Gallery
Welcome to the LAPS Membership Gallery To find an artist use the alphabet below to locate them by last name. If you are a current LAPS member and interested in accessing your Member Login to use the website gallery, please follow directions posted to the right under Gallery Submissions.
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Judith Amdur
Despite Los Angeles' reputation for relentless sprawl, there are areas of unmatched beauty and serenity to be found, often just around the corner. This series of monoprints, mostly derived from vivinities near a major industrial park, provide a visual environment where one may pause to nuture a sense of calm and sanctuary, as nature intended. -
Barbara L. Bachner
One Month / One Lifetime Later These works are meditations on the persistence of memory and on the celestial, transporting quality of the color blue. They are embodiments of the state of mind that remembering can elicit and they relate to the fragile/ironbound ties that connect us one to the other. Dispersion is always balanced by an invisible web of connection that transcends distance. -
Gregory Bada
Inspiration for my work comes from the many intaglio printmaking masters such as Francisco Goya, Kathe Kollwitz, James Whistler, and Otto Dix. The beauty of this monochromatic medium and labor intensive process allows me to delve into personal areas and feelings that otherwise would be overlooked by me. Please visit my Facebook fan page at: http://www.facebook.com/pages/Gregory-Bada/188643811167326 -
Janet Best Badger
I have been an artist since I could first hold a pencil, and a printmaker since my first etching course. I have hauled my etching press from state to state, and across the Atlantic to the Caribbean. I continued my work while in Moscow, Russia. I am fascinated with faces, figures, and the endless possibilities of printmaking. -
Sandra Beard
Sandra Beard is from Orillia, Ontario and now based in Sacramento. She received her BA in Fine Art from the University of Ottawa and an MFA from San Jose State University. Further studies were at KALA in Berkeley and with master printmaker, Joseph Zirker. Residencies include the Edna St. Vincent Millay Colony and the Vermont Studio Center. Related experience includes teaching and producing art programs. -
Mary Sherwood Brock
My work has been an investigation into the disjointed connection we have with the natural world, especially in light of scientific research that i believe has yet to be properly processed culturally. Over the years, these themes have become personal allegories, too. -
Bill Brody
Each summer I go deep into the wilderness of Alaska's mountains to paint. I spend my time chasing light and dancing shadow, trying to capture the dynamic richness of this spare and wonderful northern landscape. Working in the endless light of the arctic summer is my wellspring; it grounds me for the flights of introspection that occupy me in the studio during the majority of the year when it is too cold to paint outside. -
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Kay Brown
New member 2010 @ annual exhibition "Going Home" 20x30 Linocut. Use copper non-toxic etching, aquatint, drypoint, linocut, woodcuts and monoprinting. Also member Arroyo Arts Collective, Santa Barbara Printmakers, and Los de Abajo Printmaking Collective. Interested in materials experimentation and introduction of printmaking to everyone. Currently seeking donation of large space for non-profit organization use as etching press studio/gallery in greater Los Angeles area. Contact: kay.h.brown@gmail.com Subject line = space for printmakers -
Lindsay Buchman
Lindsay Buchman is a California based artist whose work focuses primarily on printmaking. Combining mediums of collagraph, monoprint, intaglio and relief, she strives for rich textures through the layering of ink. Each print reveals a new story caught between abstractions and representational structures. Since 2007, she has been an active member of Laguna Outreach for Community Arts, teaching numerous workshops within the Laguna Beach community. Lindsay is also involved as a printmaking instructor at Irvine Fine Arts Center. For the past five years, she has been a member of the Los Angeles Printmaking Society. Currently, she is pursuing a Bachelor of Fine Arts Degree in Printmaking from California State University Long Beach. -
Kristin Casaletto
Casaletto's work incorporates printmaking, drawing, and sometimes painting, video, and sound. She's been awarded numerous grants and artist residencies and has exhibited widely across the United States as well as in Italy and Australia. She is currently Associate Professor of Art at Augusta State University and heads its printmaking area. -
Ann Chernow
