My artist’s statement is about improvising with interesting textures, colors, written messages, or random texts in found objects all around in everyday routine.

I can see really bright side of life in bringing abandoned found objects onto mostly acrylic painted backgrounds on canvas with creating vibrantalive compositions. Some old weathered pieces of material may help even choose a subject for my new art piece, as it often comes spontaneously.

Sometimes making a preliminary painted layout without even knowing close to the final result but color selections and composition dictating further collage elements added and stating the total bright mood of the artwork started.

My best works came all out of improvisation, while suddenly some set of different patterns, paintings, and backgrounds blend perfectly together and people can find some familiarity and only their personal qualities and meanings in the same composition.

I have always enjoyed drawing, and as an Architect, most of my livelihood depended upon it. When I was an undergraduate, we always started every studio session with at least 30 minutes of Gesture drawing. I still like it, not only as a “warm-up”, but as a means to capture the action or motion either inherent or implied in even inanimate objects. The two paintings I am showing in this exhibition are a natural extension of that early training. You might think of them as Gesture drawings “on steroids”.

Whether it is a dancer moving to the music in her head, a dog chasing after a ball, or the sense of movement in the cumulous clouds of a fast-moving cold front, I still enjoy attempting to capture the feeling of the gesture. Even in landscapes, cityscapes, and seascapes, my initial sense of the gesture in the scene becomes one of the principal ideas in every painting. Years ago one of my kids was visiting me at work. He was getting a bit boisterous and noisy, and my wife admonished him to be quiet since he might be disturbing all the people trying to work. He looked up at her like she had lost her mind and just said, “They not workin’ Ma, they drawin’!” Getting back to the basics of having fun with the play of drawing is what has drawn (pun intended) me to painting.

By adding the tools of color & texture to drawing, Painting increases the opportunity for expression exponentially. One of the aspects of Acrylics which I enjoy is its ability to be used as everything from translucent washes to almost sculptural impasto.

My work consists of finding the telling image of the present time in bodies. As it has strongly changed so much with art in its existence. I’d like to continue the skilled art and figure form of different shapes. As Vermeer’s eyes continue to escalate the ghost blue dresses and hair in my canvases.

This is my newest resembled painting of Queen Elizabeth’s enlightened legacy. Leaving the people wondering about the heart she won from the people. My purpose is to capture a neoclassical view as time history writes our perception of art criticism. “art is to find support in lovers of art” as philosopher Leo Tolstoy explains the “stunting of human life” as our art figures dress their perception from rebellion. The fall leaves blackened the living performances and dramatic art style. The thesis explores darker areas of color while leaving the embodiment of the figure to be explored with Vermeer blues. The purpose is to bring Honduran American culture style as never before seen in the United States.

Joanna’s work is inspired and influenced by the surrealistic approach of Salvador Dali and M.C. Escher. She is devoted to working with abstract, fantasy pieces and aims to explore the beauty of the human spirit through her art.

Joanna mainly works with black and white pen and ink drawings as well as acrylic painting, resulting in dramatic and surrealistic compositions that evoke an intricate, mysterious world. As an artist, she believes in using complex lines to create powerful concepts.

Her work is driven by a passion for capturing the underlying beauty and energy of things by honing into the fundamental line and exploring the limitless possibilities of the imagination. They are an investigation into representations of situations as well as depictions and ideas that can only be realized in drawing, never showing the complete structure. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted therefore manipulating the viewer to create confusion without being hindered by the historical reality.

By examining the ambiguity and origination via abstraction, she tries to increase the dynamic between the audience and author by objectifying emotions and investigating the duality that develops through different interpretations. This creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.

Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts.

By applying abstraction, she often creates works, upon which thoughts that have apparently just been developed are manifested, bending the mind to believing that what you have just seen is pure illusion, drawing you back to view over and over.

My recent work uses satellite photos to create landscapes of factories, warehouses, and residential construction sites, all seen from above. This aerial landscape is overlaid with enlarged and carefully camouflaged hatchets and shovels, yielding figure-ground compositions that are initially difficult to see.

Whereas figure-ground compositions normally emphasize sharp contrasts, their delineation here is subtle and delicate instead. Depending on how they are viewed, the tools either emerge from or disappear into the aerial landscapes below. Cycling from one layer to another, the eye alternates between vast urban worksites and tools once used to build them. The longer we look, the more the imagery morphs, the boundaries blur, and our familiar orientation slips away.

This experience is elaborated in a three-part series in which enlarged “quick squares” (a multi-purpose roof builder’s tool) are layered over large factory buildings and empty parking lots. Camouflaged to resemble the factory roofs below, the oversized quick squares generate a complex medley of triangles, overlapping rectangles, cutout shapes, and shadows. These prints can be displayed individually or presented together as a series.

Intentionally disorienting, these multi-layered visual puzzles invite viewers to decipher the different levels and distinguish between what is visible and what is concealed. Subjectively, these images evoke enormous monuments floating above separate and detached pedestals below.

I create my alcohol ink pieces, by literally blowing the ink across the canvas with a straw to have more control of the ink. I find it satisfying to create and breathe fresh life into a new piece of art from recycled items. One of my favorite canvases is plexiglass I love how the color of the alcohol inks shines on this canvas. These paintings all come out different their own unique way. My painting inspirations come from different things such as music, imagination, and bright colors. I love painting with lots of colors whether it is on plexiglass, wood, paper, or canvas it is a true enjoyment for me.

As people are eager to learn and discover the latest updates, facts, and techniques while holding onto earlier records as resources, Kim adopts the idea of society balancing between liberal and conservative. They use their unique sense of color theory and design to indicate the new generation and take rather conventional subject matters as references revealing the past, experimenting with abstract and fundamental shapes for decorative elements. The indistinctive areas portray how history and current events are full of mystery and sometimes far from the truth.

For as long as I can remember, I’ve always loved art. I started drawing horses at age 5! Nothing is so exciting as a blank canvas and the scene I’m about to interpret. Ah. But the work begins!!!

Exploring the Mystical Through Mixed Media Art

An American abstract artist, she investigates the threshold between the visible and the invisible — where color, texture, and spirit converge. Informed by her background as a Transpersonal Spiritual Psychologist, her paintings emerge from an intuitive dialogue with Source, transforming pigment and matter into meditative explorations of energy and perception.

Her palette flows between the contemplative depths of blue and purple to the ethereal expansiveness of pinks, teals, and yellows, evoking both memory and transformation. Through layered texture and rhythmic gesture, each composition harmonizes instinctive movement with refined control.

Her abstraction becomes a spiritual language, speaking through vibration, light, and stillness. Each work offers a refined encounter, inviting viewers to pause, to feel, and to glimpse the sacred dimensions that extend beyond the ordinary.