photography, oil and acrylic painting, pencil drawing
I create drawings, paintings, and photographs. My garden-centered work springs from the intersection of sustained observation, the cycles of nature and the mysteries of the (allegedly) inanimate. The garden seems to me both a still, peaceful place and the site of subtly swirling conflict. There is expectation. Birth and death are in their perpetual dance and something like plant consciousness is poised to assert itself while stone and plaster figures stand witness. Wonderment, mystery, duality, questioning and a delight in odd beauty are my interests and aims. In early childhood, I was staring up at statues in church waiting for miraculous movement from the Virgin Mary. A move to the desert put me in the pool, staring up at otherworldly cactus against a hard blue sky. Like the statues, it seemed they might be observing me as much as I observe them.
For sale or exhibition inquiries, contact the artist.
Email:
danielprendergast.com@gmail.com
Website:
https://www.danielprendergast.com/
Social media:
Facebook Instagram
Many Hands (Make Light Work) - dye sublimation print, 21” x 21”
In The Beginning - digital photograph, 12” x 12”
My Stella - dye sublimation print, 15” x 10”
Aloe With Distant Pine - c-print face mounted to acrylic, 12” x 12”
Mrs. Antrobus - dye sublimation print, 13” x 19.5”
Knock, Knock - dye sublimation print, 38” x 23”
God Must Be A Boogie Man - oil on canvas, 36” x 24”
Watching and Waiting - oil on cradled board, 12” x 12”
What’s Next? - oil on canvas, 36” x 72”
No Cry Babies - oil on cradled board, 36” x 24”
One Night Only - oil on cradled board, 12” x 12”
Peace In The Middle - c-print, 14” x 14”
Black Heart, Scarlet Crown - dye sublimation print, 14” x 14”
Mrs. and Mrs. Stewkis - c-print, 14” x 14”
Sorrows To Be Healed - c-print, 18” x 18”
My Rose Gatherers - c-print, 16” x 20”
Remembering Sara Murphy - c-print, 12” x 15”
Sacred Twins - dye sublimation print, 18” x 18”
painting, photography, printmaking
My Bodies of Water solo show in 2022 focused on the huge contradiction between the amount of water we use in Arizona and the difficulty we have in obtaining it. Our engineered water supply works so well we use it heedlessly, when in reality rainfall is scant and long-term prospects indicate continued drought.
This series of paintings, Bodies of Water, illustrates this contradiction between our environment and our lifestyle. The paintings are of reservoirs, canals, flooded golf courses and puddles.
Rather than just using straight-forward photographs to depict these bodies of water I paint on inkjet prints with acrylic paint to create lurid scenes of the misuse of water in the desert. The transparent layers of paint annotate the literal information of the photograph.
My solo show in April 2018, Lost Ground was a series of paintings based on my disgust with the current political environment and the popularity of ignorance regarding history and science. My current show, Bollards, follows that same disgust but more specifically with the symbolism of Trump’s border wall which is a taxpayer-subsidized monument to xenophobia and ignorance. The flimsy justifications for the ineffective wall, based on racism, cruelty and an idiotic campaign promise, inspired the series of eleven Bollards paintings.
Another series of paintings in the same exhibit, Color Barrier, alters the American flag by underlaying the traditional colors with colors that symbolize the varied groups of people marginalized by bigotry, racism and prejudice in the US.
A previous body of work, Refugee Pixels, was completely non-political and treats the pixels of digital images as objects. And a series I still haven’t completed that occurred to me while I was a college student taking my first painting classes, Full-scale maps, makes me laugh at the absurdity of the idea.
For work completely different from my painting that reflects my many decades of photography as an art photographer, photojournalist and commercial photographer, have a look at my mostly black and white still lifes and images of sea grass.
But wait, there’s more! I have dabbled in printmaking, relief prints and photopolymer gravure prints and after I ended my public school teaching career, I made rebar sculpture.
For more artwork and information see my website.
Contact me regarding sales, commissions and exhibitions at mrdhfaz@gmail.com.
Website: www.anhydrousdesign.com.