My work is based on specific impressions related to movies from the 1930's and 1940's. These impressions refer to actual films, studio publicity, fan magazines and other memorabilia. I use film characters and then freely reinterpret. In blending past and present images, I try to create a sense of deja vu or nostaglia. -
Cathie Crawford
My color reduction woodcuts celebrate the magical moments of life: Bliss of Being. Some images express a feeling toward my immediate environment (my water garden). Some are inspired by my travels. A trip to Thailand, an interest in Buddhism as well as contemporary Theology evolved into Sab pan yu (the enlightened one). -
A. Gaul Culley
Gaul considers herself a content-based artist whose interests lie around individual, societal and global identity that is linked to place. The work mediates internal and external landscapes and thrives on the inconsistencies of the man made and natural worlds that she comes in contact with. -
Raymond DeCicco
I have been an independent studio artist that focuses on a naturalistic realism that can border on the surreal. I create images that represent ideas and places within my own experience and through the use of transcendent observation attempt to evoke the essential spirit of my subject.Well aware of modern trends I use a "low technology-high technique" approach.My artwork is completely hand done and materials are prepared in tradtional and contemporary methods,My print and paint5ings have been included in over 55 national group exhibitions. -
Judy Dekel
I majored in all aspects of Fine Art Printmaking, Photography, Art History and Art Education. In recent years I developed a great interest in working in the Monotype and Monoprint media. This allows me the possibility of combining all of my Printmaking and Photography experiences into a new and expressive form of art making that is quite satisfying and exciting. I am forever challenging myself with new ideas and images which I find all around me. -
Mollie Doctrow
Native habitats, plants, animals, insects, and rocks that are unique to a particular place are the subject of my artwork. Native habitats are often home to endangered and threatened species. Increasingly, my work focuses on these sensitive places. Recent work from art residencies at Big Cypress National Preserve and Everglades National Park explore the swampy jungle places and exotic plants of these unique environments. -
Marcia Douglas
Seattle-based printmaker and frequent visitor to Los Angeles. I like to work with layers of color and imagery and with Solarplate etchings, which give me a way to integrate my photographs into monoprints for fresh interpretations. My prints are relief and intaglio, sometimes including both in the same monoprint and often including collage elements. -
Chris Dovey
One of the things I love is the woman's figure. I did a little ballerina, Carmen Electra in the shower pose in Playboy and a mermaid for my love of the sea. I focus on making the female form more interesting to the eye. I am Autistic and have some paranoid schizophrenia. I've had this all my life. I fight depression. My woodcuts are one of the things that got me out of the hospital. -
Myrna Dwyer
The many techniques of printmaking allow me to express my interest in nature, color, and drawing. What I love is the agonizing fun of striving for a planned result when I know I will always get something mysterious and unpredictable and based partly on chance in spite of what I intended. The new image frequently leads to something even better. I am inspired by the colors and shapes of the succulents in my cousin Barbara's Malibu garden and the pistachio green eyes of my beautiful cat, Sebastian. -
Linda Fillhardt
My art expresses the essence of desert objects, accenting the work with the spiked lines of a cactus or perhaps the spiraling chaos of a tumbleweed. Layered behind these representations of desert vegetation are patchwork designs of simple shapes -- squares, wide strips, and lines-that call to mind the traditional weaving inspired by the deserts of North America. -
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Jenny Freeston
Natural and architectural forms are my primary source material, and I use these as a means of exploring human endeavour and its impact on the environment. I work in etching, drypoint, lithography, direct gravure and photogravure, all of which give me great leeway to explore the graphic mark. My work is in many national and international collections. -
Eric Goldberg
I am a painter/printmaker who has always been fascinated by the transitory nature of things and events and/or objects come together but for a moment before they change to something else. My paintings and prints always contain this element of "time" expressed through one artistic vehicle or another. I think of my work as visual poetry. And like a poem, I want each piece to be complex enough that its secrets are slowly revealed. And yet, simple enough to be one thought. -
