★ Sun [Flower] Child ★
Courtney Nichelle Coble is an American sculptor, inventor, and public servant based in Leesburg, Virginia. She is the creator of Mind·Full·Ness®, an evolving collection of transparent resin portrait sculptures that explores identity, resilience, belonging, transformation, faith, care, and the unseen dimensions of human experience.
Through transparent portraiture and embedded symbolic materials, Coble transforms everyday objects into visual narratives that invite viewers to look beyond appearances and engage with deeper layers of meaning. Her work examines the visible and invisible forces that shape human life, including memory, responsibility, cultural identity, emotional labor, healing, community, and personal evolution.
Coble’s contemporary sculptural practice emerged in 2022 and has since developed into a distinctive body of work centered on portraiture, symbolism, and human connection. Her work has been featured through international exhibitions, publications, editorial platforms, and juried recognitions, including AATONAU, Women United ART MOVEMENT, Bee the Change Foundation, Altiba9 Contemporary Art, Light Space & Time Online Art Gallery, Homiens Art Prize, and Upward Gallery.
In addition to her artistic practice, Coble is the founder of Couture Underground LLC and Ouchie Wear® LLC, and holds United States design patents related to her earlier work in design and innovation. Her interdisciplinary background informs her interest in systems, caregiving, identity, resilience, and the stories people carry beneath the surface.
At the center of Coble’s practice is a belief that every person carries a hidden world worthy of recognition. Through Mind·Full·Ness®, she invites audiences to look deeper, remain curious, and recognize the shared humanity that exists beneath the surface of individual lives.
Mind·Full·Ness® is an ongoing collection of transparent resin portrait sculptures that explores the hidden worlds people carry within. Each work embeds symbolic objects inside a human face, transforming everyday materials into visual narratives of identity, resilience, memory, pressure, transformation, belonging, and collective experience.
Through transparency, I invite viewers to look beyond appearance and consider the visible and invisible forces that shape human life. Binder clips, rubber bands, fertility-related materials, butterflies, symbolic objects, botanical elements, chains, crayons, bees, and tennis balls become metaphors for what people hold, endure, protect, overcome, and become. These materials are not decorative; they function as evidence of interior worlds. This piece “Sun [Flower] Child” celebrates growth and flourishing.
This piece is part of a larger Living Vault of human experience. Rather than presenting a single story, the collection creates space for many experiences to coexist, intersect, and speak to one another. My practice is rooted in curiosity, empathy, and the belief that every person carries a hidden world worthy of recognition.
★ Sun Joy ★
Tricia Faulkner is a self-taught artist who began at around age 5. Perhaps her greatest childhood influence was living in New Orleans where she first experienced many art cultures. When not moving about from city to city with her family, her time was spent on a farm in North Alabama. Tricia sketched from books for entertainment, relaxation, and as her greatest coping mechanism. However, she never truly believed in her abilities. As the years passed Tricia earned a Doctorate Degree in Pharmacy while raising two children. In April of 2020, Tricia left everything behind and took an online painting course in Bold Color Art.
Her heart drove her to a passion for portraying strong emotions in faces. In her first 18 months of painting, she finished over 60 commissions. Although grateful for the work, her soul felt suffocated from the lack of her own inner voice and put commissions on hold. She then began painting from photographs she had taken over the years from serving as a missionary pharmacist in Central America. She also had a strong Spiritual upbringing and began portraying the visions of Angels she often had in her dreams (works that are still in development). The feeling of good versus evil plays a big role in her concept artworks; an art form she sketched out during some of her most passionate struggles.
Tricia has been advertised in Vanity Fair Magazine UK Editions for Artist to Watch, Interviewed on Bold Art Podcast December 2021, Featured in Nashville (TN) Voyager Magazine in the Inspiring Stories Segment, won Best In Show, and 1st place in a Regional Juried Exhibit, 3 National Juried Exhibitions, 3 International Juried Exhibitions, and awarded the Certificate of Artistic Achievement by the Pinacothe’que Museum in Luxembourg for the Angel portrayal “Breaker of Chains”
I sketch and paint with pens, pencils, markers, and high-quality heavy-body acrylic paints. One of my first and most passionate forms of art is the human struggle and/or joy in facial expressions. I am a huge empath and 10 years before I ever picked up a paintbrush I bought a professional camera and just photographed faces when I could. My soul always nudged me to get ready to paint!
