My personal narrative directs the content of my work. My studio practice has evolved to include printmaking, sculpture, painting, installation, and storytelling.
I like to defy expectations and stretch the boundaries of the landscape format. Integrated into my repertoire are the earthscapes, culture, and music I encounter during my travels. I paint what I know.
Patricia Aaron, an established Colorado artist, has been featured in numerous solo and invitational museum, gallery, university, and airport exhibitions. Aaron uses painting, printmaking, photography, and sculpture to explore personal narratives connecting popular culture, current environmental and political issues.
Selected acquisitions include: Hafnarborg Museum of Culture and Art, Hafnarfjodur, Iceland, Museum of Outdoor Arts, Englewood, CO, Nicolaysen Museum of Art, Casper, WY, Delta Airlines Corporate Collection, Atlanta, GA, Hogan Lovells, Denver, CO, Liberty Global, Denver, CO, and Sun City Corporation, Kobe, Japan.
Aaron earned a MFA from University of Denver School of Art and Art History in Denver, Colorado, and a BS in Business Management from University of Maryland.
Artist fellowships include: Hafnarborg Museum of Culture and Art, Hafnarfjodur, Iceland, Sambaed Islenskra Myndlistarmanna, Reykjavik, Iceland, Hui No’eau, Maui, HI, Ucross Foundation, Ucross, Wyoming, Museum of Outdoor Arts, Englewood, Colorado, Anderson Ranch Arts Center, Snowmass, Colorado, Santa Fe Art Institute, Santa Fe, New Mexico, and Virginia Center for Creative Arts, Amherst, Virginia.
Space Gallery, Denver, Colorado represents Aaron’s work. Aaron is an Adjunct Professor at the University of Denver, Denver, CO.
Patricia Aaron has been an Artnaut since 2019.
This continuous body work is about today’s women: Always eager to begin new endeavors, wanting to become whatever her heart’s
desires, following her own plans and intuition, believing she is strong. But even after is known possible to accomplish so much, this woman is still bombarded with rules and impositions presented through our own society that sometimes hinder the way she lives. The “Multiples” projects are intended to question and reconsider these influences by raising awareness and lifting spirits through works that showcases the sublime beauty of being a female, capable of enhancing our powers and self-esteem.
Printmaking allows me to produce multiples, thus, I am able encompass all women, representing race, ethnicity, age, status, and all other labels, through images and bold colors. I believe this repetition is as important as the words that are sometimes included in the pieces because it allows me to be direct and effective, which is also, the intention of my art.
Araújo’s love for art started at the early age of six when she discovered the incredible joy of drawing and painting. She started by immersing herself into many children’s workshops in her hometown in Colombia where she experimented with oil pastels, colored pencils and watercolors; moving into other mediums until finally deciding for pastels and printmaking which are now her favorites.
After graduating from high school she moved to Florida and continued her artistic career enrolling in the Art Institute of Fort Lauderdale, graduating in 1993 with an Associate degree in Advertising Design. She continued her studies at Lynn University where she earned her Bachelor of Science degree in Graphic Arts, and in 2015 her artistic passion led her into acquiring a Master of Fine Arts in Visual Arts from the Miami International University of Art & Design.
Doris Araújo is an active artist, professor, and studio resident in Pembroke Pines, Florida.
Doris Araujo has been an Artnaut since 2018.
My work explores issues of identity and space. Through a practice that encompasses painting, drawing, photography, digital editing, video and installation, I address concepts related to contemporary identity such as nostalgia, nomadism, home, origin, differences, transition and migration. The impact of constant mobility on people`s lives questions the permanence traditionally assigned to the idea of home. And this fluidity also affects the fixity we used to attribute to identity. Identity and home are not immutable places to inhabit anymore but possibilities to be reinvented.
Lourdes Archundia was born in Mexico City where she also received her MFA from Academia de San Carlos and her BFA from the FAD/UNAM. She lives and works in Geneva, Switzerland. Her work has been exhibited in France, Spain, Switzerland, the United States, Canada, Mexico, Hungary, Greece, Bosnia and Herzegovina, Portugal, Andorra, Macedonia, Malta, Croatia, China and Japan. Venues include: Maison de l'Unesco (Paris, France); International Gallery of Portrait (Tuzla, Bosnia and Herzegovina); UN Headquarters (NY, USA); XYZ Art Gallery (Beijing, China); Gallery 7 (Tokyo, Japan); Espace Galerie (Morges, Switzerland); Ferencvarosi Gallery, (Budapest, Hungary); Jose M. Velasco Gallery (Mexico City, Mexico). She was selected for the UNESCO 5th Art Residency (Andorra, 2016); the W-manpower International Arts Festival 16 (Portugal, 2016); the 16 International Portrait Biennial (Bosnia and Herzegovina, 2015); the Imagining Equality project by Global Fund for Women and International Museum of Women (USA, 2014); the HCM International Exhibition (Hungary, 2012); and was a finalist for the Contemporary Art at HSG Tell (Switzerland, 2014) and the LICC catalogue (UK, 2012-2013), to mention a few.
Lourdes Archundia have been members of Artnauts since 2018.
I strive to express my concerns about environmental and social issues through my artwork. I explore general themes like overfishing and global warming, and also topical situations which arise from human neglect, greed and disregard for the balance of nature. I painted a series on a massive forest fire in the nearby Rocky mountain foothills, the BP oil spill in the Gulf of Mexico and the meltdown of the nuclear reactors in Fukushima.
Encaustic medium is made from bees wax and pigment with a bit of resin mixed in. As such, it is entirely organic. My studio smells of honey. And so, the very essence of my method of working connects me to nature and serves as a reminder of my intensions during the process of painting. The process, itself, reinforces my intention to bringing people’s attention to caring for our planet. The layering and overlapping images and colors to help give depth to the image as well as the meaning of my compositions.
I live in Boulder, Colorado with my husband and three children. I completed my BA with honors in Comparative Arts and Literature and a BFA in Painting from from Washington University in Saint Louis. My current encaustic work has been shown in group shows and solo shows in Denver, Miami, Santa Fe, and New York City. Other recent encaustic work is in the permanent collection of the Museum of Encaustic Art in Santa Fe, commissioned installations at Kaiser Permanente, as well as corporate and private collections throughout the country.
Barbara Arnold has been an ARTNAUT since 2018.
This body of work is grounded in fundamental techniques of drawing where the act of creating marks and images becomes a focused, irrepressible and introspective activity. These marks are rhythmic in evolution on the page, creating a momentum I can’t interrupt while drawing. Individual marks may be simple and subtle, but as the marks on the paper accumulate, form and image become more evident. Works on paper begin from the obsessive mark using a wide variety of materials to make and imply lines and forms. The images in my work relate to natural forms found in and around the hills of Utah but are abstracted and layered allowing for multiple interpretations. Small plants, so delicate, and yet so strong in their struggle to survive are what I often use to represent my themes. These small humble plants are elevated to the majestic as they are enlarged to become the central focus of my images, yet they retain their simplicity of form. The tangle of scrub oak branches is reminiscent of human forms, while the abstract lines can perhaps be interpreted as trails in both physical and metaphorical senses. Beneath these forms are simple and subtle ink trails with a density of accumulated ink creating soft variations in texture. The white of the paper seemingly becomes whiter in areas of dense trails. The endless variation mesmerizes me and compels me to continue exploring the possibilities on the page. These images, these icons of the trail, represent to me the wholeness of our existence and the nature of our journey through this life.
Born in Michigan, Sandy Brunvand moved to Salt Lake City in 1982. Sandy is an Assistant Professor (Lecturer) in art education in the Department of Art and Art History, University of Utah. After receiving her MFA in 2003, she co-founded Saltgrass Printmakers, a non-profit printmaking studio and gallery located in Sugarhouse. As well as teaching studio and art education courses, at the U of U, Brunvand has also developed and taught a variety of professional development workshops for K-12 educators. These workshops have been delivered for the University of Utah, Salt Lake Art Center (Utah Museum of Contemporary Art, UMOCA), Jordan School District, Salt lake School District, Granite School District, and Art Works For Kids.
Brunvand’s artwork incorporates painting, drawing, printmaking, and mixed media. Her work has shown throughout the United States, as well as in Canada, England, New Zealand, and Hong Kong, China, Colombia, Palestine, Hungary, and Scotland. Commissions include: Utah Museum of Fine Arts, Salt Lake Art Center (UMOCA), and Utah Arts Council. Grants include Utah Arts Council Established Artist Grant, multiple grants from Art Works for Kids, and the University of Utah Graduate research fellowship. Brunvand was recently named one of Utah’s 15 most influential artists, voted on by Utah’s on-line arts magazine, Artists of Utah-15BYTES.
As well as making, teaching and viewing art Brunvand also has a passion for playing blues and bluegrass music and hiking in the mountains with her husband Erik, and dog, Scruggs.
Sandy Brunvand has been with Artnauts since 2013.
My paintings reference the natural world. Images are abstracted and recombined to convey the patterns, rhythms, and underlying forces inherent in our immediate environment. They merge an idea of place with a sense of memory and existence and address loss of nature relative to loss of memory, people, and place.
In alteration of colors, forms and perspectives, and through multiple transparent glazes, the paintings evoke an alternative universe in which connections are made between time and location, and imagined space and physical existence.
Trine is a graduate of The Rhode Island School of Design and spent a year in the European Honors Program in Rome, Italy. After graduating, she lived in New York City, working for Betty Parsons Gallery and pursuing her own studio work. Since moving to Colorado she has become a full time painter and has exhibited her work in galleries and museums nationwide. Her work has been reviewed in Art in America, ArtNews and the New Art Examiner.
Trine has done commissions for the city of Denver, the state of Colorado and companies such as the Four Seasons Hotel, the Peninsula Hotel Hong Kong, and Jacobs Engineering. Other collections include Chase Manhattan, HBSC and Century Link, the University of Iowa and the Japanese Consulate.
Trine currently lives and works in Denver, Colorado.
Information saturation is usually the starting point for my work; my process involves fragmenting and reconstituting the digital and analog information that surrounds and immerses me. I reconstruct it, creating contemplative works full of invented objects, spaces and topographies.
I create art using industry standard software such as Maya, After Effects and Photoshop, as well as open-source software, and mobile applications. The technological innovations that make my practice possible were developed to meet other needs, such as to create military simulations, or to provide media tools for the entertainment industry.