Leslie K. Gray
Leslie K. Gray is a native Los Angelena. -
Yeung Ha
My objective is to create imaginary landscapes with abstract forms. Maps, nature, and physical symbols are my inspirations. They represent bits and fragments of memories of places, observations, and experiences. I also used figures from Cat’s Cradle, a child’s string game, to represent a time frozen in my memory. The layered printing of viscosity color intaglio and reworking of etched metal plates reflect an allegorical representation of time and my passage through life’s infinite journey. -
James Haggerty
James Haggerty, an award winning painter and printmaker from NYC has exhibited his work throughout the United States and abroad. He has received numerous awards in national competitions and his work hangs in private and public art collections. He has received recognition in widely spread newspapers and magazines including Life Magazine, The Guardian, the International Business Times and New York Newsday. Haggerty always depicts his urbanscapes as being devoid of residents. The juxtaposition of structures which are a clear sign of human life and the ominous physical disappearance of the human form is something that resonates deeply with Modern Man. It is often the underlying tension in cities. How often have you felt alone in a city bustling with life? -
Dirk Hagner
Dirk was born, raised, and educated in Germany, where he studied drawing, printmaking, photography, and painting at the Folkwang School of Fine Arts. He graduated with a masters degree and since the early 1980s has lived in the United States. In his art, old and new techniques and ideas compliment each other. -
nif hodgson
Nif is a San Francisco artist working in traditional and contemporary printmaking and letterpress techniques. She is an artist-in-residence at Kala and is currently pursuing a master's degree at San Francisco State University. Her interests lie in the complex relationship of perception and place — what is seen and unseen, or what is empirically thought to be represented verses what is actually observed. Though process, materials, and juxtapositions between the man-made and the organic, she explores the complexity within the simplest of surroundings, and the perceptual relationships that frame our understanding of the world. -
Fred Holle
As a printmaker, my principal MEANS of expression is the computer. At one time, I was totally averse to computers on every level. An “epiphany” occurred when I found that with the FREEHAND use of the computer, one could develop works of a traditional nature just as when utilizing traditional mediums and methods. The computer also afforded a great sense of experimental freedom due to its capacity to create multiple versions or return to earlier states of any given work. However, it must be noted that the operative word which assures the legitimacy of a digital print is "FREEHAND". -
Zoltan Janvary
I grew up in 20th century Hungary. Our political leaders were in fear of new art movements, so that there was nothing available but the teaching and studying of classical art. It is the challenge of this tension between the well known and that which must be discovered that provides me with the greatest joy in both teaching and in my own private practice. -
Philip Laber
The idea behind these prints originated around 1999 when I observed and sketched a small terra cotta sculpture, a seated satyr by Paul Gauguin at the Chicago Art Institute. The work appeared to be a self portrait of the artist; a figure connected to the earth and to the simple life of another time, place and culture. This idea grew to compare two personality types, one which is much like the earthbound satyr and another capable of transcendence. This suite of prints, which I began in 2006 in Corciano, Italy, explores the central figure of the satyr, as an “everyman,” one removed numerous times from contemporary cultural mainstreams yet a witness to and inescapably impacted by events far beyond his control. -
Richie Lasansky
I am interested in images that are more poetic and symbolic than literal; the lines or marks in a print are important, but it’s the tension and space between them that have the power to capture your imagination. However, good technique and drawing are important to me in making a print. I work directly on the plate, I make my own ink and I always print my own prints. For me, Intaglio printmaking is such a sensual, tactile medium that if I didn’t get my hands dirty and experience the feel of engraving in copper and printing the plate, I think it would be hard to really know what the medium can do. -
Ruth Leaf
Although I have a definite idea about what the work I am engaged means to me. I expect people to have their own feelings about what they see. In 2006 and 2007 I was fascinated by the Hubble Space Photographs. The photos gave me the vision of the universe that allowed me to interpret and play with the shapes and the colors. -
