Plum Blossoms Persevering In The Snow
I have been interested in art since I was a young girl. I won an egg decorating contest in third grade and a poster contest in fourth grade. One of my paintings was accepted into the juried Kalamazoo Institute of Arts 2020 West Michigan Area Show. In 2022 and 2021, my paintings were accepted into the juried Westminster Art Festival. My photography was accepted into the juried 2022 NCCA Artsplace Statewide Photography Competition Exhibition, and the juried You and Your Camera online exhibition at the Cultural Center of Cape Cod. My art was accepted into the juried exhibitions Magix 2022: Dream, Fantasy, Illusion, Imagination, and Magic, Noel 2022, Love 2023, and Valentine 2023, all sponsored by Biafarin. My art was accepted into the juried 2022 Art 4 Animals exhibit at Red Bluff Art Gallery, and the juried exhibits Celebrating the Holidays and All You Need is Love at 6th Street Art Studios. My art has also been displayed online at Las Laguna Art Gallery and HMVC Gallery New York.
I create art in a variety of media, including watercolor, pastel, photography, printmaking, pencil, and charcoal. I also write poetry, which has won awards and been published, and play a variety of musical instruments, including piano, clarinet, flute, violin, mandolin, harpsichord, carillon, guitar, viola, and recorder. In addition, I have a strong educational background in science, math, and engineering. In whatever medium I work, nature is usually my subject, whether I am portraying a single flower or animal, or landscape. Sometimes, I feel that focusing on details can increase my understanding of a subject. I do try to maintain a balance, however, between concentrating on important minutia and retaining the overall, far-reaching view. I find that many subjects in nature can seem fleeting and ephemeral, yet I feel that they also possess a timeless constancy. In my art, I like to explore how nature, imagination, literature, and science collaborate to enrich our lives.
Plymouth Harbor Christmas
When I was studying architecture, photography was a tool I used in the creation of projects and to enhance the presentation of the final product. I incorporated the camera lens as a part of the design development process looking at elements of design such as form, space, geometry, light, texture, and color. Over time, as I improved my knowledge of creative design, I also increased my interest in photography learning that the elements were the same. Just as I had photographed the components of my designs, my work became focused on looking for the elements of architectural design in every image I create. To me, composing a photo is similar to designing a building. I like to see how the visual building blocks in the elements of design can be combined into a unique whole.
“I look at every photo opportunity as if it were a design with architectural, structural, and artistic integrity, regardless of the subject matter.”
RJ Pizzi
Light in all its forms whether in day or night has been an inspiration throughout my conventional photographic journey. By taking the elements of light and combining more than one of my images through photographic art, I am able to create new images. Such is the composite of the moon rising over Plymouth Harbor and the Rockefeller Christmas Tree to bring us this seasonal image.
Poetics Of The Body
As a woman, fated to be narrated rather than be the narrator, Odeta Xheka makes art to claim her voice because art is the opposite of speechlessness. Her paintings, collages, and digital art projects have been juried into national and international competitions. Her artwork is also featured in various art magazines and literary journals. Born in Berat, Albania, currently she lives in Tampa, Florida after 4 years spent studying art in Athens, Greece, and another 16 years in Brooklyn, New York.
Our bodies contain stories, songs, memories, and wounds that come alive with every breath. In this sense, I want the viewer to face the work feeling that can never be a static perspective of the female body: the body’s needs or its bruising, the warfare against and within itself, the memory of pleasure and shame, the namelessness of nakedness or its absolute wonder.
The source material for these mixed media pieces is a mixture of pre-cut figurative shapes, lace, sand, and re-appropriations of my own work, typically in the form of shallow relief construction, pasted and layered together to create shading and multilayered structure, so that one feels as if she is not in front of a collage but rather walking through deeply personal memory, peeping under the layers, squinting in an effort to notice the half hidden shapes, impatiently separating the colors from the texture, reassessing the hints as truths.
Poggibonsi, Tuscany
Jane Johnson completed her undergraduate schooling at Briarcliff and Rollins College and continued to enter the Corcoran School of Art in Washington, DC. From 1980 to 1986, she studied with Gene Davis, William Christenberry, William Newman, William Willis, and Ann Purcell. After a decade of successful post-grad work, she had several paintings appear in the 1997 Warner Brothers film, Addicted to Love. Her work has also been featured in publications such as Martha Stewart Living, The New York Times Art Review, Metropolitan Living, The East Hampton Star, and The Washington Post. In 2009, she was awarded the title of Best Landscape at the Guild Hall Museum by Jodi Hauptman, Curator of Drawings at the MOMA in New York City. Today, Jane’s work resides in the permanent collection of the National Museum of Women in the Arts, in the collection of the U.S. State Department, and in numerous private and corporate collections. She is currently exhibiting work with Agora Gallery in New York City and continues to maintain a thriving practice at the age of 82.