Living in the post-digital era, I believe that using digital materials and tools is the way to examine the contemporary moment. Almost everything we experience passes through digital channels and becomes data. While I’m using the technologies developed for 21st century capitalism, the way I’m using them becomes a critique of the corporate model of technology—a model designed for consumption of media. Instead the technologies are used to question, to assert creative agency, and to reimagine the virtual and physical world around me.
Rachel Clarke (born UK) is an artist, writer, curator and educator living in Sacramento, CA. She is Professor of New Media in the Art Department at Cal State, Sacramento. Clarke is the founding editor of Media-N the CAA New Media Caucus’s international journal. She served as Editor-in-Chief of Media-N from 2005 – 2011, and is currently serving on the Editorial Board.
Solo/two person exhibitions include: Unmapping at the University of Georgia in fall 2013; Awakenings at CSU Stanislaus University Art Gallery, CA in 2010; and Between at Reynolds Gallery, University of the Pacific, Stockton, CA in 2009. Recent group exhibitions include AR2 View for V1B3, launched at CAA NYC in Feb 2013; Currents International Festival of New Media, Santa Fe, NM in June 2012; Ostranenie at Aggregate Space, Oakland, CA in 2012; and Really-Fake at William Paterson University, NJ in 2011.
Commissions include Crocker Mosaic, a new media participatory artwork created in collaboration with composer Stephen Blumberg for the opening of Sacramento’s Crocker Art Museum extension in October 2010. In 2011 she co-curated an exhibition of experimental 3D filmmaking with artist Claudia Hart of the School of the Art Institute, Chicago, entitled The Real-Fake: Simulation Technology after Photography. The show toured in the US in 2012. Working in collaboration with Sacramento Metropolitan Art Commission she is artist/curator for an NEA funded augmented reality public art project, Broadway Augmented to be located in the Broadway Corridor in Sacramento, launching in fall 2014.
Rachel Clarke joined Arnauts in 2014.
It is a search to bring visual image to what is intangable with reference, experience and nothing.
Born in New York USA in 1963 Andrew Connelly has been a practicing professional artist since the early 1990’s. Mainly noted for installation, performance and mixed media sculpture, Connelly has exhibited his works in contemporary museums and alternative gallery spaces around the US most notably Forum For Contemporary Art St. Louis, Boca Raton Museum of Art, Tampa Museum of Art and at the Center for Contemporary Art Sacramento. His works have been published in Art in America, Art Week, New Art examiner and the Village Voice. In 2010 Connelly spent a sabbatical semester making and exhibiting his work in New Delhi, India and since his return has had works in Valdivia, Chile, Cuernavaca, Mexico and Leticia Columbia, with an artist collective called ARTNUATS. In 2014 Connelly was awarded a fellowship from the Kala Art Institute in Berkeley, CA for a six-month artist in residency.
Connelly holds a BFA from Alfred University and an MFA from University of Colorado Boulder and attended Skowhegan School of Painting and Sculpture, Madison, MN. He is currently a professor at Sacramento State University where he has been teaching sculpture, installation and performance art since 2003. Previous Connelly taught at University of Colorado, Denver, Washington University, St. Louis and Ringling School of Art and Design, Sarasota FL.
Andrew Connelly Has been an ARTNAUT since 2010.
Dalton, Dennis P
I work two dimensionally in drawing and printmaking. My work is narrative and involves the figure. Usually, the main figures are in a gestural pose that are either symbolic or geometrically related to the composition. I find most of my compositional inspiration to come from drawing imaginary light sources and its impact on mood and composition. German Expressionism and film noir has influenced my interest in this aspect of creating a visual reality. Dramatic perspective is also dominant in my compositions. I work in lithography, etching and relief.
Dennis Dalton was born in Toledo Ohio and attended the University of Toledo while completing his art training at the Toledo Museum of Art School of Design receiving a BFA in Fine Art. He was accepted into the graduate school at CU Boulder and was there for two years. After receiving a full scholarship to the University of Utah in Salt Lake City, Dennis completed his graduate studies there with an MFA in 1984. Dennis has taught drawing and printmaking at Northeastern University, Texas A&M and Colorado State University-Pueblo. He received a Colorado Council on the Arts Drawing Fellowship , three AIPP Art in Public Places Commissions in Colorado and has exhibited regionally and internationally in 135 exhibitions since 2000. His work is in 14 public collections including Graphic Chemical and Ink in Chicago, Taylor Museum in Colorado Springs, Yuma Art Center, Curtis Art Center in Greenwood Village, Denver Art Museum and Ningxia University, Yinchuan China. Dennis currently lives in Pueblo but maintains a printmaking studio on his property close to LaVeta.
Dennis is one of the four founding members of the Artnauts which started in 1995.
I work with the collision and interpretation of various forms of nature, mythology, art history, and metaphysics. I am interested in unexpected relationships, the way a spider web mimics a wheel, the commonality between Dr. Seuss and the Dalai Lama, the resemblance between patterns in the constellations of the stars and the minute particulars inside the human body. I become fascinated with the materials: mica recreated as a skin or a chamber, thread floating on diaphanous fabric, knitted metal mesh emerging from a sand floor, the lyrical shape of a sphere of umbrellas, etc. The materials become a jumping off point to explore the nature of a veil, the phenomenology of an umbrella, or communication between plant life. Do we perceive in tiny bits of information, because otherwise so much beauty would knock us over? Like the French poet, Paul Valery, who wrote, “ Man’s great misfortune is that he has no organ, no kind of eyelid or brake, to mask or block a thought, or all thought, when he wants to.” It seems we need to be able to temporarily turn off the bombardment of stimuli, in order to re-emerge with new eyes. I hope my work acts as a kind of magic cloak, gathering fields of color and texture ever present in nature, reinventing and re-issuing them into another form. Like a butterfly that emerges from a chrysalis, when a filter is allowed to widen, a universal truth, or a band of possible truths may emerge, moving to a language that has been pulsating under our eyelids all the time.
Rebecca DiDomenico was born in Greenbrae, California. She attended school at Claremont College, Tribhuvan University in Nepal and graduated from the University of Colorado with a BA in English Literature. In DiDomenico’s world, there is no separation between art and life, studio and home. Her work is concerned with the collision and interpenetration of various forms of nature, mythology, art history and metaphysics. With her innate, relentless curiosity, DiDomenico casts the net of her imagination wide. “I am interested in unexpected relationships, the way a spider web mimics a wheel, the commonality between Dr. Seuss and the Dali Lama, the resemblance between patterns in the constellations of the stars and the minute particles inside the human body.”
A selected list of her exhibitions, collections and publications includes Boulder Museum of Contemporary Art; Museum of Contemporary Art, Denver; Denver International Airport; San Francisco Craft & Folk Art Museum; Denver Art Museum; Artspace; Art Papers; Artweek; Marin Independent Journal; The Washington Post; Art in America; and The New York Times.
Rebecca DiDomenico has been a member of Artnauts since 2007
I use self-portraiture as a narrative device to explore the areas of identity, race, identity perception, African American history, and social justice. I often use my own racial identity as the topic of my work. I have experienced fluidity in the perception of my race and ethnicity as a light skinned, bi-racial Black man. My struggles to fit into a racial group category and how I fashion an authentic self, while constantly feeling like an outsider, is the foundational and emotional content of my work. I am primarily interested in the experiences of bi-racial people who might share in this struggle. Is there a unique bi-racial experience? My work seeks to find out.
Along with my personal identity struggles, the historical legacy of racism in the United States for communities of color informs my experiences. My current work responds to the police killings of unarmed Black men, women, and children across America. While this is a constant attack on the Black community, the increased international media attention, public awareness, and public movements are new phenomena. The recent killings of Trayvon Martin and Eric Garner to Tamir Rice and Michael Brown, illustrate that Black victims can range in age from 12 to 50 years old. This raises the question of the value of Black bodies in contemporary America, which is linked to a long history of violence against its Black population through slavery, Jim Crow, and mass incarceration. My aim is to locate myself in this discussion as a bi-racial Black man who has both been the victim of racism and has in some instances “passed” for white because of my light skin. I see this as the cost of a legacy of racism that particularly troubles me and this conversation must continue.
Michael Dixon is an artist working primarily with oil paint. He was born in San Diego, California, and received his MFA from the University of Colorado at Boulder. Dixon is currently an Associate Professor at Albion College, a four-year liberal arts school in Michigan. His work has been shown both nationally and internationally at museums, universities, art centers, alternative spaces, and galleries. Dixon explores the personal, societal, and aesthetic struggles of belonging to both "white" and "black" racial and cultural identities, yet simultaneously belonging fully to neither. The works of artists such as Robert Colescott, Beverly McIver, Michael Ray Charles, Glenn Ligon, and Kerry James Marshall have informed his work. Michael Dixon started with the Artnauts at the beginning of 2016.
When I wake up in the middle of a dream, I remember almost everything; the color of the room, the sound in the background, the person walking by, the smell of the air, the direction of the light, and the way I am moving within it. I believe our memories are similarly constructed. Time, event, object, and environment blend with physical experience to construct a permanent impression on our conscious and subconscious minds.
In my experience, both memories and dreams are rich with different kinds of truth and reality; those that are easily accessed and explained and those that can only be understood through the metaphor and abstraction that the mind allows. Dreams often disregard the rational organization of space, objects and time and create the “identity” of an experience that expands upon the impression of time and what can be expected from objects of everyday life. My artwork intends to explore questions related to significance, perception, and expectation in the context of memory, objects and space employing the sometimes irrational organization of dreams.
Suzanne Faris is a Studio Artist and Associate Professor of Sculpture at Colorado State University in Fort Collins, CO. She is originally from Indianapolis, Indiana but now calls Fort Collins, CO her home with her husband Jason and son Jett. Her MFA is in Sculpture from the University of Colorado, Boulder and Bachelors Degrees are in Painting and Graphic Design from Purdue University. Suzanne’s studio work is primarily sculptural and interactive.
Suzanne Faris has been a member of the Artnauts Artist Collective since 2003.
I am fascinated with the material qualities of plaster, gesso, ink. Of black and white and using color as a material, a physical element. Of building and eroding surfaces, of latent presence. Of telling a story that can be traced from its embryonic start to its present condition. Of my hand.