Email: mrdhfaz@gmail.com
Social media: Instagram Facebook
Bollards 1 - 30” x 60”, acrylic on wood panel
Bollards 2 - 30” x 60”, acrylic on wood panel
Bollards 4 - 30” x 60”, acrylic on wood panel
Bollards 5 - 30” x 60”, acrylic on wood panel
Bollards 6 - 30” x 60”, acrylic on wood panel
Bollards 7 - 30” x 60”, acrylic on wood panel
Bollards 8 - 30” x 60”, acrylic on wood panel
Bollards 10 - 30” x 60”, acrylic on wood panel
Bollards 11 - 30” x 60”, acrylic on wood panel
Color Barrier 1 - 20” x 20”, acrylic on wood panel
Color Barrier 2 - 20” x 20”, acrylic on wood panel
Color Barrier 3 - 20” x 20”, acrylic on wood panel
Color Barrier 4 - 20” x 20”, acrylic on wood panel
Color Barrier 5 - 20” x 20”, acrylic on wood panel
Color Barrier 7 - 20” x 20”, acrylic on wood panel
Color Barrier 8 - 20” x 20”, acrylic on wood panel
Distorted Flag #6 - 24” x 36”, acrylic on wood panel
Distorted Flag #3 - 24” x 30”, acrylic on wood panel
Knowledge vs Belief #6 - 24” x 30”, acrylic on wood panel
White over Black #1 - 24” x 30”, acrylic on wood panel
White over Black #2 - 24” x 30”, acrylic on wood panel
White over Black #3 - 24” x 30”, acrylic on wood panel
Distorted Flag-draped Coffin #1 - 24” x 72”, acrylic on wood panel
Distorted Flag-draped Coffin #2 - 24” x 48”, acrylic on wood panel
Refugee Pixels, Phoenix Mountain Preserve - 24” x 36”, acrylic on wood panel
Refugee Sky Pixels - 24” x 36”, acrylic on wood panel
Nine blue pixels - 36” x 36”, acrylic on wood panel
Split Pixel #1 - 24” x 30”, acrylic on wood panel
Refugee Spectrum Pixels - 24” x 30”, acrylic on wood panel
My Mother’s Pearls - 24” x 36”, acrylic on wood panel
Mesquite petals lineup - 10” x 19.25”, archival inkjet print
Aloe pods line up - 10” x 20”, archival inkjet print
Fairy duster seedpods - 7.75” x 20”, archival inkjet print
Leaf triptych 1 - 8” x 20”, archival inkjet print
Ironwood leaf cluster - 12.75” x 18”, archival inkjet print
Mesquite petals on notebook paper - 13.25” x 20”, archival inkjet print
Green pomegranate - 13” x 13”, archival inkjet print
Pomegranate, cracked - 13.25” x 16”, archival inkjet print
Wendy Raisanen is a fiber artist living in Phoenix. She has a Bachelor of Fine Arts in sculpture from Arizona State University and is the curator of exhibitions and collections for Scottsdale Public Art. An expert sewist, making art quilts currently makes up her art practice.
wendy.raisanen@gmail.com
Instagram: @Artczech
drawing, painting, printmaking, collage
I was a painter and drawer a long time before I ever started printmaking. While I loved the intuitive process and the act of painting and drawing, it never really made me work hard. Initially I was interested in printmaking as a way to make multiples of my drawings but what I found was a love for the hard work in planning a print and that the process was really more about ideas; I had to think about the content before I actually did the work. Going through that process I realized that I always had a lot to say and in strange way the strict planning of printmaking allowed me to find my voice.
I have a hard time expressing myself verbally or in writing, but I do always start with words. As I am contemplating what I want to say, I translate the words into symbols that are meaningful to me. Because that collection of images becomes complex, I have to figure out how to make them work together in a cohesive way. That means they are pushed to the background or incorporated in the small details of a print. When you have such complexity combined with the small format, the content is more nuanced and the viewer may need to spend more time with the piece in order to see everything that is there and figure out why it is there.
My larger works tend to be mixed media using a combination of drawing, printmaking techniques, collage and found objects.
Please contact Marlys via email if you are interested in purchasing work.
Email: marlyskubicek@gmail.com
Website: http://arizonaprintgroup.com/artists/marlys-kubicek/
Social media:
Instagram
And We Say We Love Our Kids - mixed media, 48” x 48”
Measuring Up - mixed media, 48” x 48”
In My Humble Opinion - reduction linocut, 8” x 8 ¾”
It’s A Matter of Time - reduction linocut, 6” x 9”
Alternate Facts - reduction linocut, 6” x 8”
ceramic sculpture
Susan Risi grew up in New York and always had a love for sculpture. Her BFA degree in Ceramics was at Alfred University & Syracuse University. She received her MFA degree From S.U.N.Y at New Paltz, New York.
Risi’s work has received numerous awards. She has exhibited in over sixty galleries & numerous museums group exhibitions including the Everson Museum, Syracuse, N.Y., Schenectady Museum N.Y.(Award of distinction) Briarcliff College Gallery, Briarcliff, N.Y. (Best in Show) A.S.U. Ceramic Research Center, Tucson
Susan Risi’s new work involves a patchwork of various textures on black clay. The forms are clean and rough at the same time. Corners are rounded and the pieces have a feel of old machine parts with a light feminine flair.
