★★ It’s Fashionable ★★
Patsy Lindamood is a self-taught graphite artist whose creative journey began later in life and has evolved into a distinctive voice in representational art. Initially focused on wildlife, her subject matter now spans a diverse range of “scapes”—from rugged workboats and wading birds to grain silos, abandoned homesteads, and architectural landmarks such as courthouses and cathedrals. Balancing a career in finance and technology with her artistic pursuits, Lindamood has built an impressive body of work that reflects both technical mastery and a deep appreciation for form and texture.
Her achievements include Non-Resident Artist membership in New York City’s historic Salmagundi Club and signature memberships in the International Guild of Realism, American Artists Professional League, Allied Artists of America, American Plains Artists, Society of Animal Artists, and Artists for Conservation. In 2024, Lindamood was honored as Rockport Master Artist, culminating in a solo exhibition, Rockport Coastlines, at the Rockport Center for the Arts in Texas. Her graphite work Cathedral of the Madeleine earned Third Place in International Artist Magazine’s Art Prize Challenge No. 143 (Cityscapes), and her pieces have repeatedly been recognized as finalists in the prestigious ARC Salon Competition. She also received an Honorable Mention for Shadow Play in the 2025 Almenara Prize, with multiple other works included as finalists, and has been a finalist in Strokes of Genius for five consecutive years.
Working exclusively on cradled Ampersand Claybord, Lindamood applies graphite in a painterly manner, a technique inspired by her earlier experience with pastels. She believes compelling graphite art demands strong composition, dynamic shapes, and a full range of values to create depth and dimension. Through this approach, Lindamood transforms a monochromatic medium into works of striking realism and emotional resonance.
My work is rooted in representation, yet it resists the confines of photorealism. From a distance, my drawings may be mistaken for photographs, but closer inspection reveals the unmistakable presence of the artist’s hand—the subtle marks, the deliberate strokes—that transform the image into something painterly and alive. I am not pursuing visual perfection; I am pursuing visual perception.
Graphite has become my primary medium because of its stark honesty. Stripped of color, the work becomes a meditation on essentials. In shades of grey, the visual language is reduced to line, shape, and value, and the underlying story emerges with greater poignancy. Working in graphite is, for me, akin to writing a short story rather than a novel—concise, distilled, and arresting. These tonal explorations resonate with memory and recognition, evoking emotion without embellishment.
My fascination with cityscapes stems from their inherent structure and rhythm. Architectural forms offer a visual symphony of lines, angles, and patterns that speak to my sense of order and design. Each building becomes a canvas of repetition and variation, while glass surfaces introduce complexity through transparency and reflection. These urban environments challenge me to capture not just their physical presence, but the layered stories they reveal with every glance.
★★ Just Jump ★★
Rylee Breese (b. 2002) is an American contemporary painter from Covington, Georgia. Her work explores the tension between adulthood and childhood by depicting grown bodies interacting with nostalgic, childlike objects. Rendered in an intentionally oversaturated palette, her paintings blur the line between memory and reality through distorted forms and expressive compositions.
Guided early on by her grandmother, a painter and photographer, Rylee developed a deep appreciation for experimentation and material play. Nostalgia serves as a driving force in her practice, allowing her to revisit personal history while questioning its permanence.
Experience is a virtue, but our childhood daydreams never really leave us. They quietly tag along, shaping who we are, how we see the world, and even the choices we make as adults. My work exists at the intersection of memory, movement, and identity, where the adult body interacts sometimes awkwardly, sometimes playfully, with the nostalgic objects and sensory triggers of its past.
Using vibrant colors and dreamlike palettes, I create sculptural and mixed-media pieces that investigate how childhood nostalgia transforms the way we inhabit our adult selves. My practice has expanded to include food, household items, and other sensory cues from youth, such as candy wrappers, cereal, pool floats, and stuffed animals. These details are more than just visual; they carry stories, comfort, and emotional weight.