Childhood roaming the deciduous forests of Western New York, becoming a keen observer. Bachelor of Science in Biochemistry at Trinity College in D.C. and Masters of Architecture at State University of New York at Buffalo. Twenty years of Architectural practice, decades of drawing, painting, binding with string.
Michelle Fisher has been in the Artnauts since 2015.
My work explores the life of the art object, building a visual dialog that extends from the internal to the external by testing the limits of narrative that exists not only within the work, but extending beyond it through process and intervention. Artifacts are created and eroded as weather, time and human interaction raise questions regarding the nature of external forces upon the artifact in the formation of its present history.
There is a fascinating paradox that occurs when confronted with ruins. Our thinking must split into two paths–one that leads us backward in time and another that travels forward, but these paths must be wandered upon simultaneously. The result may then be the creation of a complex alternative present.
We travel, perhaps great distances, to view the fragmented structures of past wonders, searching out a sense of our own identity in relation to time, recalling some Romantic notion of picturesque decline, in some attempt to reconnect ourselves with the earth. At the same time, we must reinvent these fragments that stand physically before us, searching out an imagined past which leads us into an invented future. Ruins point us toward a distorted world in which even what is now new will outlive us in some form of odd decay for other generations to translate.
It is these “translations” and reinterpretations of the artifact that my current work explores. These fragments are leftovers of a more public history, which we then make personal through our own contemporary experience. The work is layered in many senses–physically and conceptually–forming a narrative of struggle, of continuation and transformation through time. The ruin is a site from which life has departed, but the sense of its former occupation remains. There is a fullness that can be felt as we find ourselves in a constantly transforming continuum that is experienced in the present.
Melissa Furness received her MFA in Painting and Drawing from the University of Iowa with minors in both sculpture and printmaking. Furness’ work has been most influenced by her experiences of travel, which have included artist’s residencies in the countries of China, Mexico, Hungary, Poland and Ireland, as well as those in the U.S. at Kala Art Institute in Berkeley, California and the Corporation of Yaddo in upstate New York. These experiences have inspired the strain of her current work in painting and installation, which is influenced by history and infused with personal narrative.
Furness regularly exhibits her work both national and internationally, with international group exhibitions including those in Budapest, Swansea, Florence, Lecce, Zurich, and Bulgaria. She was also selected to partipate in the 2015 Biennial of the Americas, through which she resided in Mexico City for 10 weeks as an art ambassador. The artist’s 1, 2, and 3-person U.S. exhibitions have among them those at Plus Gallery in Denver, Colorado; Archangel Gallery in Palm Springs, California; the Dairy Center for the Arts in Boulder, Colorado; Ironton Gallery in Denver, Colorado; Kala Art Institute in Berkeley, California; the LoRiver Arts Gallery in Beacon, New York; Fish Tank Gallery in Brooklyn, New York; CoLAB Projects in New Orleans, Louisiana; and the Creative Arts Workshop in New Haven, Connecticut and others.
The artist is currently a national member of A.I.R. Gallery in Brooklyn, New York, where she has participated in curatorial projects surrounding women in the arts. Her work has also been featured in numerous publications, amongst them Studio Visit and New American Paintings Magazines through the Open Studios Press, the Manifest Creative Research Gallery’s International Painting and Drawing Annuals, the Creative Quarterly Journal of Art and Design, and the ArtWorld Digest. Furness is an Associate Professor of Painting and Drawing at the University of Colorado in Denver and has been with Artnauts since January of 2016.
In my art, I have chosen to create works that infuse the language of the abstract and abstracted to an art-making process that is inherently informed by the nuances of culture and emerges from a process of total and complete autonomous action; artistic narrative transforms into an impulse that is guided by intuition, reason and the will to express the experiences of life into arrangements of visual form.
The method in which I create my art is profoundly affected by the sheer fluidity and absolute sensitivity of the interplay between painting, drawing and video. These works are expressions of my trust in the power of chance and impulse to imbue the work I do with expressions that are a direct manifestation of my experiences with the act of exploring the power of experimental form.
Visual form is the vehicle by which these concepts are developed and the processes and methodologies of art making are where I can perpetually and meditatively seek truth. It is in that search that an insight into artistic integrity becomes the ultimate motivating force that causes me to seek a level of expression that entrusts the finished work of art as a unending source for revelation, mystery and profundity.
Quintín González lives and works in Denver Colorado. He earned his MFA in painting and printmaking from the Yale School of Art in 1997 and he received his BFA in painting in 1994 from the Kansas City Art Institute. He is presently an Associate Professor, of Painting and Drawing in the Department of Visual Arts, College of Arts & Media at the University of Colorado Denver. Quintín works in the areas of painting, drawing and new media and has exhibited his work nationally and internationally.
Quintin has been with the Artnuats for over a decade.
I continuously explore new ideas and switch genres and media in search of new possibilities in my art.
This is part of my transition from a student-artist learning how to paint to an increasingly experienced artist
trying to define my art and its purpose. My most recent
paintings explore ways to combine an organic,
free-flowing style with patterns and textures. I look for ways to fuse these elements in unusual and
unexpected ways. This process is an avenue to explore, through painting, qualities that are important to
me, both for leading a meaningful life and for creating meaningful art. Those qualities include honesty,
having an open mind and heart, truly listening to others, working to improve our world and being open to
Andrea Gordon was born and raised in Denver, Colorado.
She studied Economics at Colorado College
with an unofficial minor in Art History. After college
Andrea earned her law degree from the University of
Denver College of Law. While raising her three children, she occasionally practiced law and also started
her own mortgage closing business.
In 2010, Andrea began to pursue her life-long passion for
art by becoming a full-time artist. She has since
taken many classes at Denver’s Art Students League where
she continues to study art in a variety mediums
and genres. Andrea is an emerging painter, participating in juried shows and art markets in Denver.
Andrea has been an Artnaut since 2015.
The conceptual framework for this series of paintings began during the intense political, social, and environmental climate of 2016. These paintings explore the destabilized and uncertain reality of our times by combining disjointed images and painterly vocabularies. They often include animals as subjects in ambiguous and morphing environments. The combination of animal imagery with abstract shapes and unusual colors alludes to the problematic relationship that forms between natural and constructed worlds. These artworks are simultaneously playful in execution and unsettling in their implications.
On a formal level, these paintings explore the arbitrary divisions between representation and abstraction. A single work may include various degrees of resolution and construction of illusionistic space. Crude drawings stand adjacent to polished and rendered imagery, creating a jarring and even theatrical quality. I derive inspiration from both traditional painting and contemporary artists who push the capabilities of the medium. These artists include Ruprecht Von Kaufmann, Julie Heffernan, Matthias Weischer, and David Schnell. I strive to build formal and conceptual juxtapositions that will develop into new possibilities for interpretation and reflection.
My name is Robin Hextrum and I am an Assistant Professor of Visual Art at Regis University. I grew up in northern California where I developed a love for hiking, surfing, kayaking and soaking up natural beauty. I moved to southern California to attend USC for my undergraduate studies. During my time at USC I completed a double major in Fine Art and Neuroscience and rowed on the Varsity Women’s Crew Team. Following this diverse experience, I studied at Laguna College of Art and Design where I received my MFA in painting. I also received a second Master’s degree in Modern and Contemporary Art History from UC Riverside. I currently show my work at K Contemporary in downtown Denver. I spend my time outside of my teaching position working on my oil paintings, hiking, show shoeing, skiing, and exploring the local brewery scene in Denver. My paintings reflect my interest in traditional and contemporary painterly practices. I look forwarding to working with you all!
Robin Hextrum has been a member of artnauts since 2019.
Hill, Nicole Jean
With an anthropological approach to image making, Nicole Jean Hill is an artist using photography and video to explore familiar spaces and activities within the cultural and natural landscape. Her work often explores the ways the natural world is defined, cultivated, exploited and examined and how these actions are made visible upon the earth's surface.
Nicole Jean Hill was born and raised in Toledo, Ohio. She received a BFA in photography from the Nova Scotia College of Art and Design and an MFA in Studio Art from the University of North Carolina at Chapel Hill. Her photographs have been exhibited throughout the U.S., Europe, Canada and Australia, including Gallery 44 in Toronto, the Australia Centre for Photography in Sydney, and the Blue Sky Gallery in Portland, Oregon. Her work has been featured in the Magenta Foundation publication Flash Forward: Emerging Photography from the U.S., U.K., and Canada, the Humble Art Foundation’s The Collector’s Guide to Emerging Photography, and National Public Radio. Hill has been an artist-in-residence at the Center for Land Use Interpretation in Wendover, Utah, the Ucross Foundation in Wyoming, and the Newspace Center for Photography in Portland, Oregon. She currently resides in Humboldt County, California and is a Professor of Art at Humboldt State University.
Nichole has been a member of artnauts since 2018
Being an artist is not a rational plan or decision. It is who you are and how you are in the world. You make the best of it using the circumstance you find yourself in, and take advantage of opportunities as they present themselves. As an artist my role is to inspire. If my art inspires anyone it is really satisfying.
I believe nothing is beautiful or compelling in and of itself. All beauty-all power to affect-derives from the way in which things are invested with disposition, how they are made to appear. No one knows where such an experiment will go, and it is one certainly rife with traps and dead ends. What is most beautiful about it, in fact, might well be its potential to magnify risk. To bring these ideas into such close proximity with life is to make laughter a necessary component of work and action. I know one is tentatively permitted to dream of a day when ideas might merge with philosophy itself. Take risks and do not be afraid to do the irrational. Think of every situation as a potential for an art project, no matter what life may throw at you. Learn how to trust yourself and use the technology available to amplify your message. Think outside of the frame and the white box.
I create paintings, prints, digital art, interface design, photography, sound and video works that explore the aesthetic potential and the cultural implications of seemingly well-known artifacts through the use of new technologies. These works are manifestations of new possible visual that emerge from explorations of existing but hidden dimensions behind the face of the everyday life. In these works, I often employ elements of surprise, critical investigation and subtle humor.
Nichole Hongchang is an artist and educator who currently lives and works between Denver, United State and Beijing, China. She received her MFA in Integrated Arts from the University of Colorado at Boulder. Her work is interdisciplinary, specializes in sound art, video art, performance/installation, and social practice. She is also highly proficient in painting and drawing, having studied Fine Arts in China. She exhibits widely throughout the world in Brazil, Colombia, Mexico, Palestine, Peru, Sweden, Chile, China, England as well as in the United States.