Susan is currently represented by the Paulscott Gallery in Scottsdale and the Five15arts @ Chartreuse Gallery in Phoenix, Az.
Email:
sjrisi@msn.com
Yellow Spaceship - ceramic
Red - ceramic
Green - ceramic
Green - top view, ceramic
Blue Eye - ceramic
Blue Eye - top view, ceramic
My name is Richard Pomraning, but everyone calls me Chard. I am a Phoenix-based photographer whose work is predominantly focused on self-portraiture. As the physical vehicle of my own expression, I am fascinated by the concept of the individual's ability to convey multitudes. Self portraiture allows me an escape, a way to present myself and my ideas exactly how I want them to be seen. My images are performances, crafted vignettes conveying a story or concept. The images become therapeutic, allowing me to view myself objectively wherein all self-doubts of body and mind fade temporarily.
Throughout history, every photograph has been an expression of a point in time. I prefer to manipulate that narrative, providing an alternate reality wherein iconography, digital manipulation, art history, and parody come together to create unique visuals and inspire disbelief.
@chard_scott
Photograph by Richard Pomraning
photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
Photograph by Richard Pomraning
printmaking, painting
Art is an occupation reserved for those who love it with all their being. Expressing this love means doing art the way children play - spontaneously, effortlessly, engaging the moment fully in unselfconscious action. Art is just such an expression of uncontained passion.
I am a wanderer, open to the creative resources offered by every vista. I capture my inspirations with photos, journals, sketches, or watercolors, preserving subjects and events to be considered later at leisure. I may try to capture human messages or emotions, or choose random natural objects that appear appropriate to a desired technical expression.
My technique is realized in strongly contrasting colors, simple, bold lines, and clear divisions between generous spaces dedicated to subject and context. This approach comprises a method of expression that involves making basic, simple elements work together to convey complexity in form and message. I employ a range of materials according to my creative intentions and life/work setting. I often return to the simplicity of pen, charcoal, and pencil.
My art comes from a longing and desire to engage the world, not from a sense of duty or pressure to produce.
Email:
yslenoue@gmail.com
Websites:
www.yunielenoueart.com
arizonaprintgroup.com/artists/yunie-lenoue/
Social Media:
Facebook: Yunie LeNoue
@yunie_art_studio
Yunie LeNoue Losing Time,18”x24” Mixed-Media
Survival Game II - monotype, 12"X 16"
Preoccupied with a bug - drypoint on plexiglass, 6" X 8"
High Noon - 3 color reduction linocut, 8” X 10”
Rainy Afternoon - 4 color reduction linocut, 8” X 10”
Intruder - line etching, drypoint, 5” X 5”
Good Morning - 4 color reduction linocut, 8” X 8”
Tension - 2 color linocut, 4” x 4”
Self-Portrait - silk screen, 7” X 9”
Email:
djhmfa@cox.net
Websites:
Deborahhodder.com
figurativeartist.org/portfolio/deborah-hodder/
Social Media:
Instagram
Circle Stone
Noted Harmony
Stringed Guitar
Unity
Birth Of Nature 2
Matriculate – ceramic, 15" x 14" x 12"
Entangled - ceramic, 14” x 14” x 12”
Nurture View – ceramic, 15" x 14" x 12"
Interconnected IV – ceramic, 15" x 13" x 11”
Lean on Me II – ceramic, 16" x 13" x 12”
Ode to Cusco – ceramic, 23" x 11" x 11”
Ode to Cusco - view 2, ceramic, 26” x 11” x 11”
painting
A third generation Arizonan native, Sheri Ashton was traditionally educated as an interior designer, she developed organic modern living spaces and commercial venues for over 20 years.
Following her life long dream of studying the arts and “becoming” an Artist. She recently returned to school and graduated Arizona State University with a BFA in painting. Sheri’s abstract figurative art is centered on experiences in travel and passage through spaces.