I’m drawn to the strange, often surreal relationship between physical form and emotional memory, how a cartoon-branded snack or brightly colored toy can become a portal to a different time. My art plays with scale, distortion, and setting to evoke a world where these familiar artifacts aren’t just relics, they’re part of an ongoing, lived experience. In some pieces, the body becomes exaggerated or fragmented, echoing the disjointed way memories morph over time. In others, the interaction between figure and object becomes almost performative, reenacting moments we didn’t even know shaped us.
At its core, my practice is about the emotional residue of play and comfort, how simple things from our past continue to ripple through our present. I explore how nostalgia can soothe, confront, and even reshape our sense of self. Through it all, I aim to hold space for reflection and joy and to remind myself (and others) to enjoy the now. Even as we revisit the past, there’s magic in being fully present in the moment.
★★ Living Waters ★★
The extensive breadth and excellence of the work of multitalented, multi-degreed, modern Renaissance man, Dan Terry of Austin, TX, is almost unfathomable. <br>While his mural and art in exhibitions are seen annually by millions, he’s also known for his extensive work in film, television production, digital 3D, music performance, guitar design and restoration; set, film, toy, product and graphic design, writing (author of four books on human sexual chemistry on Amazon, a biography of Lord Byron, and another on David Ogilvy, legendary ad man, plus several screenplays), and teaching. His work has won national and regional awards and acclaim in Computer Animation (Siggraph Aurora Animation 1985), fine art painting (many in juried and museum exhibitions, including full election to the Pastel Society of America), Teaching (first place National Student Advertising Competition faculty advisor 1990, and others), acting, and graphic design.
“Lucky that Way” author Brad Fregger wrote that Terry is “one of the finest 3D artists in the world today.” One of the pioneers in CGI 3D modeling and rendering, in recent times he’s returned to traditional media with a modern twist, with over 250 murals across the state of Texas, some incorporating theatrical lighting and sculptural elements. His work has recently been included in the Collectible and Investment Art Guide 2025.
His work is in the permanent collections of the Witte Museum and the historic Alamo in San Antonio, and collections around the USA. His work is represented by the Global Vision Contemporary Fine Arts Gallery in Houston.
Education: BAAS: interdisciplinary management with art direction focus, Texas State University, 1984
MA photojournalism, University of Texas, 1990
ABD PhD mass communication/advertising, University of Texas, 1996
I’m a painter and muralist whose work explores the beauty and vitality of nature—especially through koi ponds, water lilies, and expressive landscapes. My style blends classical influences with contemporary color and movement, drawing on my background in both fine art and large-scale public commissions. I aim to create immersive scenes that invite viewers to slow down and reconnect with the natural world, whether it’s in a gallery or a public space. My recent work has been featured in national exhibitions and public collections, and I’m always looking for new ways to bring that sense of wonder and tranquility to a wider audience.
★★ Look For The Rainbow ★★
Natalia was born in Europe and drew pictures from her childhood. She has started to paint in oil on canvas since 1990. In 2005 she moved to the USA for a better life and has started to display her Art in local Art Galleries in North Carolina since 2016.
Natalia’s artwork has been shown in her solo exhibition at Mooresville Art Gallery, Yadkinville, and Morganton North Carolina. She is the award winner of several local art contests and shows. In December 2018 Natalia Leigh received President’s Choice award for outstanding work in the visual arts from Rowan-Cabarrus Community College. Presently Natalia works as a nurse and paints pictures in her spare time in her own studio in Kannapolis NC.
My paintings are oil on black canvas, sizes 18×24, 22×28, 24×36, 24×30, and 36×48. The black canvas is like a beginning in life: plant a seed in the soil where it is dark and black. The seed will grow out turning into colors with sunshine, as goes the painting when I begin on the black canvas. The colors on the canvas begin to emerge and grow into the picture of whatever is in my heart. I am studying the symbols of nature, and symbols of subjects that surround us. I use those symbols to tell the story of everyday life.