Carolyn Liesy
My work is generally abstract. I use text and language, like Japanese Death Haiku, as part of my compositions. Mostly I do etchings and some collographs. Sometimes I experiment by adding digital elements. I think my work is categorized as conceptual. I am interested in the soul and deeper spiritual meaning, things beyond ordinary reality. -
Betty Ann MacDonald
Often, my etchings and monotypes take the viewer on a journey into twilight worlds of the imagination. Whether the vehicle is an inventive creature or a human depiction, there is a sustaining energy, a strength and pathos in that being's odyssey. Some of these works express a state of mind, an emotional evolution, a wish or a fulfillment. -
Valerie Magee
Intersections: Over how many centuries have these roads been traveled- by what means, by how many peoples, for what purposes? What languages were spoken? Were these the ruins of cities once flourishing and now collapsed, whose roads had been named and re-named in honor of each succeeding conqueror? -
Susan Makov
I have been working on letterpress print collaborations since 1985 as part of Green Cat Press. The following authors and visual artists produced original works for broadsides and books: Rudolfo Anaya, Gus Arriola, Margaret Atwood, Brian Aldiss, Greg Keeler, Ray Bradbury, Charles Simic, William T. Wiley, Lewis Nordan, Roddy Doyle, Cees Nooteboom, Terry Tempest Williams, Tony Hillerman, MFK Fisher, Joy Harjo, Marshall Arisman, Chuck Bowden, Diane Ackerman, Wendell Berry, Alan Cheuse, Peter Sís, David James Duncan. -
Diane McLeod
My art is abstract and semi-figurative. I respond intuitively to my subconscious, and to the natural world. I enjoy complexity and repetitious lines, movement, implied meaning, and layering. I work from different printmaking surfaces. My goal is to keep alive spontaneity and the original intuitive impulse. At times, the unexpected results speak of dimensions beyond my original intent. -
Eve Mero
Although expressionistic painting is what I most like to do, printmaking takes up most of my creative time. The lure is inescapable: with printmaking, you can tame the wild beast. While the body feels that it has the true knowledge, the mind always has something to say back. -
Ron Mier
Ron Mier is a printmaker, painter and weaver, creating monotypes, engravings, acrylics and textiles in bold colors. The compositions are abstract images with strong linear and organic reference. His images elicit personal and universal connections. Ron is self taught and has collaborated with other artists for over twenty years in group shows and printshop settings. As an instructor, Ron has taught in institutions throughout the United States. The artist’s work has been displayed in studios and galleries in the United States and France. Ron Mier currently works in his printshop and studio in Tierra Amarilla, NM. -
Judith Miller
There is always a visual 'code' in a print or painting, realistic or abstract: color, line, shape, texture, movement, and other art fundamentals are all used intentionally to imply or provoke meanings, feelings, and other responses. For years I have wanted to use enigmatic codes in my work. -
Sharon Augusta Mitchell
I have regularly moved between natural studies and the pursuit of narrative images that convey a sense of theater, emphasize the drama and enigma inherent in natural forms, and produce encounters with the dramatic, the bizarre and the humorous. In the recent years, I have worked largely in the print media using traditional techniques such as mezzotint, etching and stone lithography. At times, I use combinations of these in conjunction with elements of other mixed media approaches. -
Thomas D. Nawrocki
The 'ZIG ZAG ZIG' prints are a continuing series of digital impressions produced in editions of three each. The images were conceived as bas-relief sculptural, studio- based collages. Every composition reveals, by its unique strength, how it would resolve itself as it follows the tendencies of its internal forces. I continue to add and subtract material to the still life in exploring preliminary proofs. I am interpreting nature in its purest, abstract state - constructing a rhythm of pictorial lyricism using objects impregnated with fluorescent pigments. -
Kelly Nelson
Kelly Nelson is faculty at Longwood University. Her work is shown nationally and internationally to include competitive exhibitions at Dundarave Print Workshop, (Canada), Limerick Printmakers, (Ireland), Lahti Art Museum, (Finland), and Lessandra Gallery, (United Arab Emerites). She completed a summer lithography workshop at Tamarind Institute (University of New Mexico). -
Julie Niskanen