Jane Johnson’s work exists in the charged space between abstraction and representation, presenting viewers with a poetic fusion of the two. Landscapes become distilled symbols, shaped and reshaped through line, gesture, and color. This tension between the recognizable and the abstract allows her work to resonate on both emotional and intellectual levels. The natural forms act as focal points, offering a visual stillness that contrasts with the urgency of the world beyond the canvas. Her distinctive magical realism invites viewers into landscapes that reveal hidden vibrancy through nuanced color and form. Johnson’s active practice is deeply rooted in resistance. In a world where older women are marginalized, she claims her space and her voice through continuing to create meaningful pieces that begin to function as acts of defiance, providing a radical model of creative longevity and artistic independence. Through the visual language created through the interactions of organic hues and gestures, she is calling upon the viewer to slow down and reflect.
Poliahu
GIPAHO is a self-taught artist whose creative journey unfolds through a commitment to lifelong learning and participation in various art educational workshops. A proud member of the Honolulu Woodturners since 2016, GIPAHO engages in transformative workshops led by esteemed instructor Andy Cole and other mainland woodturners, showcasing her dedication to the craft.
GIPAHO’s artistic education extends beyond woodturning, delving into diverse realms. She immerses herself in the Honolulu Museum of Art School, honing her skills in photography under the guidance of David Ullrich. She further explored the intricate world of metal jewelry through advanced projects at the Honolulu Museum of Art Linekona School.
In the realm of fiber art, GIPAHO made a significant mark with her participation in the Hawaii Craftsmen Biennial juried art exhibition, ”In or About Fiber”, curated by Amos Kotomori at the DAC Honolulu. Undoubtedly, GIPAHO’s commitment to learning is ongoing, evident in her participation in the UH Manoa Kupuna Seed Program, attending classes led by Professor Rick Mills and other distinguished members of the Art Department.
GIPAHO’s artistic prowess has been recognized and celebrated through various juried exhibitions. Her inclusion in exhibitions like ”Surrounded by Water” at the Downtown Art Center, Honolulu, and ”Rebel Rebel” at the HMVC Gallery in New York showcases the depth and diversity of her artistic expression. GIPAHO’s art has also graced esteemed spaces like the HPU Gallery and Cedar Street Gallery, where her miniature artworks captivate audiences. The ongoing representation of her creations at The Arts at Marks Garage and Kahaluʻu Gallery & Gardens, Hawaii, further exemplifies the enduring impact of her artistic endeavors.
As GIPAHO continues to evolve and explore new artistic horizons, her dedication to lifelong learning and her unique approach to various mediums promise an exciting and enduring artistic journey.
Art, regardless of the chosen medium, possesses a profound healing power for both body and soul. I passionately believe in the therapeutic nature of creation—each stroke, a click of the camera, every mold, and the alchemical dance in the kiln contribute to a holistic rejuvenation of the self. Art, to me, is an ongoing dialogue with the universe, a continuous exploration of the profound and the subtle.
From a young age, I realized the camera’s lens served as my voice, articulating the depths of my being without uttering a single word. Much like those who dance freely, attuned to the soul’s joyful melodies, I sought to perceive the unseen, like the spirits dwelling in our forests and trees. In my art practice, I uncovered the profound connection between my third eye and the camera—a silent confidant enabling the expression of my Higher Self.
My artistic exploration extends beyond the photographic frame. In the alchemy of clay, metal, fabrics, and mixed media, I unearth a realm where materials become conduits for my soul’s expression. Witnessing the transformation of my ceramic pieces through the fiery crucible of the kiln, Raku, or pit firing, is akin to greeting old friends. Surviving the flames, they emerge adorned in their most brilliant glazes and forms, each presenting a visual ode to resilience and beauty. The kiln becomes a metaphorical forge, forging not only ceramics but also healing for both my body and soul. In the act of creation, I find solace and a profound connection to the essence of existence.
Pollinating Sharing Enthusiasm
Growing up in the colorful city of San Francisco and studying art in historic Florence, Italy gave me a wide range of artistic abilities. Experience as a graphic, portrait, and mural artist has helped me find true expression in the contemporary art world.
I start every painting with a handmade alder wood frame stretched with organic cotton canvas. After the gesso, I apply a water-based layer, giving the painting texture. Layers of gold, silver, and copper leaf are then followed by French-milled, museum-quality oil paint and resin. This unique layering technique gives my paintings a luminous quality ranging from peaceful and ethereal to vibrant and lively.
Currently based in Edwards, my creativity mirrors an internal landscape of emotion inspired by Colorado’s dramatic, wide-open spaces. I paint with the skill and aesthetic sensitivity acquired from experience and fearless exploration of endless possibilities.
Internally ignited, shapes and forms have a dynamic presence and colors reflect a hypersensitive spectrum. Incandescence, luminosity, and radiance inspire me. From this internal perspective of meditative contemplation, light creates a path to follow, regardless of recognizable content. A new paradigm is offered by a shift in perspective. The unknown becomes beautiful and alive with potential.