★★ Negative 01 ★★
A dedicated photographer, inspired by the masters of painting, is committed to creating extensive series documenting American life and abstract work. Diverse landscapes and intricate cityscapes are captured on film and with pixels. Inanimate objects are personified. Human presence may be absent, but natural marks and human traces provide a backdrop. Overcast light is optimal, as it enhances color richness. Minimalistic abstractions are created through the lens and without a camera, filling the frame with balance, color, and asymmetrical and symmetrical energy.
Film as a medium deserves a new birth. Its aesthetic qualities and characteristics have been neglected. Its authenticity inspired this series, where the camera was abandoned, creating nonrepresentational paintings of light in photographic color. It is a study that uses varying temperatures of light, exploring its sensitivity and unpredictability. It’s a series of candor.
★★ Penumbra ★★
Milwaukee-based artist Dennis Felber has created indoor and outdoor sculptures since 2015. Inspired by nature’s unique shapes and textures, his sculptures incorporate a combination of stone, steel, and copper that mimic the organic forms observed around him. Utilizing specific welding techniques he creates sculptures that reveal a sense of movement and flow yet show a balance between the materials of metal and stone giving the sense they are alive and growing. From large-scale commissions to smaller wall pieces, his art elicits a want to touch it and experience the texture created. His work has won numerous awards and has been shown in galleries across the US.
I find myself inspired by nature’s unique patterns and distinctive shapes. Metal originates from rock and I play with the juxtaposition and balance of their connection.
Through my art, I demonstrate a common bond between the two, whether it be mimicking an organic shape, implied movement, or merging the two elements back into one. I want to reveal an alternative perspective of the natural world as I see it showing something familiar and common yet providing the viewer with a diverse and unique visual experience.
★★ Princess Jane ★★
Andrew Schmidt is a contemporary artist who transforms thousands of individual LEGO elements into large-scale, three-dimensional artworks. Working outside the conventional boundaries of both painting and sculpture, Schmidt has developed Dimensional Impressionism, a self-defined approach in which depth is intentionally constructed with color to sculpt images through shadow and hue.
Schmidt intentionally leaves the modular structure of the medium visible rather than disguising it. From a distance, the elements resolve into recognizable imagery; as viewers move closer or change their vantage point, the image breaks apart into a complex physical landscape of color, texture, shadow, and form.
Schmidt’s practice is rooted in an interest in perception and perspective. His work asks viewers to reconsider the assumption that a single viewpoint provides a complete understanding of what they are seeing. Physical dimensionality is therefore not simply a technical characteristic of the work—it is fundamental to its meaning. The works reward movement, closer observation, and a willingness to spend time with each piece.
Animals have become an important subject within Schmidt’s practice, allowing him to explore the relationships between humans and the other beings with whom we share the world. His animal works range from intimate portraits of companionship to explorations of instinct, vulnerability, and the unknowable perspective of another living creature.
Beyond the individual subject, Schmidt’s work reflects a broader philosophy: that complexity does not preclude meaning, and that order can emerge from seemingly disconnected parts. By transforming a familiar material into an unexpected artistic medium, he invites viewers to reconsider both the work itself and the assumptions through which they experience the world.
Based in the United States, Schmidt continues to expand Dimensional Impressionism through original artworks, exhibitions, installations, and an evolving exploration of what dimensional imagery can become.
I call my work Dimensional Impressionism: imagery constructed from depth and sculpted through shadow and shape. Using thousands of individual LEGO elements, I build works that exist simultaneously as coherent images and chaotic physical landscapes. From a distance, color and form resolve into a recognizable subject; as the viewer moves closer, the image dissolves into its individual components.
Animals have always held a unique place in human experience. They are companions, predators, prey, symbols, and witnesses to our lives. They occupy both the familiar world we share with them and an untamed world increasingly distant from our daily lives. That tension makes them particularly compelling subjects for my work.
Princess Jane explores the intimate bond between a dog and the person she chooses, and the way an animal can become inseparable from our memories and sense of home. Prey turns toward a more primal relationship, exploring the tension between beauty, vulnerability, instinct, and survival. Waiting for Calvin examines the quieter space between animal and observer – the anticipation, curiosity, and uncertainty that arise when we encounter another living being whose perspective we cannot know.
