*a few notes on the series:
"The interesting thing is, the turtle is partially constructed with plastic six-pack rings and plastic drinking straws (repurposed in this piece to avoid landing into the seas and further jeopardizing marine life.
The Narwhals painting has repurposed Styrofoam (not biodegradable)that makes up the snow and ice. (Narwhals are helping NASA scientists record accurate readings of the ocean as it pertains to Global Warming. Narwhals are the deepest divers in the Arctic)
In the same environmental theme, Birds need Tree, Tree needs Birds". ~ Judith
Stoltzfus’ primary use of circular patterns excites and engages the eye, subtly changing as both the light and the perspective of the viewer moves. His paintings create an opportunity to slow down a bit, which can lead to seeing something unexpected.
The circular marks in Stoltzfus’ paintings are patterns that allow images to emerge and then disappear. This patterning resonates because it mirrors the physical structures of the eye in several ways. To expand these simple circular brushstrokes, he paints highlights and shadows around some of the circles. This creates a tromp l'oeil texture that can be touched only with the eye. Stoltzfus spikes some of his paint with raw pigment while adding small amounts of gold leaf further develops its texture. Although the paintings are colored by the grit and glitz that surround him in Brooklyn, they remain ghosted by the rural Virginia landscape he knew as a child.
Randall Stoltzfus has shown at exhibitions from Virginia to New York City and as far away as Pyeongtaek, South Korea. He studied at American University in Washington, DC and has since received a number of fellowships and artist in residence awards. He was Artist in Residence in Perugia, Italy, where his work is in the public collection at the Centro Pari Opportunitá. Two of his paintings were selected for the art bank program at the DC Council of the Arts & Humanities in Washington, DC. Some of Stoltzfus’ most recent exhibitions were at the Union Theological Seminary, Great Pop-Up Art Sale and LIMN Gallery respectively in Manhattan, Brooklyn and San Francisco.
Painting and designing are daily essentials to me as an artist. I must greet the easel on a regular basis to unleash my creative stories. My stories change as I gather up new images within my experiences. I find that no matter what I paint, I handle and place my brushstrokes with deliberate movements, unique color families, and strong compositions. I often let go of details so that the audience has an opportunity to become part of my story intertwining their own experiences, emotions, and ideas.
I have been a huge believer in my Modus operandi “Everything has been painted, so paint it differently”.
I am a retired elementary teacher and I often ask myself how would a kindergartner begin and finish a story? Five year olds have the essential tool kit to create art with such a fresh, uninhibited, and sometimes hilarious approach. When I am researching and pondering my new story I often bring out the saved and treasured art from those five year olds so that it keeps me on my toes.
If I am not at the easel you can find me in my BB Fresh Cut Flower Farm, or in the Pacific Northwest spending time on the Columbia River with my immediate family and friends.
With over 40 one-man shows Fetterman’s work is quickly recognized and highly collected throughout the tri-state region. He is an award-winning American artist with his own bright, dynamic and fervent style. In great part, he continues the Pennsylvania impressionist and plein air traditions, but in full contemporized fashion. As a painter, sculptor, and poet, he’s traveled extensively throughout the Americas and abroad, living and learning cultural values and old-world aesthetics. As a Kay scholar with a degree in philosophy from the University of Pennsylvania, Alan transfers knowledge into art. His work has been featured and showcased in over 150 venues and art galleries including places as diverse as Carmel, California, Curitiba, Brazil, and Vero Beach, Florida. He’s a long-standing, participant and board member of the Philadelphia Sketch Club and a past member of New York City's Salmagundi Club. His work and life have been profiled in dozens of magazines, columns, and books, including features in "A Bucks County State of a Mind" and "The Embraceable You.” A monograph “ Illuminate “ by art Historian Cathie Viksjo can be found in bookstores and the James A. Michener Art Museum. He is a 2017 recipient of the Philadelphia Sketch Club’s Medal of Honor
With his fresh, energetic signature-style brushwork and his dynamic tones of color, Alan’s art delivers a powerful sense of both well-being and genuine goodness, seemingly unending.
Will Kautz began his artistic training while he was still a young boy. His father, William Charles Kautz was a fine artist in New York and creativity was an important part of his home environment. He remembers sculpting marble beside his dad when he was still a boy. But as a young man, Will was often torn between a drive to be creative, and a desire to do something for the vulnerable in society.