Pomegranate Flowers
Liliana D’ambrosio was born in 1951 in Irpinia, Italy. During her early adolescence, she developed a passion for painting, which would extend throughout her life. Inspired by her passion for art, she went on to study at the Art School of Avellino.
After completing her studies in the 1970s, Liliana moved to Florence. While residing in Florence, she joined the Tuscan Feminist Movement, working in the cultural department for the City of Florence and the Tuscan Region.
Since 1981, Liliana has participated in national and international exhibits and competitions, earning awards of excellence at nearly every competition she’s participated in.
For a long period extending from the late 1980s to the early years of the 2000s, she drew on paper with rapidity and acrylic colors worked into her paper using dry and slightly diluted brushes.
During this period, she experimented with different mediums, though she continued to create masterpieces using acrylic paint. Liliana’s work began to provoke emotions with the use of diverse colors and linear shapes.
She explored the depths of her thoughts, producing pieces that let her art live at the height of its beauty. Liliana’s paintings do not have a concluded character but rather are in a consistent state of change. She explores the abstract language of the character of painting in relation to the language of music.
Liliana spent much of the 2000s traveling in Europe, India, Africa, and the Middle East. Since 2010, she has divided her time between Florence and California.
In 2018, after a prolonged absence from the art world due to illness, she decided to return to the United States to expand her influence in the world of American Art.
Liliana D’Ambrosio’s contribution to contemporary art lies in her fearless exploration of abstract expressionism as a vehicle for feminist and personal narratives. Her works, informed by her activism and global experiences, offer a rich tapestry of color and meaning that transcends cultural boundaries. Through her art, D’Ambrosio invites us to experience the evolving nature of identity, memory, and freedom, making her a significant voice in the modern art landscape.
Poolside Happy Hour
Heini Mika, an artist from Helsinki, Finland, has called the United States home for the last 5 years. From the vibrant pulse of New York City to the golden shores of Pompano Beach, Florida, Heini continues to make art with a spirit shaped by all three worlds. Heini holds a Bachelor’s degree in Fine Arts from the University of Worcester (UK), and she also has a degree in Fine Art and Visual Communications from Finland’s prestigious Pekka Halonen Academy of Art. Heini’s paintings have received global recognition, being showcased on four continents in prominent locations such as NYC, Paris, the UK, the UAE, and Indonesia. Her artworks have been featured in many notable publications, including British Vogue, and several of her pieces are cherished within private collections.
Heini’s ultra-contemporary paintings serve the viewer with a palette of vibrant colors and dynamic shapes while she gives you her unique perspective on women, fairytales, and history. They have been an important source of inspiration for Heini throughout her career as an artist, and this can be observed in her rich and intriguing original artworks.
I´m currently working on a new series of mixed‑media paintings that reimagines life underwater through my contemporary, joy‑filled lens. These acrylic and mixed media artworks form a cohesive narrative of underwater sisterhood: a world where color is abundant, textures sparkle, and mermaids inhabit spaces that feel both ancient and refreshingly modern.
In my art practice, I explore the contrast between the public portrayal of the women I admire and their true selves. My aim is to discover how the images of these influential women, given by pop culture, impact and shape my own artistic impressions of them. Just like the women I paint, I am an unconventional woman in the eyes of my society, and with my art practice, I want to invite viewers to look past the glittering images and see the depth and complexity of the women I paint, myself included.
Ultimately, my work serves as a reflection and exploration of this complex dynamic. While my intention is to showcase the vibrant and visually captivating images that pop culture has crafted around the women I idolize, I also remain very conscious of the underlying darkness that hides beneath the surface of their seemingly lighthearted images. As a Finn, I grew up on satire, dark humor, and happy endings, and that is well reflected in my work. At first glance, my cartoonish mixed media paintings may depict my subject’s pop culture image perfectly, which is usually colorful, ditzy, and lacking in substance, but I am actually satirizing our perceptions of my female heroines. We are all guilty of prioritizing a person’s image over the narrative. But whether the viewer understands this duality or not, I still want them to have a good time when viewing my artwork. I choose to work with acrylics, rhinestones, and glitter because their vibrant hues and plastic textures are well-suited for creating eye-catching artworks that are unique to me, and perfect for the subject matter.
Pop Princess
I grew up in a small town in Illinois, put myself through college and law school, succeeded in a male-dominated field, and started to create art out of a passion for portraying women and people of color in interesting, powerful, and positive roles.
My art rejects stereotypes about women and people of color. I want to rewrite the mythology around the creation and traditional gender roles. Women are the protagonists of my art. They are powerful, interesting, and multidimensional. For example, in one piece titled “Eve Was First” I have taken God’s hand from the famous “Creation of Adam” painting by Michelangelo on the ceiling of the Sistine chapel and have his finger almost touching that of Eve. I reject the idea that Eve was created out of Adam’s rib.