Nichole has been a member of artnauts since 2010
My recent work has been dealing primarily with two main topics. The issue of violence, war, power, history and control and then the ideas of disaster, emergency and the vulnerability of us all to natural forces. I create finely crafted sculptures using the materials of clay wood and metal to express these ideas. Enlarged medieval helmets, high tech drones, and sinking battleships contrast with the life saving properties of fire hoses, standpipes and other emergency fire equipment.
Ben Jackel was born in Aurora, Colorado in 1977. He attended the University of Colorado at Boulder and studied fine art with a focus in ceramics and photography, receiving his BFA in 2000. In 2002 Jackel moved to Los Angeles to attend graduate school at The University of California, Los Angeles. While at UCLA he worked with Adriane Saxe and Charles Ray, receiving his MFA in 2005. In 2007 he participated in the show “Rogue Wave 07”at the gallery LA Louver. LA Louver formally represented the artist following the show. His first solo show at LA Louver “Compliance Solutions” 2009 was followed up by his second solo show “Zero Percent Contained” 2012” Both of these shows deal with themes of war, disaster, power and death. Jackel continues to live and work in Los Angeles. He first showed with the Artnauts in the year 2000 with a trip to Lima, Peru.
Ben Jackel has been in the Artnaut since 2014
Claire’s sculptures, installations, paintings, and drawings stage disasters both real and imagined. The works uncover her pre-occupation with catastrophic forces of nature and the psychological conditions of crisis. Her paper models and installations evoke the familiar – airplanes, trains, suburban neighborhoods and city blocks – seen through a lens of fragility. The airplane is almost entirely burned to cinders; the city is suspended upside-down, anchored in its own rubble. Each event represented reveals that, to some degree, nature has complete control over us.
Claire Jackel received her M.F.A. from the San Francisco Art Institute and her B.F.A. from the University of Colorado. Her work has been exhibited nationally and internationally at Oakland Museum of California, Schneider Museum of Art, Ashland Or., Rena Bransten Gallery, San Francisco, Calif., Marine Contemporary Salon, Venice, Calif., Museo de Arte Contemporáneo-UACh Valdivia, Chile, Universidad Nacional de Colombia, Bogota, Colombia, and Dar al-Kalima College, Bethlehem, Palestine. She received a fellowship to be an artist in residence at the Vermont Studio Center in 2010. In 2008, she was a recipient of the Murphy and Cadogan Fellowship in the Fine Arts. She lives and works in Los Angeles.
Claire Jackel has been an Artnaut since 2012.
Change—affecting it personally, and socially—is very important to me. Often, I look to ancient sources as my guide for this, in part because they hearken from a time more comfortable with notions of Transformation. I've used wood gleaned from olive groves in Bethlehem to create staffs; I've compounded anointing oil based on the exact components (cassia, myrrh, cinnamon) as laid down in the book of Exodus, and offered it up in hand-blown glass dispensers to exhibition visitors—allowing them to anoint themselves as they see fit. I've made reliquaries of bronze (a material thought to have powerful "memorializing" qualities), and copper (for its "conduit"-like properties between the spirit and material worlds). Modern inventions like the sewing machine, and familiar office-tools like rolling casters, make their way into my sculptures as well. But at their root, these are forms that embody the sort of ineffable sense of 'shift' and internal re-orientation that I seek.
The tactile is a Formal response to the notion of the personal; materials are latent with message. Hence, I've spent a lot of time researching just what it is they might be trying to tell us; I've learned about early Jewish practices previously kept secret, of mysticism and magic—to the point where my studio practice can almost seem to border on the anthropological. That's an admixture with which I feel comfortable. In many ways I'm a visual archeologist, unearthing fragments of the past, digging up metaphor and parable that I then site into a personal narrative. The only way I can advocate change for Others is to begin with my own practice, put my own self and beliefs on the line. Viewers often respond with intense catharsis to these works, and I welcome that. Through the gentle power of shared emotion, darkness is exposed, and healing is brought to light.
Beth Krensky is an associate professor of art education and the Area Head of Art Teaching at the University of Utah. She is an artist, activist and educator. She received her formal art training from the Boston Museum School and MIT’s Center for Advanced Visual Studies. She has exhibited widely throughout the United States and internationally. Her work is intended to provoke reflection about what is happening in our world as well as to create a vision of what is possible.
She is also a scholar in the area of youth-created art and social change. She received a master’s degree with a focus on critical pedagogy and art education from the Harvard Graduate School of Education and a Ph.D. in Education from the University of Colorado at Boulder. She spent a decade with the award-winning youth arts organization, Project YES (Youth Envisioning Social change), as the Co-Founder and Artistic Director. She has coordinated numerous community-based art initiatives, including creating a Peace Park with young people in Colorado and the book A Piece of Peace with youth from Massachusetts. Her co-authored book, Engaging Classrooms and Communities through Art: A Guide to Designing and Implementing Community-Based Art Education, was published in 2009 by AltaMira Press/Rowman & Littlefield.
Beth is a founding member of the Artnauts and joined the collective in 1996.
I am inevitably lured to exploring life's narratives. I examine the power of the story and how it affects the culture and social mores it defines. My visual language derives from symbolic imagery abstracted from legendary tales then combined into a visual blend between story and my journey of truth. Re-contextualizing imagery recalls metaphors for the human condition. I am in constant search for that metaphor that identifies this condition. My concept dictates the direction of my process and the media, which is incorporated throughout execution. The still life is an important element in my work and as a collection; it serves as a manipulator of time, caught in liminal space. The collection itself contains stages between life and death, where anxiety meets desire and seduction is affirmed. I am fascinated with the toy as replica for life, examining belongings, situations and places; they evoke aspects of the real while remaining worlds apart. The miniature functions as a tool examining past, present and future from a voyeur's perspective, not unlike the “Wizard of OZ”, who controlled or seemingly so, the outcome of act I, II and III.
Lane serves as Associate Professor and Drawing Coordinator at Metropolitan State University of Denver. She received her BFA in 1995 from the University of Colorado at Boulder and continued her education, graduating in 1998 with her MFA, also from the University of Colorado at Boulder. Lane has been teaching studio art courses in higher education since 1999. She was a member of Edge Gallery, an artist run co-operative from 1996 - 2012. Lane is an interdisciplinary artist, exploring both traditional and experimental media as well as two and three-dimensional works and installation. Currently, she is a member of Ice Cube gallery, also a co-operative art gallery in the art district referred to as RINO within the Denver communitywhere she serves as New Membership Coordinator for the gallery. She has exhibited nationally as well as internationally.
Sandy Lane, member of Artnauts since 2014
Statement:I nearly destroy papers – I soak, beat, crumple, throw and wring sheets, then felt them into a new substrate in order to cast objects from personal memories. Paper felting technique is borrowed from old Korea, called Joomchi, and new substrate created from this laborious process transforms a fragile sheet of paper into a new substrate that is strong as animal hide. These are various casting series I have been exploring since 2012, I intentionally choose to take shapes of the objects that are strong and I focus on capturing what these objects visually symbolize. The process of casting involves reconstructing psychological space first, then physically draping over a sheet, feeling the shapes with my fingertips, then brushing and stippling over each element. This process creates a three dimensional frottage, similar to what one does when they rub something over a textured surface, like a gravestone, to get an impression.
Sammy Lee is an interdisciplinary artist in Denver, Colorado. Her work focuses on spatial, narrative, and sequential qualities in personal history, as Lee incorporate her diverse explorations in art and architecture. Lee was born and raised in Seoul, South Korea and moved to Southern California at the age of sixteen. Lee studied media art at UCLA and architecture at the University of Massachusetts Amherst. Her work has been exhibited internationally and can be found in collections at the Getty Research Institute, Bainbridge Island Museum of Art, Spencer Museum of Art, and the Spanish National Library in Madrid, Spain. Currently Lee is a resident artist at Redline, serve as Board of Directors for Asian Art Association at Denver Art Museum, and operate a new contemporary Asian art residency and project space, called Collective SML | k in Santa Fe Art District, Denver.
Sammy Seung-min Lee has been an Artnaut since 2018.
There are three ways that I have found to approach the creation and execution of a work of art: (1) through a process using materials to arrive at the content or usually arriving through a series of drawings, paintings or sculptures or (2) Through a problem or question that needs to be heard and expressed through a protracted and yet mindful choice of the style, materials and techniques necessary to its visual form, or (3) Through the unconscious workings of my conceptual and intuitive process where an image presents itself in a Zen-like moment of realization.
No matter, what the approach, there are a few things I find to have an enduring presence in my life and work: the sensuality and sheer beauty of materials and the wonderful contrasts and emotions that they can evoke. I delve into experimentation and the discoveries that are found through mindful play. I understand and question the world’s and universe’s order and chaos through the process of making art, and lastly, but with more measure as I mature, my care for humanity and how it is expressed and active in my work.
Catherine Leisek is “ manipulator, an artist who combines acrylics oils, watercolors, pastels, and collage to create works that qualify as both paintings and drawings…. for Leisek provocative and ambiguous images form the crux of her art. Sometimes collage elements of metallic paper and heavy dollops of paint provide unexpected textures. Forms are seldom isolated in these compositions, yet no element can be removed without jeopardizing the unity of each scheme” Roger Hurlburt , Sun Sentinel, Ft. Lauderdale FL
Leisek’s multi- dimensional work shows versatility in both two-dimensional and three-dimensional mediums and over her career she has exhibited a brought range of styles and techniques honed and influenced as a professor of art. Choosing from a broad array of materials her work reflects her interest in social and political commentary as a means of change. The styles and materials vary from witty narratives to conceptual objectivity always infused with a unique worldview.
As a Professor and in the Visual and Performing Art Department at Broward College in Ft. Lauderdale she teaches Art History, Sculpture and Three Dimensional Design. Leisek an accomplished widely exhibited international artist and lecturer who have resided in South Florida for over 30 years. Professor Leisek was granted a Master of Fine Arts and a Master of Arts from Bowling Green State University, Bowling Green Ohio: a Bachelor of Fine Arts from the University of Windsor, Windsor Ontario: and a Diploma in Studio Arts from Fanshawe College, London, Ontario, Canada.
Catherine Leisek has exhibited with Artnauts since 2013.