Through using mezzotint and various etching techniques, I reflect on and bring forth the rhythms and beauties of nature that are often unnoticed in our lives. The natural forms I work with address the issue of human disregard and elucidate the beauty I find within these natural forms. -
Annette Owens
Annette Owens is a mixed-media artist whose work focuses on creation and destruction, time, chance and change, impermanence, indeterminacy-- the ordinary. Her medium is primarily printmaking, collage, and assemblage. Images are created by manipulating, juxtaposing, blurring and layering information from eclectic sources, collected in an ongoing archive, such as appropriated text, graphics and textures. Imagery is in a constant state of flux and transformation, thus capturing the paradox of modern urban life. -
Gary Paller
I have been working with abstract organic forms for many years now, pursuing rich experiences of color, light, and surface. My interests are discovering the various ways forms interact and the associations they can offer. I like the direct, painterly qualities of monotypes which advise my paintings. -
Patricia Theobald Payne
My art is a visual response to my own life experiences as a woman, mother, and member of the human race. While I am attracted to realism, my images are often allegorical, rather than literal. I am interested in nature and life's natural cycles, such as the seasons or stages of life. Each image evolves as I find a symbolic or visual language to convey an emotion, or idea -
Sfona Pelah
I am a classically trained Printmaker. I found Etching to be a medium that drew me to its endless creative possibilities. It is where I feel most at home. Traditional Printmaking evolves with the times, and digital images are the current natural dynamic progression of this discipline. Digital opened up new ways to expand my own creativity, and vision of the world. Using the computer and photographs I have taken, I have appropriated and remodeled my traditional prints into this new amalgamation. This exciting tool offers a creative venue that was not possible with my traditional prints. The creative process and vision are the same, but the result is a unique photographic mosaic, a virtual collage of the real and my own imaginary etched images. -
Greg Pfarr
I have always felt a strong spiritual connection with mountains--from my earliest backpacking trips in the Colorado Rockies and later in the Oregon and Washington Cascades. Early on in the mountain series I realized that I wanted to convey not only the aesthetic power that the mountains hold for me but also their spiritual intensity. I wanted to generate images that suggest rather than define, so I could encourage viewers to bring their own experiences and visions to my landscapes. I hope that my mountain etchings engage viewers in concrete physical places that simultaneously evoke these places and encourage viewers to experience imaginative and more universal ways of seeing. -
Colleen Kennedy Premer
I am inspired by color, shapes, repetition and contrast. Often I am struck by objects that I see…sometimes ordinary…often arbitrary. From sunsets to street signs, iron gates to iridescent leaves, I pull imagery from my surroundings that can be transformed and incorporated into my prints. -
Sara Rosenbluth
My prints are small and in a series. I use many of them them in my artist's books. (See www.sandiegobookarts.org) 'On the Ball' is a series of twelve prints I made into a book. Numbers 1, 5 and 6 are part of another series. -
Michelle Rozic
The focus of my research and creative interests is the intersection of nature and culture. Small creatures are often the first to show harmful environmental changes, shedding light on humanities impact on our local environments. These representations bring to light our willing acceptance of the reproduction as a stand in for the original, such as artificial flowers for fresh, malformed animals for healthy. I received my BFA in fine arts from the Columbus College of Art & Design in Ohio and my MFA in printmaking from Indiana University, Bloomington. Currently I am an Assistant Professor of Art and printmaking area head at California State University, Northridge. -
Brigitte Schobert
I consider my abstract monotypes as paintings made with a printing press. They are not the result of preconceived designs, but are developed during many print runs, where layer upon layer is added. The oil based inks are applied to plexiglass plates in unconventional ways and from there transferred to the paper in an etching press. I love to work with colors in this spontaneous way, because the color selection is unlimited and new mixtures and patterns arise with every step. With my abstract “painted prints” I want to stimulate the fantasy of the beholders and engage them on an emotional rather than rational level. -
Masha Schweitzer