She is an instinctual/meditative painter that invites all the “nuts and bolts”of life to come along for the ride. Her biggest challenge this year has been finding a picture of just herself without a chicken, cat or dog stealing the show.
sheriashton@me.com
mixed media
For over four decades, I was involved in the arts in a variety of meaningful ways, in Boston, Chicago, San Francisco and Phoenix. My primary professional career was in the performing arts, as a multi-arts presenter, administrator and festival producer. I then enjoyed a later career in city government. Throughout those years, I also pursued a parallel path in making visual art, exhibiting when possible. Since retiring in 2011, I am able to make art full time. I often create work using personal memories or am inspired by what’s happening in my life or events in the news. For source material, I am forever drawn to the odd image in a vintage periodical or textbook and maintain a large inventories of curious and disparate imagery. I also carry with me a litany of catholic references I can't seem to shake which occasionally find their way into my work. I strive to make paintings that are fresh and new with stimulating visuals, curious juxtapositions and thought-provoking context. I enjoy a colorful palette, painting with acrylic onto a square canvas surface, then building texture. I often collage found images into the composition in repetitive & fragmented patterns, then overlay with stencils, handmade paper and text. I like to cut-up and rearrange things; hide and reveal information, play with foreground and background. I have a strong sense of design and like visual wordplay. Sometimes I just like to tell a good story.
Email:
mcall73@hotmail.com
Website:
https://21crunch.com/
Social Media:
Facebook
Robert-Allen-Abacus
2 The Now - mixed media, 20” x 20”
Looking @ The Big Slide - mixed media, 20” x 20”
Two-O Twenty - mixed media, 36” x 36”
Science of the Mansplain - gouache collage on wood, 12” x 12”
Eyes of Bertolt Brecht - mixed media, 20” x 20”
Birth of the Chip - mixed media, 24” x 24”
The End of 52 - mixed media, 24” x 24”
For A Limited Time Only - mixed media, 36” x 36”
I am interested in images of men and what they reveal about male identity and presentation, psychology and spirituality. In my work, men both reveal and conceal, hiding behind masks and exploding in colorful displays. Male pride gives way to male beauty; male strength becomes vulnerability.
My prints are drawn from found photographs. I collect and sort images with an eye toward recurring gestures and poses, isolating them and putting them together in new contexts to suggest new meanings. The figures in my work may be seen as self-identification or commentary.
I draw and print the images using a subtractive technique. Then I add layers of bold pattern and color that both embellish and obscure the drawings. Printmaking provides a means to take apart images, recombine, and reassemble them and I incorporate some of the artifacts of the printing process. Instead of making editions, my experiments with color and composition are often worked out through series of 4-12 unique monoprints.
Instagram @haroldlohner.com
Website http://haroldlohner.com
Splash 2, collagraph and monoprint, 22” x 15”
Shiny Happy People, assemblage of monoprints, 48” x 87.5”
Self-Portrait, Age 60, woven monoprints, 48” x 44”
Brainstorm 3, collagraph and monoprint, 30” x 22”
Fusion, woven monoprints, 45” x 45”
Contact 1, monoprint, 48” x 24”
Dreaming in Color, installation of monoprints on repurposed intaglio prints, 49.5 x 115
Escape 2, monoprint, 22” x 15”
Flourish 4, monoprint, 22” x 30”
Gods and Men 1, monoprint, 48” x 24”
printmaking, mixed-media
Marissa Vidrio’s art is inspired by her surroundings and cultural experiences. Mexican-American and Jewish in upbringing, she left southern California for western Norway. This led to studies in textiles and a love for plants and landscapes. Having called Phoenix home for over 25 years, she combines elements that touch on family, place and memory.
Email:
StudioArtology@gmail.com
Social Media:
Instagram
El Bote de Salsa – monosilkscreen print, 30” x 22”
Red Flower - hand & machine stitching on monosilkscreen print, 12” x 12”
Ripe & Succulent - monosilkscreen print, 30” x 22”
Agave Flow - monosilkscreen print, 30 “ x 22”
Breaking Through - monosilkscreen print, 30” x 22”
Hay Bales - monosilkscreen print, 22” x 30”
Hopa Kjødno/Hopa Pond - monosilkscreen print, 30” x 22”
Summer Solstice on the Haukeli Pass - monosilksceen print, 22” x 30”
The Jondal - monosilksceen print, 30” x 22”
Beach - monosilksceen print, 22” x 30”
Fjell Gård/Mountain Farm - monosilksceen print, 22” x 30”
Window - monosilksceen print, 30” x 22”
Summer Day - monosilksceen print, 30” x 22”
Finnes - linoleum print, 12” x 14”
Mormor’s Stova - linoleum print, 14” x 12”
Look Down l - silkscreen print, 12” x 12”
Look Down lV - silkscreen print, 12” x 12”
Look Down V - silkscreen print, 12” x 12”
Look Down Vlll - silkscreen print
Elevated Perspective – monoprint, 30” x 22”
We Are From Nature – monoprint, 30” x 22”
Detritus l – monoprint, 15” x 11”
Detritus Il – monoprint, 15” x 11”
Detritus IIl – monoprint, 15” x 11”
Detritus lV – monoprint, 15” x 11”, 2019