When I am not photographing my subjects I am dreaming! I recall some of my most vivid dreams and many are nightmarish. I believe the Spirit that binds us all moves through us if we are open to receiving the messages. Many of those messages come to me in my dream state. With the binding spirit comes nature! I love the evolution I have come from; human faces to animals and wildlife in nature. My hope is to continue into the lane of concept art and fantasy that will combine both.
In my bold color art style, I use many textures, and heavy body acrylics layered in a dry brush technique and may include gel matte, spray paints, pastes, inks, or pens to give more dimension and emotional pull.
★ Support To The Top ★
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.”
The study of design has allowed me to expand my horizons to all avenues of photography. Just as I had photographed the composites of my designs, my work is now focused on looking for the components of a creative design or story in every photograph I take. 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.
★ The Bride Amidst Vesuvian Ruins ★
Audrey Brown is a California artist, born in Pennsylvania. Attended the University of Michigan, and degrees from California College of Art and San Francisco State University. She has taught art from 1988 to the present. Post-degree workshops include Florence Academy of Art, Italy, the Slade School, University of London, UK, CCA Atelier program, Paris, and Aix en Provence. Also, Atelier Sadie Valeri, San Francisco, Teresa Oaxaca, Scott Conary, San Francisco, Alyssa Monks, The Rome Art Workshops, Alex Kanevsky, Asilomar, CA, and David Shevlino, Sacramento, CA. Grants and Awards: East Bay Fine Arts Foundation Grant, National Institute for Humanities, Harvard. Featured in Scholastic Art Magazine, and Artists of the Bay Area ( Jen Tough Gallery ) she has had numerous one-person and group shows in the Bay Area. Recent Juried Shows include “Summer Feelings” at the HMVC Gallery, NY. “Connections” a group show in Berkeley, CA., the De Young Museum Online Open Call, San Francisco, Coastal Art Gallery shows “Kindred Spirits” and “Enduring Moments”, Frank Bette juried Plein Air Paint Out, and the Art Preservation Institute Group Show.
In this portrait, I sought to explore themes of time, mortality, and the potential explosive ruins of relationships. Using multiple translucent and opaque complementary colors, I aimed to give the artwork depth and complexity while visually representing the intricate layers of emotion of a person set adrift by an explosive end to a relationship. I began with a model in the studio, a veiled woman holding a skull, and an hourglass on a ledge near her shoulder. Every few months I’d play with the layers and her expression, adding some fresco elements like olive leaves, seen in the ruins of Pompeii.
It wasn’t until I had an explosive breakup while visiting Italy for a long-awaited dream vacation with a man I expected to spend my life with. Oddly enough it was the day after a torrential rainstorm which turned a visit to Pompeii into one more thing to argue about. Within days I was alone, and my life exploded like the eruption from Vesuvius. It’s been my job to rebuild and I’ve done it through art.
There are layers of paint, layers of objects, layers of personal meaning unseen, but best of all, the layers of evocative feeling I hope to inspire in the viewer.
★ The Dance ★
Hilary Saner paints between worlds — California and Hawaii, oil and collage, the rigorously structured and the deeply intuitive. Her work moves fluidly across still life, large-scale representational painting, and abstraction, often within the same body of work, carrying a surrealist undertow that makes even the most ordinary object feel charged with concealed meaning.
Before painting became her primary language, she was a statistician, a theologian, a community founder — lives lived in numbers, in prayer, in care for others. All of it migrated into the work. Her abstractions layer dyed papers, embroidery, gold leaf, and buried text into surfaces that reward sustained looking. Her oils carry symbolic weight that quietly destabilizes the familiar.
Her work has been exhibited widely across the US and internationally, earning Best in Show recognition in both California and New York, alongside Jurors’ Choice and Merit awards.
My abstract works begin with material: dyed and painted papers, layers of collage, embroidery stitched through the surface, fragments of handwritten text buried beneath washes of color. The physical process of building up and cutting away is inseparable from what the work means.