The artwork should speak for itself, its meaning revealed visually to the viewer. My motivation comes from direct visual experience, memory, dreams or nightmares reflecting aspects of the human condition. I love color, and also the richness and possibilities of tonality while working in black and white. -
Lis J. Schwitters
This body of work explores humanistic themes with mirrored repetition inspired by the kaleidoscope. These images reflecting Backwards & Forwards are placed in the context of life's experiences, Past & Future, as separate entities and then viewed as a whole unit. These essential elements are mere pages of chapters in our life's book, which can then be interpreted in choices humans have & make, possessing the power to control our own destiny -
Roxanne Sexauer
Ever the “shoe made for the city,” I was born in the Bronx, New York, in an era when father knew best. I have both my BFA and MFA degrees in Printmaking, studying first with Mauricio Lasansky at the University of Iowa and later at the State University of New York at Purchase, with Antonio Frasconi. I can distinctly recall the years I lived in Iowa - cutting my woodblocks while wearing fingerless gloves in a shared Quonset hut studio in what was then the rural farming community of Coralville. In the winter, (and through the haze of memory it seems perpetually that season) the water in both the toilet and the water bath for soaking printmaking papers would completely freeze over. There was a large American French Tool Press and a tiny ceiling mounted heater, which would only vaguely warm the top of one’s head. What I recall the most about working in that raw space was the bitter, howling cold that was trapped inside of my bones and, necessarily, became an element in my woodcuts, perhaps even through to this day. Since that time, I’ve been awarded residencies at Palenville Interarts, New York; The Hambidge Center for the Creative Arts and Sciences, Georgia; and Dorland Mountain in Temecula, California. I participated in the faculty arts exchange program “Summer Arts” at Humboldt University in Arcata, California, and was an Artist-in-Residence at The Plains Museum of Art, in Fargo, North Dakota. I’ve been on the faculty at California State University, Long Beach since 1989, and teach Relief, Etching, and the Survey of Printmaking classes. I also teach Drawing and the History of Prints and Drawings. -
Katherine Sheehan
Katherine Sheehan has shown her mixed media work on paper both nationally and internationally. She has been an artist-in-residence at the Vermont Studio Center as a recipient of the Buley Full Fellowship Award, the Jentel Artist Residency Program, the Ucross Foundation, the Kala Institute, and most recently at the Kimmel Harding Nelson Center for the Arts. Katherine Sheehan received her B.F.A. in Printmaking from the San Francisco Art Institute, and her M.F.A. in Printmaking from Arizona State University. -
Amaryllis Siniossoglou
Born in Athens Greece. Studied Drawing and Painting in Athens, Greece, Sculpture at the Ecole Nationale Superieure des Beaux Arts in Paris and received the MFA in Sculpture and Printmaking at the University of Massachusetts, Amherst. She teaches at Worcester State University. Her work is included in permanent collections and she actively shows nationally and internationally. -
Joan Slottow
Some of my work is serious and some is whimsical and fun. Overall, my work shows the world as I perceive it. The world I depict often doesn’t conform to scientific reality. I mix species, proportions and features in ways not found in nature. I also throw in visual stereotypes and childlike simplifications. Artistically, I am very interested in texture, and shape: the appearance of the artwork itself. My work is also very much about mark making and process. -
Julie Brown Smith
My work is about people in urban environments. What we do in everyday situations, and what goes on around us unnoticed as we go through our lives as observers and as the observed, sometimes aware and often oblivious. The work is a way of looking inside the cities and at the people who inhabit them. I try to capture the essence of private moments in public spaces that are familiar to us all. -
Kay Snodgrass
I began drawing before I could read, perhaps because my mother allowed me to color and draw on the walls of our house, before I went to school. The act of drawing has always been very fulfilling for me. It is an experience both joyous as well as tormenting, but, like a personal dialogue, always keeps me company. Drawing is the skeleton for whatever I create. Printmaking has allowed me to stretch my passion for drawing by forcing me first to create the 'tool' which eventually creates the mark, which finally produces the print. -
Eva Svitek