“Betwixt and Between”
I am of the belief that the human mind is hardwired to create order out of disorder. I begin each work with a rhythmic web of marks, lines, and colors that stretch across the painting surface. It is important to integrate the unexpected into my work: with every misstep that occurs, there is an opportunity to take the image in new directions.
As I am interested in creating a varied and complex surface, I work back and forth between the addition and subtraction of materials. I liken my subtractive process to the excavation of earth that an archaeologist undergoes while searching for remnants of the past. Alas, I am a Modernist at heart.
Conceptually, this body of work circles around the condition of LIMINALITY. (from the Latin word “limen”, meaning "a threshold") Liminality may refer to the disorientation that occurs during times of division and transition (divorce, dislocation, conversion, etc.) As a 2nd generation American, the malleability of cultural identity is on one foot freeing, and on the other foot destabilizing. Despite this rending, liminal borders and boundaries metaphorically zip together what had once been divided, and create rich opportunities for growth. Stitches atone for what once was torn. It is on the horizon where sky and land are reconciled.
Archaeologist Marie Louise Stig Sorensen relates, “..material culture is at the same time active and pliable, meaningful but not absolute.” The imagery that emerges from my artistic process owes its inspiration and existence to the initial marks, lines, and colors, and to all of the subsequent layers in between.
Kari Lennartson, MFA… grew up with one foot in Minnesota, the other in Canada, jumping on hay bales and picking wild berries. Borders and boundaries, as well as the notion of “home” have been salient motifs during her artistic career. She earned her MFA in Painting at Colorado State University in Fort Collins, Colorado. She completed a BA in Studio Arts and Scandinavian Studies from Gustavus Adolphus College in St. Peter, Minnesota, during which time she spent a semester studying Nordic Art History at Uppsala University in Uppsala, Sweden. A second generation Scandinavian- American, Lennartson speaks both Swedish and Norwegian with near-fluency.
In her artwork, Lennartson uses acrylic paints with mixed media such as charcoal, pastel, colored pencil, cattle markers, graphite, and collage elements. She prefers the tenderness of paper, closely followed by the rigidity of panel painting, and blushingly admits her adoration for modernist/ formalist aesthetics. Surface texture and line play a significant role in guiding the artist’s process of intuiting the whimsical interplay of shape and pattern. Conceptually, her extensive international travel continues to satiate Lennartson’s lust for liminality in both space and time.
She has been an Artnaut since 2016.
Martinez, Valerie Kim
I define situations in space; they are not literal, topographical, localizable places, but rather intellectual concepts, images that reflect structural and textual metaphors. For me the definition of a space is predicated on human presence and initiative.
V. Kim Martinez is an Associate Professor of painting and drawing in the Department of Art and Art History, University of Utah, since fall 2001. She received her terminal degree from The School of the Art Institute of Chicago. Her fellowships include: The Sara Lee Foundation, Ragsdale, Vermont Studio Center, Bemis Center for Contemporary Art, Social and Public Arts Resource Center, The School of the Arts Institute of Chicago George L. & Ann Roman Siegel Foundation, International Iron Casters, the University of Utah John R. Parks and Tanner Humanities Center Professors Off-Campus. Kim has an active visual artist record, exhibiting locally in Salt Lake City, Ogden, Park City, Ephraim, and Springville. Nationally in New York, Illinois, California, New Mexico, Arizona, Colorado, Nebraska and Vermont. Internationally in Mexico, China, Palestine, Columbia, Guatemala, and Brazil. She is the recipient of the 2003 Salt Lake City Mayors Visual Artist Award, recognizing her community involvement and contribution to the Utah Department of Corrections, Veterans Administration, Utah Hispanic Women’s Association, First Step House and Art Access/Art Positive! In 2006 she received the University of Utah, College of Fine Arts, Faculty Excellence Award in Teaching, Research, and Service. Her community grants include: The National Endowment for the Arts “Challenge America”, through the Utah Arts Council, Utah Transit Authority, City of South Salt Lake, Salt Lake County, Primary Children’s Medical Center, State of Utah Division of the Blind and Visually Impaired and the University of Utah Housing & Residential Education.
Formally, my material application is controlled, this technique indicates a somber attempt at objectivity, to avoid sentimentality. The political content of my work is about the use and abuse of power. I analyze political, social and psychological, norms which demand adaptation, integration, and assimilation of everyone outside its borders.
Kim has been an active member of Artnauts since 2003
I create sculpture to distinguish, refine, and enhance the potent qualities located in specific materials and environments. Combining the inherent features naturally present, with those that I introduce, my work sharpens the dynamic exchange between our surroundings and our resulting perceptions. I maintain an awareness of linear and cyclical variations so that my work remains active and viable beyond its inception.
My approach to material is determined by an economy of sculptural integrity, local relevance, and aesthetic goals. I work with multiple components, repetition and texture, all calibrated to convey elements of change and reveal forms that are rooted in the site. Arrays of corresponding elements layered in my work collectively defines shape and dimension that is anchored by the existing light.
Sculpting with shadow, light and space, my interests lie in cultivating that vital dialogue of knowing ourselves within an environment.
Artist, Patrick Marold, has been working for over 20 years to bind the physical environment with our perceived orientation through enhanced systems of space and form. Since earning a BFA from Rhode Island School of Design in 1997, his artistic development has maintained an intimate connection to landscape, extending the environmental traditions unique to post-minimalism. Refinement of his practice has been pursued in various locations in America and abroad, including opportunities like that of his 2000 Fulbright Fellowship in Iceland where he began to more fully utilize spatial dynamics to generate an enhanced understanding of light and movement. Exhibiting widely in galleries and museums, he has earned multiple awards and recognition for his studio works as well as his publicly sited projects. In the last decade he has completed multiple public commissions, inviting the viewer to consider new orientations of landscape, materials, physical forces, and their impact on personal and communal perception.
Marold has been part of Artnauts since 2019.
I consider myself a conceptual artist. I begin with an idea or concept that intrigues me and then start exploring different mediums to visually express the idea. I am interested in exploring the ambiguity of simultaneous construction, deconstruction and reconstruction, and the points where they occur simultaneously, as it occurs in nature, cultures and institutions. Like a tree growing up in a crack in a rock and at the same time the tree is being constructed the rock is being deconstructed. An organism is conceived, and continues to grow, while at the same time it begins to die. Societies develop, break down and are rebuilt. My work visually expresses these processes, most often exploring environmental issues and cycles. Bees, butterflies, ice and barbed wire are recurring themes in my work. With my environmental installations, rather than lecture the viewer I try to create an experience that will move the viewer to care about the issue on an emotional rather than academic level.
Jane McMahan is a conceptual artist living in Boulder, Colorado. She uses photography, video, painting and installation in her projects. Born in Wausau, Wisconsin McMahan received her BFA from the University of Colorado. She then did graduate work in Architecture before turning to teaching. Ms. McMahan taught art in the public schools for 12 years before returning full time to her own work in 1998.
McMahan’s artwork is often influenced by her place in the natural world. Her current work explores ways to visually capture the process of construction, deconstruction and reconstruction, and the moments when they occur simultaneously. She is interested in the extremes within this process. Current themes in her work include nature and environmental red flags, cultural and political interactions and social issues.
McMahan has been part of Artnauts since 2009.
Mitchell, Susannne A
My work draws from my life experiences traversing continents and cultures between Malawi and the United States. Through marriage and motherhood, I am united with an African family and a way of life vastly different from my own. I am interested in the phenomena of re-entry shock: the brief period of time after returning ‘home’ from a foreign place, when the mundane, unnoticed and familiar are fleetingly exposed to consciousness. My work contains figurative elements and range from large-scale mixed media drawing/installations to intimate, miniature paintings, which often integrate photography and printmaking. Through these media I examine and recombine elements that become a lexicon of signifiers that reference history, race, class, family systems, home, and globalization.
In a series of work collectively titled Crossing Into, I used a fabric called ‘chitenje’ cloth that was collected from a village in Malawi where my extended family lives. The women use these fabrics as clothing and for many other functions in domestic life. These cloths bear the traces of their extensive use and are therefore imbued with a life–force, which I sought to honor in the work. The history and spirit in the cloth is used as a counterpoint to images from the Victorian Era, which are printed and drawn on top or emerge from behind through rents in the fabric. The superimpositions create an ambiguous relationship between what the fabrics represent and the symbolism of the images imposed upon them, and relate to the complicated and painful history of colonialism in Malawi. In this work, these physical and metaphysical references to the past are used as a means to contemplate current issues and future developments in Africa.
In this and other series of works, I am interested in the materiality of the objects and photographs. I remove them from their original context and recombine them in my artworks, in order to reinvestigate their meaning and reveal something honest about our common human experiences.
Susanne Mitchell is a visual artist, whose works combine painting, drawing, photography and printmaking. Born in New York in 1973, Mitchell received an MFA in printmaking from the University of Colorado at Boulder (2007) and a BFA in painting and drawing from California College of the Arts (1996). She has served as a Visiting Assistant Professor of Art at Metropolitan State University of Denver and as a Lecturer of Art at the University of Colorado at Boulder. Her work has been exhibited both nationally and internationally, including at the Craft and Folk Art Museum (Los Angeles), the Academy of San Carlos (Mexico City) and the National University of Colombia (Medellín, Colombia).
Susanne Mitchell has been in the Artnaut since 2013.
Mitwasi, Faten Nastas
Nastas Mitwasi is an installation artist, utilizing both handmade and ready-made objects in her art. Past works have incorporated texts, calligraphy, and delicate pieces involving embroidery, ceramic and crafted paper, as well as photographs, audio and video films. Her art reflects the concerns about the social, emotional and psychological aspects of life that derive from the politically unsettled environment in Palestine. Her concepts are home, identity, place and fragmentation.
Her works have been exhibited locally and internationally, including the United States, Sweden, Scotland, Germany, and Japan.
Nastas Mitwasi was born in 1975 in Bethlehem. She was inspired by her father, Fawzy Nastas, a prolific sculptor. She received an MFA from Bezalel Academy of Arts and Design in Jerusalem in 2011.
She started working at Dar Annadwa Cultural Center in 1998 as the art coordinator, curating exhibitions and organizing courses. She was a key person in developing and establishing Dar al-Kalima University College of Arts and Culture, where she is presently the head of the Graphic Design & Applied Arts programs. She is a scholar in Palestinian art and the author of three books. Besides, she was the curator of several exhibitions and art projects; including the Palestinian Collection for “Imago Mundi” project, commissioned by Luciano Benetton Foundation.