I’m drawn to abstraction because it lets me hold contradictions that resist resolution — structure and disorder, concealment and revelation, darkness and almost unbearable color. The embroidered passages in pieces like Panic at the Disco and Holding it Together aren’t decorative; they’re acts of mending, or containment, or insistence — I’m not always sure which, and I find that uncertainty productive.
My background moves between mathematics, theology, and contemplative practice, and all of it surfaces here. There’s always an underlying logic to how these layers accumulate, and always something that escapes the logic.
For me, abstraction is not freedom from meaning — it’s freedom toward it. The sensation comes first. The meaning follows, slowly, if you stay with it.
★ The Origin Point ★
Ting Hsin Chung is a Taiwan-born artist based in Melbourne who uses painting to express energy, emotion, and transformation. Her artworks often begin with a feeling or a bodily reaction, then grow into abstract shapes and layers. She sees her creative process as both a ritual and a way to break rules — each piece is part of her journey through healing, power, and soul awakening.
I create intuitive abstract paintings that come from emotion, body sensations, and energetic shifts. Painting is how I make sense of feelings that don’t have words—each brushstroke is a translation of something I feel, but can’t say. Often, my process starts with pressure in the chest or a strange pull in my hand, and I follow it without thinking. I don’t plan my work. I let the moment tell me what to do. The shapes, textures, and colors come from inside—like a memory I don’t remember, but my body does. My goal is not to explain, but to let others feel something in themselves. I believe we all carry stories in the body, and art can make them visible. Recently, I’ve been exploring how softness and raw emotion can live together in one piece. I hope my paintings give people permission to be more honest, more tender, and more wild.
★ The Visionary ★
Born in Geneva, Switzerland of Romanian political refugees, Sanda Manuila experienced expatriation and isolation at an early age. Her personal history of separation and traumatic family experiences have shaped her vision of discrepancies and differences and gave her the perspective of an outsider. That is why she feels so strongly connected to her artwork. She tells the story of her life, and the world around her, and the need to narrate has become visceral.
As a young adult, she left her native country and moved to Northern California where she is currently living. Over the years Manuila has learned how to become a citizen of the world, a status she gained by studying art over many years in different locations. She studied at L’Ecole des Beaux-Arts in Bordeaux, France, Atelier Bessil in Montpellier France, and at the Cornish Institute of the Arts, in Seattle, WA. More recently she traveled to Italy to attend the Angel Academy in Florence and the Rome Artworks Studio in Rome, Italy. Additionally, she participated in artist residencies at Dacia Gallery in NYC and in Sibiu, Romania.
Sanda Manuila creates oil and mixed media pastel and gouache paintings, which are stylized representational images that exude an allegorical quality. Her visual stories depict a state of mind in which the boundaries between dream and reality have become very fluid. Her purpose is to make art that depicts the challenging path of life in these disturbing times, warns about the danger of climate change, and depicts the fear of loss and the struggle for survival. Even when we abuse her, Mother Nature remains beautiful.
I paint visual stories of a world on the edge. The story of a new normal.
The story of tribalism, discord, and the threat of destruction.
The story of nuclear war changing the landscape.
The story of our home, torn by conflict and mistrust.
The story of the danger of the denial of climate change.
The story of Nature’s resilience and beauty even after the abuse we have been inflicting upon her. I paint stylized representational images which exude an allegorical quality. I want my work to be confrontational and emotionally charged. I aim to engage the viewer with surprise, doubt, and curiosity and raise many conversations in these challenging times. I paint poetry.
★ Two Orange Creamsicles, Please ★
Bobbi Baugh creates collaged and stitched art quilts focusing on symbol-based storytelling; beyond the design and texture of the surface, layers of meaning and a narrative of personal journey are revealed.
Bobbi lives in DeLand, Florida. A graduate of Stetson University (B.A. studio art and speech communication, 1976; M.A.T. Education/Humanities, 1979), Bobbi discovered the world of textile artwork around 2010, following a career of 35+ years in commercial printing and graphic design. Drawing on the basics she received as an undergraduate art major, Bobbi became a self-taught textile artist. Her work is created from original fabrics created through low-tech, hands-on surface design methods using acrylic paints.