I can recall two influences that continue to shape the creation of my prints. Many years ago, while I studied at the Charles University in Prague, Czech Republic, I was introduced to the graphic arts by my art teacher, Cyril Bouda. I admired his draftsmanship and visual memory, and the patience with which he translated them into his etchings. His prints were a reflection of his talent as a narrator and storyteller. The second source of inspiration is the graphic art of Mary Cassatt. Even though her vision was definitely that of a realist, her prints--concerned primarily with the human figure--are free, fresh, and spontaneous essays, quite lacking in the conventional detail and finish. I am inspired by her soft-ground prints, as well as her drypoints (both black-and-white and printed a-la-poupe) and fine aquatints. -
EVA Svitek
I can recall two influences that continue to shape the creation of my prints. Many years ago, while I studied at the Charles University in Prague, Czech Republic, I was introduced to the graphic arts by my art teacher, Cyril Bouda. I admired his draftsmanship and visual memory, and the patience with which he translated them into his etchings. His prints were a reflection of his talent as a narrator and storyteller. The second source of inspiration is the graphic art of Mary Cassatt. Even though her vision was definitely that of a realist, her prints--concerned primarily with the human figure--are free, fresh, and spontaneous essays, quite lacking in the conventional detail and finish. I am inspired by her soft-ground prints, as well as her drypoints (both black-and-white and printed a-la-poupe) and fine aquatints. -
Camilla Taylor
Camilla Taylor received her BFA with an emphasis in printmaking from the University of Utah in Salt Lake City. She is currently residing in Long Beach, CA, and attending California State University at Long Beach pursuing an MFA with an emphasis in printmaking and is scheduled to graduate in the spring of 2011. -
Caroline M. Thorington
Thorington makes prints and works on paper. Her primary medium is lithography. Her prints and drawings have been exhibited in Europe, Asia, and both Americas. Her work is in numerous collections including the Library of Congress, the Philadelphia Museum of Art, and the National Museum of Fine Arts, Hanoi, Viet Nam. -
Anne Van Oppen
For as long as I can remember nature has been a primary interest of mine. I was fortunate to grow up in a place where hillsides were open and available. For nearly as long, I have been drawing and painting. Printmaking has captured my complete attention. I find it a wonderful way to capture the natural things that attract me and fix them in an artistic medium. -
Tom Virgin
Tom Virgin is a Miami based artist exhibiting prints, book arts, and public art. His work is in collections nationally including the Walker Art Center, UC-San Diego, University of Denver, Wells College, and the Jaffe Collection of Book Arts. Tom was awarded the Florida Artist Book Prize in 2006 (Honorable Mentions 2004,2008, 2010). He has received support from the Surdna Foundation, the Creative Capital Professional Development Program, the State of Florida, Miami-Dade County Cultural Affairs and Tigertail Productions. He has been in residencies in National Parks and artist’s communities around the U.S.. He teaches in Miami Dade County Public Schools, and in workshops in South Florida and nationally. -
Celeste Wahl
Living in Monterey CA , my art is definitely inspired by the natural abstractions of hills and ocean. Getting to know the little details of a place provides substance and incentive for my work. I touch a lot of stones on my paths. What fascinates me is how the landscapes and it's plants have variegated layers, different textures and color qualities not unlike the process of printmaking. -
Ed Weseloh
I studied printmaking at SFSU under the renowned Sylvia Solochek Walters, lithographer Mario Laplante, and intaglio Artist Susan Belau. Most of my work is large and reductive but I also enjoy printing in collage and using repetition using repetition using repetition. Lately I have been placing ambiguous figures within my prints in order to create a sense of space, define scale and set a mood. Sometimes these figures notice you, but they are often indifferent. I believe it is up to the viewer to interpret meaning, but I like to think one could see themselves standing with these strangers. I operate a Griffin Series III from a studio in my garage and invite anyone interested to come and collaborate. -
Monica Wiesblott
My work is a reflection of my dreams in various states of consciousness. Images come to me like movies, unfolding information before me in an effort to reveal what needs to be recorded. My methods of image making are varied, but always involve a journey and an expression of the path taken. -
Idaherma Williams
The Hercules myth is the story of a man who is also a soul facing the labors that will awaken the highest within him...each labor relates to one of the signs of the zodiac.