Across all three works, I am interested in what happens when we shift perspective. The dimensionality of the work makes that shift physical: moving around the piece reveals hidden elements, vignettes, and storylines that cannot be seen from a single viewpoint. The individual elements reflect the complexity and apparent chaos of the world, while the completed image demonstrates that meaning can emerge from those disconnected parts.
This is central to my practice. We experience the world from a single vantage point and often mistake that perspective for the whole truth. I want my work to interrupt that certainty – to make viewers move, look closer, step back, and reconsider what they think they see.
Whether they are beloved companions, fellow inhabitants of our planet, or potentially threatening predators, animals remind us that the human experience is still a shared one that necessarily includes other beings. My work is an invitation to encounter the familiar differently, to look beyond the obvious, and ultimately to change your perspective because what you see may differ from what is.
★★ Reverie ★★
Rachael is a self-taught stippling and impressionistic painter. A small-town “mountain girl” at heart, after living in the Midwest and the San Francisco Bay Area, she proudly makes her home in the foothills of Colorado. Rachael combines her love for this beautiful world, the outdoors, and organic textures with her vibrant use of color and meticulous mark-making with “dots” to create her artworks.
Rachael had many inspirations for art and creativity in her family and life. She earned a B.S. in Business from the University of Colorado and a Master of Science in Information Systems from the University of San Francisco. After fifteen years in the corporate and higher education sectors as an HR and Information Systems specialist, Rachael began to focus on her passion for creating impressionistic, detailed, month-spanning artworks in themes of nature, texture, and the bold use of color. Rachael’s artwork has been shown in a number of exhibitions in the Rocky Mountain Foothills (and once on a Jumbotron in Times Square).
I’ve consistently integrated art and creativity into everything I do. I’m attracted to opportunities to express these qualities, and when they do not exist, I create my own. Using fine-line pens and acrylic paint, I find joy and calm in capturing the intricate details of nature. My art practice allows me to channel, express, and celebrate my neurodiversity.
Nature, with its mesmerizing patterns—from ordinary trees to breathtaking rock formations—inspires me. I love translating these elements into my art using acrylic dots, bold colors, and intriguing contrasts. Why landscapes and nature? They are soothing, accepting, and rich with beauty and intricacy. In nature, I can be my true self, free from judgment. The moments I experience there resonate with me and inform my artwork, allowing me to share those feelings and experiences with others.
My art celebrates the beauty in details, revealing that a million tiny components create a complete picture. I aim to delight viewers through the intricacies of my work and the emotional impact of vibrant scenes.
★★ Serenity And Feline Companions ★★
Leigh Witherell has carved a unique and profound niche for herself in the world of art. Her use of unconventional technologies combined with an ear for hearing emotions as she listens to people has provided her with an opportunity to give voice to her art.
She believes in art’s power to reveal the raw, unfiltered emotions and difficult truths of society. Her journey in figurative art has only just begun and she feels that as an artist, it is her goal to master her style and create art that resonates deeply with human emotions and experiences. What sets her apart is her introspection, humility, and a deeply ingrained desire to communicate on a more profound plane through her art. Her canvas is not merely a piece of art; it is a window into the human soul, mirroring the melancholic beauty of truth and life.
I am an emerging artist I’ve always had a love of art. My art is strongly influenced by the Melancholic style which allows people to connect and interpret personally. My inspiration comes from a very personal place of loss and by sharing my story and connecting with other grieving parents to share their stories in my project, “The Invisibility Project” I hope to create what I hope are visions not only of pain but also of hope.
My focus has been to let loose any boundaries I have placed on my creativity and to just create. A famous quote from a favorite artist, Edgar Degas has become my guiding mantra. “Art is not what you see, but what you make others see”. I hope that through my creations I can start a conversation and inspire others to share their grief and their journey so that the veil of invisibility surrounding grieving parents will be lifted and society can better understand how to help parents who have lost part of their hearts to heal.