Mitwasi has been in the Artnaut since 2019.
My art talks about "Time", and timeless issues. Being part of the world , trascending boundaries, languages, cultures. Consciousness of earth and universe, using recycled materials; also using land, sand from the place were the art is done, ritual of gratefulness towards earth. My conceptual art , tries to connect the human being with his own sense of entireness, through a meditation, while looking at my art pieces.
Concepts of time: now, the present, were I am, were I was born, "Mi Tierra"; mixed with from were I come, my roots, past; and where I might go, acts of the present moment. I also question languages, metric system, concepts inside any western culture. Communication trascends different languages. The bilingual energy of both languages, English and Spanish. Words that travel to make us think. Sense of sharing the rounded world. Respect for the land. Inspiration of being part of this art group, as a lung of renewing air for the world.
I studied Art in a chilean university: Universidad Finisterrae, Santiago de Chile, South America.
During the 90th I had the opportunity of being a transfer student at CU Boulder Colorado University. Were I got a scholarship in the 2000.
In Chile I got all the tools for being a metal sculpture artist, and all the studies to be a painter with classic tecnics, of acrylic and oil paintings.
At CU boulder I had the opportunity of getting the tools for doing conceptual art, and modern art; I had my most important teachers that make the core of my art, like Tony Rosatto and Garrison Roots.
In 1998 I met George Rivera in Holland and I was invited to be part of the beginning of Artnauts. We had an exhibition in the most important place of my country, Museo de Bellas Artes in 1998. Then we had another exhibition in Valdivia, Museo de Arte Contemporaneo same year, MAC de Valdivia. Later we had some shows in Spain and Mexico. For me doing art is like breathing.
Norambuena has been part of Artnauts since 1998.
As a child, I would take all of my toys, my father’s wood scraps, and anything else I could find and start taping them together. I called the objects that I made, “my inventions”. I would spend hours constructing my inventions, allowing my imagination to fuel the function of my creation. Each invention would feed into the next idea: every object taking on its own life inside of my mind creating a continuous narrative. This process is still true to the way I work today. The processes, tools, and materials that I learned over the course of my life have helped transform my inventions into the art I now create.
The relationship between process and material in my sculptures is a look into a handcrafted history that helps form my ideas. My process becomes the story of each piece, and the materials are the words. Every wooden dowel, piece of wood, and steel rod is cut and attached one at a time like words pieced together to form a sentence. I spend time with each part measuring, sanding, and grinding them individually. I get to know each part one-on-one and form a relationship with every piece that makes up the sculpture. This visual way of communicating offers a glimpse into my imagination.
Jimmie Nord, an artist from Northern California, works out of his studio/garage in Eureka, CA. He works mainly in wood and metal. His work is a playful look into construction and the tools and equipment that are used. He pulls his ideas from past work experiences such as construction and working with the U.S Forest Service. He moved to Louisiana to attend Louisiana State University where he was given the opportunity to teach sculpture classes and facilitate support demonstrations for students in the metal and wood working labs. After receiving his Masters of Fine Art from LSU, he moved back to Eureka in 2014. Currently, Jimmie is a lecturer at Humboldt State University teaching 3D and 2D Foundations, Professional Practices, Ceramics, and Special Topics in Sculpture. He is also a board member of Morris Graves Museum of Art.
Nord has been part of Artnauts since 2019.
PerezGa, Jorge Ed
Saving Sleeping Beauty is a collection of oil paintings that speak about the everyday attempt to
transform the banal into something magical, unique, and grand.
During my youth, my family and I traveled every year from Mexico City to the United States of America to
visrt Disneyland. For a long time, I believed every street, city, and state in U.S. was just like Disneyland,
and personally, that notion was more real than any actual form of the country.
I have carried this distortion of reality with me through adulthood. When I go to the gym, a prote in shake
becomes so much more than pure powder, but rather, a magic potion that w ill make me stronger.
Similarly, Saving Sleeping Beauty plays with the binary of reality and fantasy, idolizing American culture
as I revisit childlike qualities.
Saving Sleeping Beauty is a reminder that I am neither a man nor a woman, but more so, a male that
possesses qualities of both, which allows me to see the world not for what it is, but for what it could be.
Jorge Ed PerezGa was born in Mexico City, Mexico. At the age of fifteen, he was admitted to the Denver
School of the Arts and move to Denver, Colorado to begin his education in fine arts. Years later, while
attending Metropolitan State University of Denver, PerezGa developed an enchanting body of work that
opened a wonderful world of opportunities for him in the United States of America. PerezGa's defiance
of social norms and gender roles, his ongoing idolization of American culture, and his approach to the
duality of fantasy and reality allow him to tell a unique story that speaks of fantasy, identity, culture,
sexuality, sex, gender, memory, and obsession.
Jorge has been in the Artnaut since 2008.
Rogers, Laura Phelps
I frequently reference womanhood and domestic life from a personal perspective - contrasting life in the era of pre-industrial agriculture with mid-century conveniences and social expectations to modern day thinking and contemporary presentation. Social manifestations of manners and current cultural shifts blend together while I consider and respond to the current societal desire for stimulus. Addressing eras of long past simplicity and complex issues pertaining self-identification, domesticity, non-traditional female roles, hard work and toughness I keenly contrast femininity and fragility within investigations including specific applications of medium as extensions of concepts.
Relying on a handful of repeated topics, themes, mediums, devises and environmental components to achieve visual lexicons, my materials and processes range from: social engagement, sculpting in wood, steel, iron, bronze, process based and digital photography, ephemeral components and mixed media approaches frequently utilizing what is on hand. I set out to achieve installation compositions augmented with light-based components, performance, alternative substrates for process-based imagery, clothing, familial and found objects.
To elucidate, my sculpture is focused on the recontextualization of objects and memory based conceptual interpretations of familiarities and cultural references to spur wide open personal translations for viewers. Photography, color and light play a supporting role in the creation and final presentation of visual dialogues. Ephemeral materials referencing impermanence, fragility, sustenance, care-giving, birth and death assist in adding to the complexity of messages, while performance strengthens conceptual connections to underlying ideas.
My inspiration comes from surprising sources as simple as a tomato on the counter or as vast as the west and the changing landscape. Topics I have delved into include: beauty, aging, war, environment, disappearance of entire industries, disappearances of cultural components and the landscape. Euphemisms serve as a means of creating accessibility for viewers.
Laura is a contemporary sculptor who lives and works out of her studio in Denver, Colorado. Her work can be seen in galleries, private and corporate collections, commercial and public spaces regionally, nationally, and internationally. Represented at Spectrum Miami at Art Basel in 2017 and just returning works in 2018 from exhibiting at Woman Made Gallery, Chicago, Sordoni Gallery, Pennsylvania, IGCA, Anchorage, Las Vegas, Art Expo, New York City and Republic Plaza, Denver, Colorado. She is currently in the midst of her social engagement public work Art In The Everyday Community Quilt Project in Hawaii. She has had over 14 solo exhibitions including Colorado Women’s College at the University of Denver in her first compilation of works from four solo shows titled A Woman’s View. Laura was born in Denver, Colorado and began her visual background in Southern Colorado. She received her BFA from the University of Colorado Denver. Her commercial practice includes curatorial roles, fabrication and fine art consulting. She has ties to metal casting communities, attended numerous casting events, residencies and received numerous awards for her work. She has permanent work in the Talsi Regional Museum in Latvia, the Anschutz Medical Campus, Aurora, Colorado, the Confucius Institute and CoBiz Bank, Denver Colorado and Lamar Station Crossing, Lakewood, Colorado.
Before children have the language and cognitive skills to name an object, they explore the world with all of their senses. For instance, a chair is not a “chair” but rather something to climb on, to crawl under, and, perhaps, even to lick. With the acquisition of language and the awareness of the purpose of something, the investigations dwindle and the senses simmer. My hope is that people approach my work and stay with it because they are not quite sure what is going on: What are the forms? What are they made out of? How are clinging to the wall, suspended in space, or creeping along the floor?
In essence, I make abstract sculptures and installations to give people a place to let language and purpose slip away and to allow the senses to delight and to muse and the mind to wander and to wonder.
Martha Russo earned a Bachelor of Arts degree in developmental biology and psychology from Princeton University, 1985. Formerly a world-class athlete, she suffered a career-ending injury in 1984 while vying for a spot on the United States Olympic Field Hockey Team. After recovering from surgery, attracted to the physical nature of sculpture, Russo studied studio arts in Florence, Italy, and continued studying ceramics at Princeton University. In 1995, she earned her Master of Fine Arts degree at the University of Colorado, Boulder. Martha exhibits her sculptures and installations nationally, most recently at The Santa Fe Art Institute, Denver Art Museum, and the Museum of Contemporary Art/ Denver. Also through the social and politically based art collective, Artnauts, Martha has shown her 2-dimensional works in over 160 exhibitions on 5 continents and counting. In addition to her studio practice, Martha has taught Fine Arts at Rocky Mountain College of Art and Design in Lakewood, Colorado for the past 19 years and currently is a visiting lecturer at University of Colorado, Boulder. Martha is represented by the Claudia Stone Gallery in New York City. She lives in the mountains northwest of Boulder, Colorado with her husband and two children.
Martha has been a member of the Artnauts since 1996.
For fifteen year my work was based on the interaction of mechanical and organic parts within myself and in the world around me. Having artificial parts such as pins in a knee and a reconstructed inner ear, I found, and still find, the tool, the android, the automaton to be an appropriate symbol of our capacity for alienation, devastation and simultaneously growth and creation.
Recently that work has grown to focus on my hearing disability and the effect it has on my life experiences. My hearing ranges from complete deafness to hearing at about half the level of the average working individual. It is a situation of attempting to find comfort in discomfort, of accepting what I cannot change, changing what I can and simply pushing through. As Helen Keller put it: “the experience of trial and suffering”. I can only benefit from this if I not only accept it, but endeavor to love it.
And that's what my characters do. They aren't elegant or graceful – rather the opposite, as if they were hastily reassembled in someone's garage. They're in survival mode, a constant state of growth and adaptation. Each of them represents a specific situation or amalgamation thereof. Alienation and isolation is another aspect of my work. Significant hearing loss prevents the individual from participating in the larger community without assistance. This is often seen as aloofness. The isolation necessitated by this condition can make a person feel anxious and alone, as if they have no real role or sense of belonging. This is represented in my work by blank white space or various kinds of chaotic mark making meant to represent persistent tinnitus. In summary, my recent work is an exploration of my life-long disability, the psychological impact of it, and the adaptations that I and others have made to continue functioning as a result.