In 1980 he entered seminary and earned an M.A. in theology and ethics and was later appointed as a Research Fellow at Yale University. In 1985 he began full-time law school with a young family and no money. At this time Will began to carve. Initially, he hoped merely to pay a few tuition bills with whatever he could earn from his art but within a few weeks his designs began to sell as quickly as he could produce them.
The first year law student would study by day and carve by night. Three years later, Will completed law school and passed the Vermont bar exam. For the next ten years, Will maintained a volunteer law practice for victims of domestic violence while supporting his family with his art.
Through the years, Will has sold his work to numerous galleries and collectors around the world. His art has been displayed at the Museum of American Folk Art, the Shelburne Museum, and the Colonial Williamsburg Foundation. He has been chosen by Early American Homes magazine for its annual Directory of America's Best Traditional Craftsmen, and is a juried member of american-artists.com.
I am often asked concerning my paintings of the source of my subjects. In reply, I should say they are portraits of us. We as travelers on new journeys and seen with a more than a touch of whimsy. We as saints and sinners, as fools, in love and out. The subjects are familiar and the journey is discovery.
Prosaic and usually familiar, the domestic scenes I record are created out of my recollections and reflections. The observations that make up these scenes support certain qualities and characteristics that are personal and universal at the same time. The simple medium of linocut conveys, in its directness and contrast many facets that of the life I portray.
If I didn't paint I would explode. Painting allows me to have a visual conversation with myself about the non-visual aspects of reality. The nature of the universe - micro to macro.
My training was in the classical Modernist tradition at the Barnstone Studios. Before that, I fell in love with Abstract Expressionism. It had such a raw explosive power. Barnstone insisted on rigor, the European canon. I am an amalgam of these two explosive forces. Sort of like the forces of the universe which I am trying to understand, but really can't. Yet.
Our First Annual, Folk Art: Invitational opens Friday, May 3, with opening festivities from 5-9 pm and continues through June 1, 2019.
The artists include Kolene Spicher, Mary Charles, Lisa Muller, Mary Michael Shelley, Barbara Strawser, Daniel Strawser, Ronda Michel, and Gallery Artists- Eric Fausnacht plus his team of quilters, Tim Fisher, and K. Willaim Kautz.
"THE ARTIST'S GARDEN"
The 10 Gallery Artists have been paired with 10 local gardeners who have mastered the art of container gardening.
The challenge for the gardeners is to create a container garden inspired by a painting/sculpture created from their artist.
The gardeners joining us are Tim Arpin, Angela Benedict, Gina Feeser, Chris Abel, Gary Hufford, Luis Morales, Diana McCoy, Yvonne Sallades, Cynthia McComsey, and Lisa Fike.
3 Days Only
Opening Festivities: First Friday, May 3, 5-9 pm
ArtWalk Saturday, May 4, 10-5 pm
ArtWalk Sunday, May 5, 12-4 pm (closes)
Sarah debuted her professional art career with her series "Tales of Youth" in the summer of 2016 at CityFolk Gallery. In "Tales of Youth" her acrylic paintings were collaged with watercolor paper dolls in order to narrate old fantasy tales such as "East of the Sun and West of the Moon. "Trafford, currently a junior at Tyler School of Art, is a consistent Dean's List Award recipient and has earned numerous accolades for her work. She was nominated for Berks Best in the Arts by the Reading Eagle Newspaper, has received multiple East Central PA Scholastic Art Awards, a Certificate of Special Congressional Recognition for Art, and the Curator's Choice Award from the Allentown Museum of Art, chosen from over 700 works. Sarah aspires to use her art to create narratives that inspire people, give them hope, and remind them to enjoy life.
It was probably dumb luck or good fortune back in 1978 when I bought Ralph Mayer’s fourth edition of The Artist’s Handbook. Through the glossary of pigments that was located in the back, I picked up some basic rules that directed my palette. Mr. Mayer itemized each color, its origins and the time it was developed and in use. This guide helped me select and limit the colors and shades in the pictures that I paint, ensuring accuracy to their period in history. This started my career. Recently I saw some of the stuff that I painted way back in the 80’s. It looked as crisp and as accurate as the day it was done – Arslonga vita brevis – so I’ll just carry on. It’s hard to believe that it has now been over thirty five years of showing paintings and meeting the nicest people from all over America.