Intentional constraints characterize Bobbi’s work. She limits her working methods to applying acrylic paints and mediums to a limited range of fabrics: primarily unbleached cotton muslin and sheer polyester. She works with a limited palette, mixing all her colors to create a unified vocabulary of work. Bobbi constructs her quilts and does all the quilting on one of two small, portable Pfaff sewing machines. Construction techniques vary depending on the work and the composition. Generally, Bobbi creates and quilts in small sections, then joins those sections in the final composition. Increasingly, Bobbi has become interested in painting on the finished quilt, using the composed, quilted surface as a painter’s canvas.
Bobbi exhibits widely. Since 2010 she has participated in over sixty juried group exhibits. She has had work juried into Museum exhibitions at the National Textile Museum in Washington, D.C., the Rocky Mountain Quilt Museum in Golden, Colorado; Visions Museum of Art in San Diego, California; National Quilt Museum in Paducah, Kentucky; LaGrange Museum in LaGrange, Georgia; Ross Art Museum, Delaware, Ohio; Whistler House Museum of Art, Lowell, Massachusetts; Ormond Museum of Art, Ormond Beach, Florida.
In addition to SAQA Global Juried Exhibitions, which Travel worldwide (Redirecting the Ordinary 2014-2016, Balancing Act 2015-2016, Aloft 2020-2023; Opposites Attract 2021-2023; Beyond the Mirror 2021-2013; Light The World 2021-2023; Connections 2021-2023; Gastronomy 2022-2024; Haven 2022-2024; Primal Forces: Fire 2023 – 2025; and Bearing Witness 2024-2027;) Bobbi has had work juried into prestigious exhibits throughout the US: Visions Interpretations 2025 in San Diego, CA; Q=A=Q at Schweinfurth Art Center, Auburn NY 2020, 2022 and 2024; Lincoln Center New Legacies, Fort Collins, CO 2024.
I am especially intrigued with seeing internal and external events in layers, and with depicting the internal and the external in a composition together. When the subject matter is a person, my role is artist-as-storyteller. The story may involve dreams, memories, and states of being. When the subject matter is the natural world, my role is artist-as-archaeologist: digging for things unseen to place alongside images of nature. Mixed media artwork is the perfect vehicle for such explorations. There is a pleasing rhythm in monoprinting . And, through collage, rich textures and layers of paper and fabric emerge.
Hot sun. Salty skin. Cool water against your feet. And ice cold ice cream. Components of an innocent Florida memory. Hand printed (monotypes and relief prints) with acrylic paint on sheer fabrics and muslin, collaged and stitched construction, with machine-stitched details. Finishing: bound fabric-backed. The back has a hanging pocket and a rod for traditional hanging tapestry presentation. All collaging is with archival matte acrylic medium, which is also used over the surface.
★ Violets Are Blue ★
Sally has been profiled in American Art Collector, VoyageMIA, and ARTisSpectrum magazines. Southwest Art Magazine’s September 2018 edition named her one of their Nationally Emerging Artists. She was the featured artist at the Palm Beach International Airport in 2019-2020. Sally has been juried into a number of significant art competitions, including the Spring and Fall 2021 NOAPS International Online Juried Exhibitions and American Artists Professional League 2023 Online Exhibit. Her painting “Bold Orange Rose” was selected Best in Show at the Contemporary Art Gallery “All Botanical” exhibit in 2023 and her painting “Blue Heron” was chosen to be included in the upcoming International Guild of Realism exhibit. Sally has been juried as a member of the following organizations:
• International Guild of Realism
• Oil Painters of America
• National Oil and Acrylic Painters Society
• American Women Artists, Signature Member
• American Artists Professional League
Growing up on a farm and co-owning a nursery for most of her life, I have always been surrounded by the beauty of the natural world. So it’s really not surprising that I turned to nature for inspiration when I took up painting. The fascinating shapes, delicate textures, and vibrant colors of flowers and other plants and trees are my favorite subjects.
Yet, I strive to paint something more than simply a realistic depiction of these subjects. I interpret the subject with a brush in hand, allowing my imagination to select colors and forms.” Like one of my artistic heroes, Georgia O’Keeffe, I invite you to enter into my subjects, to experience them, to have a visceral reaction to them. Above all, my oil paintings allow you to see as I see—God’s amazing way of creating each so uniquely and so beautifully.