A native of Kansas, Brandon Sanderson split his formative years between rural Kansas and Colorado Springs, Colorado. He holds a BS from Colorado State University-Pueblo in Printmaking and Computer Information Systems and an MFA in Printmaking from the University of South Dakota. From 2005 to 2008, he taught at College of the Sequoias and Bakersfield College in California. Since 2008, Sanderson has been at the University of North Carolina-Pembroke where he is now an Associate Professor of Art. He teaches multiple levels of drawing and all levels of printmaking, including intaglio, lithography, and woodcut. He is also the Coordinator of Frogman's Print Workshops, the largest printmaking workshop in the United States, a position he has held since 2013.
In his time at UNCP, Brandon has organized six national printmaking exhibitions and brought in more than 50 visiting artists. He has also held 21 printmaking workshops at universities in a 16 states and participated in over 60 print exchanges. He has also participated in more than 400 exhibitions, including 74 international exhibitions.
Brandon has been a member of the Artnauts since 2019.
Schick, Virginia M.
“The world is full of magic things, patiently waiting for our senses to grow sharper.” W.B. Yeats Through unrestrained use of vivid color, I incorporate the essence of my unique experiences growing up in the Midwest wandering fields, woods, and lakes on foot, horseback and boat. I try to capture nature and existence in the magic of freedom as I run, hike, gallop, swim, sail and openly breathe with a passion for life. My mainly figurative watercolors and avian batiks embody the essence of the spirit within the beings. They combine pattern, pose, and rhythm with a voice, to release the instinctual and meditative movement of a world full of magic things.
Schick was born in the Midwest and moved to the foothills above Boulder, Colorado in 1985 after graduating from Northern Illinois University with a BS Ed. in Art Education. As an art teacher, Virginia excels in guiding young artists. She also rides horses through the forest behind her home. Her artwork captures her love oflife. She finds tremendous joy in experiencing both physical and emotional contact with life. She grew up, was educated, and went to work (like most of us.) However, life’s experiences and colors are brighter for Virginia. They’re intense. She more than sees things, she notices, focuses, and cares for details. Nothing in life is “ordinary” or dull for her. In 1998, Ms. Schick earned a Masters Degree in Creative Arts and Learning from Lesley University, Cambridge MA and continues to take post graduate classes in studio art and educational theory. She continues to create art and shows both in groups and solo venues. In 2014, Virginia was named “Colorado High School Art Teacher of the Year.” Currently, Virginia teaches drawing and painting at Boulder High School in Boulder, Colorado. Artnaut since January, 2015.
The scramblings of humanity have an inclination towards obliterating the natural world while attempting to embrace and appreciate it.
We plant individual trees and expect them to thrive. We live isolated lives and expect the community to prosper. But trees grow to their fullest in healthy forests. They communicate and aid one another for the general good. We humans have morphed into untethered individuals afloat in our own heads. Loneliness and alienation are seeded by conversations of support and community. The human psyche and the natural world are locked in battle. Forests disappear, solitary trees wither, the air browns. People stare at their palms.
As I accumulate these experiences and observations, I am impelled to broaden my studio art practice to address the paradox of community versus the individual, of humanity versus the environment. I create figureless heads and headless figures that exist together but do not coexist. Some of my sculptures are parts of the body; hips, shoulders, and torsos, rounded and closed off, piled onto each other in a perilous attempt to own the sun, to be at the top. Others cover the ground, smothering what lies below. Nothing is whole. Faces lack expression without eyes or mouths; noses and colors hint at what so often separates us. Heads reside in monochromatic groups or as individuals with limited comingling at the edges. Part of nature holds on, even pokes through, or lies in a dead heap, as it struggles to survive the onslaught. It is all precarious.
My hope is to give viewers a place and time to contemplate the fragmentation of our communities and how these fragmented communities relate to the natural world. Are the sculptures more akin to people, or rocks. Is that a plant, or bones? Is it all about to fall apart at the slightest touch or is it a stable whole despite its apparent fragmentation?
Growing up in a New Jersey coastal resort, my youth was dominated by long stretches of solitude interrupted by seasonal commotion. Summers of labor and libations were subsumed by longer “off-season” cycles of quiet contemplation. Fall arrived, the sea calmed, plant life soothed, horizons hailed freedom. Years later, I migrated to Chicago where I was engulfed year-round by a cacophony of humanity, constant motion, horizons obscured by buildings andplastic trees--alienation in the midst of a throng. Then I moved west to the Denver area and found temporary solace in the western ideal, celebrating individualism and resilience. All along, I have been fascinated with watching people interact, or fail to interact, build communities, and then tear them down.
Tina Suszynski has been an Artnaut since 2019.
There are many types of landscapes: emotional, psychological, geographical, and physical. I create collage work from found paper along with my own imagery to construct these landscapes. I use encaustic wax, one of the oldest art practices, as a collage medium. I’m inspired by many contemporary and historic artists and movements, including the Mail Art Movement. My work often includes fragments of maps, which I’ve always been drawn to- the idea of mapping is beautiful to me. Orienting, grounding, from incredibly detailed to crude and abstract, guiding.
I was born in Breckenridge, Minnesota in 1989. The landscape was very flat. In 2008, I drove across the country with a minivan full of my possessions to Seattle, Washington to attend Cornish College of the Arts, where I completed the first year of my undergraduate study of Fine Art with emphasis in photography. In 2010, I drove back across the country the opposite direction to finish my undergraduate work at Rocky Mountain College of Art + Design (RMCAD) in Denver, CO. In 2013, I completed my undergraduate work, earning a BFA summa cum laude with emphasis in photography and video art from RMCAD. I am currently a member of both Pirate: Contemporary Art and NEXT Gallery in Denver's 40West Arts District, and my work has been exhibited locally, nationally, and internationally.
Leah Swenson has been an Artnaut since 2018.
I am an artist that uses digital mediums for creation, documentation and output of my artwork. Conceptually my work centers around explorations of gender and the unwritten rules of female socio-political identities. Most often I use my body in experiential performances or drawings – what does it feel like for me to act out dominant physical gestures that will provoke passive gestures in some else? I find that my methodology for inhabiting the corporal experience of my subjects allows for a closer look at the true nature of the subject matter – I am courting bathos as a tool to reveal the underpinnings of our cultural interactions.
I use drawing as observational tool. As a residual output of my research I use digital inputs to capture the incidentals and environment around my chosen subject matter. This can manifest itself in several ways, although my main practice is to take my digital drawings and use code to create instructions that final composition of the drawings follow.
In 2008 I graduated from San Francisco State University with an MFA in Conceptual/Information Arts. Since 2008 I have been an Assistant Professor of Electronic Art at Colorado State University.
Cyane has been an artnaut since 2010.
Valdovino, Luis Hector and Boord, Dan
Dan Boord and Luis Valdovino have been working in collaboration on video art works for twenty-five years. Their projects have been emotionally and intellectually involved, either directly or indirectly, with autobiographical experiences involving how individuals fit within a larger culture. Their collaborations are distinguished by their interest in the experience of everyday life. Seen from their perspective, everyday experience has a form and character, which often seems to fall outside the application of logic. Certain aspects of social and cultural meaning appear to defy reasoning or systematic attempts to unify that experience into something comprehensible. This situation is, as they see it, their backyard, the place where their poetic ideas and the ethos of their videos reside. They attempt to work out a way of expressing, in video, what it feels to be alive in this time and place.
Dan Boord is a professor in the Film Studies Program and Luis Valdovino is a Professor in the Art & Art History Department at the University of Colorado, Boulder. Selected exhibitions venues include: The Museum of Modern Art, New York, The Walker Art Center, Minneapolis, Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, The Museum of Contemporary Art, Los Angeles, Venice Biennale, Venice, Italy, Centre Georges Pompidou, Paris, France, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile, Toronto Film Festival, Toronto, Canada, The Institute of Contemporary Art, London, England, Robert Flaherty Film Seminar and Stedelijk Museum, Amsterdam, Holland.
Dan Boord and Luis Valdovino have been members of Artnauts since 1996.
“Outside and inside are both intimate -- they are always ready to be reversed … If there exists a border-line surface between such an inside and outside, this surface is painful on both sides”
-Gaston Bachelard, “The Poetics of Space”
Our lives consist of internal and external landscapes. My work examines the ways in which these landscapes intersect and are altered by such intersections. Paper becomes the “border-line surface,” the membrane that divides and connects what is inside us and what is outside.
Landscape consists not only of the physical realities of our surroundings, but of our relationship to those realities. In observing, we project ourselves onto and into the landscape. Individual landscapes, however, also dictate how we observe them. The landscape is inside us as much as we are inside it.
My recent work engages the reciprocal relationship between inner and outer space, between people and our environments, in the landscapes of the Western and Midwestern United States. Controlled Burn and Fire Maps explore this relationship through the lens of ﬁre — the imprints left by wildﬁre, on the part of the landscape, and prescribed burns, on the part of people. Emigrant Lake[s] addresses drought’s effects on the Western landscape and its population. Lagoons and Fringe Landscapes emerge from the beauties and horrors of modern agriculture.
Across these bodies of work, the tent form is emblematic of the tenuous nature of our relationship to our surroundings, an object that allows us to connect with the landscape, to spend time in it, by separating and protecting us from it.
Summer Ventis’s work uses the printed surface to address internal and external landscapes and their intersections; the imprints we leave on each other and our surroundings and the imprints that our surroundings leave on us. She received a BA in Art from Grinnell College and an MFA in Printmaking from the University of Colorado Boulder. Her work has appeared in national and international group exhibitions, including “The Contemporary Print 2017” at Flatbed Press in Austin, TX, “Collision and Equilibrium” at the Liu Haisu Art Museum in Shanghai, China, and “Global Print 2017” in Douro, Portugal; and is held by collections, including those of the Denver Art Museum and Proyecto ’ace in Buenos Aires, Argentina. Recent solo exhibitions include “Emigrant Lake[s]” at the Oregon Governor’s Office and “I looked up at the sky and saw what I had put into the ground” at the University of Iowa’s Drewelowe Gallery. She is Assistant Professor of Printmaking at California State University Sacramento.
