as portals through which to peer. Manipulating the layers, allowing them to show through or melt away, is an invitation for a closer look at what lies beneath, what came before and a convergence of past and present.








"Three C's"
Mild Steel 
20 x 16 x 5 in 
Using the four sacred elements of earth(iron), fire, air and water daily, I am not sure how much closer I could get to the essence of life. I walk from my house with my faithful Tye, around the pond, past the salt lick for deer, over the first of two small bridges, past the daffodils in the spring, past the old wall that reproaches me daily for not making it whole again, and up to the forge. On a good day I throw open the doors and let the sunshine flood the space.



 






Helene Roberts

''Another Victim- created on site''
Mixed Media 
18 x 22 x 10 in 
My sculpture expresses those aspects of life’s dramas that have kept my mind occupied for a long time: the essence of what affects us humans emotionally all over the world, whatever the time, place, culture or circumstance. Even though my passion is the sculpted human figure, I cannot forget my design roots and, thus, I still design and create various sculptural and functional art objects which can be holistically integrated into commercial and residential interiors. When there is time in the day (hardly ever!) I love to try my hand at painting and photography which help inspire and shape the sculptures I create. I recognize the interconnectedness of all art forms, where one form can inspire and connect to the other.







 

''Commencement''
Steel and Glass 
The main ingredients, sand and water, are abundant and any unused mortar can be recycled into the next work. Finally the raw ingredients are affordable and the equipment and tools necessary are few and simple. Concrete is my material of choice because its sculptural qualities allow both additive and subtractive processes. The Direct Technique that I employ permits expressive and harmonious forms to be shaped by the palm of my hand. I challenge the perception of concrete as mundane. I challenge artists to use this metamorphic compound for a direct expression of fine art.











''Summers Serenade''
Oil on Canvas
30 x 40 in
Kathleen Walsh lives and paints the mid Atlantic.  Plein air is her passion, oil her medium. On the off season she works in large abstracted mixed media, focusing on landscape and central Africa, just to keep it interesting. What can be gleaned in the work of an artist, specifically the art of Kathleen Walsh? What can one find in her renditions of American farmlands, riverbanks, morning mists? Of African coastlines, deserts and grasslands that make her work uniquely hers? A sense of home, perhaps. Of her art, she paraphrases Joseph Conrad, “My work is not to edify or console, to improve or encourage, but simply to get down on canvas some sense of the wonder of life, of its unfathomable romance and mystery. I paint that you might see, a little, of what I see.”





 


''Curious''
Linocut 
15 x 17 in 
My work reflects both my urban and rural experiences. As an artist, I am driven by needs that are both aesthetic and social. My themes are universal and are concerned with the everyday reality of all human existence. The woodcut allows me to use a bold and direct black and white approach in my work. This is an ordinary medium through which I endeavor to capture telling moments in the lives of ordinary people. It is an attempt to reveal something of their character, the history that has shaped them, and the spirit that sustains them. These works express essential ideas, and I have merged my vision and the medium to celebrate both the process and my perception.
 








''Cathedral of the Sacred Heart''
Oil on Canvas 
20 x 24 in 

Douglas Orr Zeigler was born in Dixon, Illinois and attended The University of Chicago and The Art Institute of Chicago (BFA 1967).

At The Art Institute, he studied drawing, painting and design with several European emigre faculty who embodied the traditional disciplines. There, he developed an approach to his individual vision which is grounded in representation, but also taps expressive, spontaneous impulses—and yields to immediate responses of color, line, form and texture.

Zeigler works outdoors, “plein-air”, as well as in his studio in Richmond’s West End.
The visual artist has a responsibility to be faithful to his will to create. In my work, I attempt to go to those places where my vision takes form by means of paint on canvas, or pigmented water on paper. Nature is my starting point, but the subconscious guides my response to what I “know” or “see” before me. If others share for a moment what I experience through these challenges then my work is successful.











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