ADRIENNE TRAFFORD’S vibrant and whimsical award-winning art is influenced by artists who were also inspired by color – Van Gogh, Gauguin, Klimt, Mucha, as well as Japanese manga artists. Her strength lies in her use and passion for color in all forms, from abstract to life drawing, landscape to still life. Adrienne works with watercolor and ink and also with acrylics on canvas and wood. She works as both a fine artist and illustrator and is the “official artist laureate and creator of the official mascots – Spike and Tilly” for Humane Society Management Services. During her college years, Adrienne spent time studying art in Europe, which has had a huge influence on her work. She graduated from Kutztown University with a BFA but took time off from art to start a family. She has been an independent artist full-time for the last 15 years. Adrienne’s work is collected throughout the United States, Canada, England, Australia, France, South America, Lebanon and Japan. She now works full-time in her own studio at an art center in her hometown and shows and sells regularly in galleries across her community. She has also designed sets for local theater and does much charity work because she feels it’s important to give back some of the good fortune she has acquired from her art. Adrienne is a published author/illustrator for Schiffer Publishing, takes commissions on a regular basis and produces amazing art and images, which enhance promotional, advertising, and communications appeal and success.
It is more interesting to me to see what lies in the Silence. In this series it's the grace, the dedication, the sacrifice, the exhaustion, the contemplation, the reflection, the determination, the quiet of a morning walk and the stillness of a house, or the creature that lingers staring out at you as you pass by content in their own silence, the words that are not spoken among friends.
~ MARY HOLTON, IN THE SILENCE
My artistry reflects a quiet rebellion against literal reality while remaining grounded in an appreciation for the beauty contained in our everyday environment.I strive to capture light in its various phases, to present subjects and detail with a looseness and freedom that do not violate the integrity of those elements.For most of my work I choose the forcefulness of a knife rather than a brush stroke to apply my palette, to create a tactile, textural painting that the viewer is free to touch, enter and be part of.I paint to share a vision with the viewer of the uncommon in the common, eliminating the unnecessary elements that distract, a wabi-sabi approach to art: "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi." Leonard Koren
Art reflects experience and much of what I have produced in the past has reflected my personal visual experience. In both my tile and vessel work, I have drawn from encounters with ancient Mediterranean monuments, Islamic architectural embellishments, Persian rug patterns, South Asian temple architecture, and East African material culture.
My work is motivated by concern for our contemporary world and current events. These pottery pieces are based on historic Middle Eastern forms. I wish to call attention to work that represents to me the great loss I feel, first for the human victims of the current conflict in that region, and second, for the lost, stolen, or destroyed antiquities which represent Humanities’ cradle of civilization.
Personal experiences besides my rich visual memory have shaped my perspective. In 1979 I saw the desperate faces of Palestinian children in a West-Bank refugee camp. In 1982 I worked with Afghan refugees in Pakistan, and in 2001 I worked with Tutsi and Hutu Refugees from Burundi in North-Western Tanzania. I have not experienced war first hand, but these encounters have moved me to a place where I must do something with my work that has a positive impact and encourages those who feel trapped, oppressed and at the mercy of world powers acting out of self-interest and not for the common good.
I grew up in a Mennonite community valuing peace and believing in non-resistance. This perspective linked with life overseas where it was easier to view the USA through others eyes, has made it difficult to accept a foreign policy that disregards concerns of our allies and squanders post-911 goodwill. Admitting our mistakes can be a first step toward healing the wounds of this conflict.
Continuing a policy of arrogance and unjustified aggression will only breed more hatred for the land we love.
I hope contemplation of this work encourages creative re-thinking of the path to security and peace.
“The purpose of art is washing the dust of daily life off our souls.” Pablo Picasso
Join us as we honor the art of drawing with our first Call for Artists of its kind. The Call was open to artists that are both emerging and established and was curated by the esteemed, Dr. Robert A. Nelson. In the exhibition, Nelson selected his "Award of Excellence" and then went on to give a nod to 2nd and 3rd place and two honorable mentions. View the exhibit through September 1 at the Gallery, or online by clicking on the image.
*Image by Ben T Leech, "First Reformed" received the "Award of Excellence".
Our Second Annual Holiday Exhibition, Small Salon II, bring's your favorite core group of CityFolk Artists and Selected Guest Artists.
All are original works of art from $50.00 - $300.00 Available to take with you immediately making them great for gifting, even to yourself!
December 1 through December 31.