Summer has been an Artnaut since 2018.
JOURNEY to the CENTER of the COMMONPLACE: The ancient root of the word ‘world’ (mundus) is also the source of the word for commonplace (mundane). Contemporary advances in science and technology have expanded the knowable ‘mundus’ far beyond mundane perceptions. Twin pillars of contemporary experience are located among quasars at the edge of the universe and quarks deep within the atom. While these ultra micro/macroscopic explorations excite the imagination, they divert attention from the substances shimmering in our midst. My art foregoes expanded and intensified perceptions at the frontiers of scale to celebrate sensual interactions with the commonplace.
MICRO MUCKRO MACRO: In an era attuned to technologically amplified perceptions of micro and macro domains, eyes and hands seem inadequate as information-gatherers and material formers. We have become so attuned to tools that augment perceptions, enabling us to probe into the unfathomable regions of outer and inner space that in all the English language, there is no word that describes human-scaled experiences that are accessible to our innate, sensory apparatus. My art introduces and activates the word ‘muckro’ to fit between the ‘micro’ and ‘macro’. It describes the territory where our feet are located, not where our tools can take us. It is where interactions are sensual, intimate, and responsive.
GRANDMOTHER EARTH. ‘Mother Earth’, the age-old metaphor for our planet, casts humans as perpetually dependent children who rely upon Earth as provider and protector. But current environmental crises are jeopardizing Earth’s ability to support multiple forms of life. Now she needs our support. The term ‘mother’ excuses humans from assuming adult responsibility for maintaining the Earth’s well-being. Shifting metaphors to ‘Grandmother Earth’ evokes the planet’s fragile state. As care-givers and care-takers, we not only preserve the vastness of her practical knowledge, we access her ancient wisdom. My art attempts to evoke this new cultural metaphor.
Linda Weintraub is a curator, educator, artist, and author of several popular books about contemporary art. She has earned her reputation by making the outposts of vanguard art accessible to broad audiences. The current vanguard, she believes, is propelled by environmental consciousness that is not only the defining characteristic of contemporary manufacturing, architecture, science, and philosophy; it is delineating contemporary art. Weintraub’s books exploring contemporary art and ecology include WHAT’s NEXT? Eco Materialism & Contemporary Art (2018), To LIFE! Eco Art in Pursuit of a Sustainable Planet” (2012), and Avant-Guardians (2007), a series of textlets that include EcoCentric Topics: Pioneering Themes for Eco-Art; Cycle-Logical Art: Recycling Matters for Eco-Art; EnvironMentalities: Twenty-two Approaches to Eco-Art. Weintraub applies environmental concerns to her personal life by managing a sustainable homestead where she practices permaculture. She is also the author of In the Making: Creative Options for Contemporary Artists and Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society. She served as the director of the Edith C. Blum Art Institute located on the Bard College campus where she curated fifty exhibitions and published over twenty catalogues. Weintraub was the Henry Luce Professor of Emerging Arts at Oberlin College; and currently teaches in the Nomad9 MFA program at the University of Hartford. She is the curator of the Artnauts’ 20th Anniversary exhibition. Weintraub has exhibited her own work at such venues as the Cathedral of St. John the Divine in Manhattan. She received her MFA degree from Rutgers University.
Linda Weintraub has been an Artnaut since 2018.
My forms are inspired by my memories as well as my daily experiences and my emotional reactions to them. For me, creating is a form of play in which I formally investigate thoughts and feelings, memories, desires, and expectations. Whether I’m working in a controlled or a spontaneous method, process is very important. By rearranging different components of each piece and by using traditional as well as unconventional ways of working with a material, I attempt to discover new relationships among the things around us.
Kathryn Wingard is an artist residing Salt Lake City, Utah. She recently received a Master of Science in art therapy with a concentration in counseling from Mount Mary University in Milwaukee, Wisconsin. Though she now works in several different media, Kathryn has a fine arts background in sculptural ceramics. In 2008 she graduated from Massachusetts College of Art and Design with a BFA in fine arts 3-D, with a concentration in ceramics. After graduating, she left Boston and went on to continue studying fine arts with the graduate department of ceramics at the University of Colorado at Boulder. While in Colorado, Kathryn was a resident artist at the Paukune Wanner Art Hause in Severance, Colorado, and the Showpen Residency in Denver, Colorado. Kathryn has shown throughout the United States as well as internationally.
Kathryn has been in the Artnaut since 2016
Woo, Joo Yeon
As a culturally displaced artist, I have been drawn to the theme of cultural displacement and identity, and to social psychological and cross-cultural studies that are heavily influenced by immigrant experiences and by the interaction between people and space. My creative works explore the blurred boundaries of today’s nomadic life style. Today’s nomadism is not that of unrestricted wandering; it is based on a global nomadic culture. Our nomadic lifestyle redefines the meaning of ‘home’ as something that one may carry only in one’s mind or in one’s own character. In addition, our experiences are now multi-cultural, transcending geographic locations and the ethnic characteristics of our living environments. My most recent projects have adopted a documentary approach and artistic archives to present my experiences of dislocation and rootlessness in our contemporary nomadic culture.
Joo Yeon Woo was born in Daegu, South Korea and came to the United States in 2003. She received her MFA in Drawing and Painting from the Pennsylvania State University and an earlier MFA from Hongik University, Seoul in South Korea. Her artworks mostly consist of drawing, painting, video, and photography, and more specifically in the fusing of these media, such as acrylic painting on a digital pigment print, video from a still image, photography from a paper cut object. She has had solo shows nationally and internationally including 1925 gallery at University of Wisconsin-Madison, Television 12 gallery, Seoul, Korea, and Art Museum of Kyoungpook National University, Daegu, Korea. Joo Yeon Woo is an Assistant Professor in the Drawing and Painting at University of South Florida.
Joo has been in the Artnaut since 2008.
My recent series Metallic Leaf Garden explores the way individuals’ minds reshape their physical environment. Contemporary psychological theory allows that our consciousness, emotions, and subconscious can be akin to the “paint” that consistently colors our reality. My investigation incorporates a variety of individual psychological realms, depicting them in fictionalized surroundings that confuse the relationship between perception and reality. I utilize a mixture of expressionist/abstract aesthetics in a subtle, theatrical way to construct the characters’ environments, reflecting on their internal thoughts, struggles, personality, and/or problems.
Xi Zhang’s paintings manifest the psychological weight experienced in moments of turmoil and tribulations. In his oneiric narratives, melancholia is a familiar companion – overbearing landscapes and foreboding atmospheres suppress his lonely protagonists, obscuring the delineation of fantasy and reality. Conflating the styles of the East and the West, Zhang’s luscious brushstrokes recall water-colored mountains of antique Chinese scrolls, but also the staining of the Abstract Expressionists such as Helen Frankenthaler. It is upon Zhang’s cathartic vistas that such polarities congeal.
Born in 1984 in Kaifeng, China, Xi Zhang completed his studies in painting at China’s Beijing Institute of Art and Design. He moved to the United States to further his artistic training at Denver, Colorado’s Rocky Mountain College of Art and Design. He received his Bachelor of Fine Arts in painting from RMCAD in 2008, and that same year was recognized by then Denver Post art critic Kyle MacMillan as the “Emerging Artist of the Year” for his “well developed, surprisingly mature vision.” Zhang continued from there with his masters studies in painting at the University of Colorado, Boulder, receiving his MFA from the institution in 2011.
Zhang’s work had notable shows including Song Zhuang Multimedia Art Exhibition at Song Zhuang Art Museum in Beijing (2006), URRA in Argentina (Buenos Aires 2012), Ornaments at White House (2012), and Biennale of America in U.S. (2013). His work was featured on media as CNN (2011), Art ltd Magazine(2012), PBS (2013), NPR (2013), and Juxtapoz Magazine (2014). Zhang also was awarded Emerging Artist of Year (2008), The Pathmaker (2011), Top twelve artists under age 35 (2012), The Catherine Doctorow Prize in Contemporary painting (Nominated 2015), The John Moores Painting Prize (China, Finalist 2016), and Gold Award Winner in painting from Art Forward Contest (2016).
Zhang is represented by PLUS Contemporary Fine Arts Gallery in Denver and Marc Straus Gallery In New York.
Xi has been in the Artnaut since 2012.
I have always equated the arts as a form of social activism; whether the expression is visual, musical, or interpretive, art has always been used to document who we are as a species, and attempted to use it to understand what it means to be human. The use of art as a form of social justice goes back to antiquity, and the way that life is portrayed has evolved through the years, from cave etchings to digital media. I feel that photography has allowed us to document the rapid changes of today’s world, and have used it as a means of artistic expression in myself. In my lifetime I have seen this medium go from simple black and white photos tothe use of digital media. While this has allowed more people to able to record important history, it has also allowed the soul and artistic expression to be taken out of the media (selfies, anyone?). Two years ago I decided to try teaching myself the art of colorization in photography. I started with old photos from the family, and have begun using my own newer photographs for my work. It has been a challenging process, and I am hoping that who I am will show through in my work. I will continue to show work highlighting societal and life changes, and am excited to have the opportunity to work with Artnuats.
I was born in 1957 to an Air Force chaplain and an artist mother. I grew up mostly overseas, where my parents exposed myself and my brothers to as much art as they could; one of my most vivid childhood memories is going to St. Peter’s and seeing the “Pieta”. My parents encouraged artistic expression in all forms with my brothers and I; 2 of my brothers went on to become working artists, one in Washington, D.C. I pursued the musical arts rather than the visual throughout my life, but I married an artist and brought up my children to appreciate and practice the visual arts. I have also been a social activist for my entire life, and my name is on the Civil Rights memorial in Montgomery Alabama for my work in the areas of social and human rights. My teen years were spent in the South, in the late 60’s and early 70’s, where I experienced firsthand the effects of social injustice, and I have worked on civil rights campaigns in many forms, most recently in the area of rights for people with different sexual orientations. I have been an avid photographer for many years as well, and manipulated my photography in the darkroom and through the camera settings. I have been searching for a way to express myself through my photos since the adventof digital technology; 2 years ago I decided to try painting on matte sepia photographs (which my mother did). I am hoping to express my emotions through the use of color and space through this process, and to bring a little of the “old school style” back to my photos. I am excited for the opportunity to show my work with the Artnauts in 2015.