Alayna Coverly is an Ann Arbor based artist working figuratively with oil paint. She has her BFA in Painting and Drawing, along with a Museum Studies certificate and a minor in Art History. She is currently producing work in her studio that focuses on the intimate bonds we have with others.
My work explores the absence and presence of the emotional bonds we share with others. I use fabric to represent these intimate attachments because they display a connection and disconnection, or a push and pull. I often use fabric to create a layer of comfort and protection while relating to the home. This domesticity is displayed through the patterns used to engulf the figure. The consumption of the figure by the fabric relates back to the figure being hidden, while simultaneously holding a presence. Through my work I show the complexity of intimate attachments, the give and take needed to cultivate relationships.
Paul Jacklitch is an artist living and working in Northeast Ohio. Paul received his MFA from Rhode Island School of design in 1985 where he studied traditional printmaking and photography. He currently teaches at Baldwin Wallace University where he has been a Professor of art for the past 32 years and teaches courses in digital photography, Photoshop and 3D imaging.
His current work is still life photography using the technique of Light Painting. It involves photographing still life setups in total darkness while exposing small areas with a flash light, making many separate exposures, often over 100. These individual “light paintings” combine into a multilayered, composite image as seen in the exhibition, In The Shadows. The work is autobiographical in nature and born out of his passion for collecting. Before shooting, he assembles a still life by selecting objects and arranging them into a composition. The objects often become metaphors and create a narrative depicting memories from childhood to adult.
Born and educated in Cleveland, Ohio, I had access to supportive art teachers and inspirational, reputable institutions. Dan Mihuta was my third grade art teacher. He stood as an exemplary mentor, recommending me for an art program held at the Cleveland Museum of Art for elementary students. In third grade, I had opportunities that exposed me to great paintings and historical perspectives. At The Ohio State University, I redirected my focus to education. Even though I enrolled in art classes, I graduated with degrees in education, eventually focusing on a doctoral dissertation that emphasized integrating and evaluating the impact of fine art studies on written expression for gifted students. Currently retired, I have returned to studying artistic expression, predominantly in oils.
The works included in this exhibit reflect multiple perspectives on defining shadows. I have chosen to experiment with a variety of glazing techniques to coordinate each painting with its intended effect.
In general, these works attempt to capture the essence of the power of shadow and light. The idea is complex; the paintings, therefore, stand as simplistic.
J. Steve Kelley
I grew up in Bucyrus, Ohio where I began to show an interest in art. I have always found satisfaction in making things and noticed I had an above average aptitude for art.
After serving three years in the U.S. Army I decided to pursue a career in art and attended Columbus College of Art and Design majoring in advertising design with an illustration minor.
I worked in the advertising field designing logos and other promotional material and illustration before deciding to teach art. Ihave been teaching art to elementary and middle school students for the past 15 years.
I have worked in many mediums and genre from graphic design, cartooning and charicature, painting, drawing and creating three dimensional pieces. Recently I have been focusing on oil painting and creating marionettes.I like to take walks along the shores of Catawba Island and find myself intrigued by the patterns and shapes of the stones on the beach. The seemingly random placement of the stones and the subtle color shifts create a rhythmic pattern of shapes that have a calming effect on me.
But, it is the effect of the shadows on the stones that I find most intriguing. The shadows the stones cast on each other define the contours and add depth to an otherwise flat scene just as the shadows of the people in our lives define our character and add depth to an otherwise boring life.
I hope to recreate the calming effect of the beach in my stone paintings by enhancing the colors and shadows slightly and drawing attention to the otherwise overlooked stones.
Erik Anderson is owner/haberdasher of Erik's Clothing & Culture. He is a life-long resident of Ohio and has a BFA degree from BGSU.
A place between inside and out, between dark and the dissecting light. A world of refuge as it sets the stage for a nighttime of intrigue. Reflection, solitude, joy, seduction—all deep within our thoughts of what the night conceals. We are lit, safely gazing into the shadows for what awaits.
My name is R!ch Cihlar, yes with an “!”. I’m from the Cleveland, Ohio area and I have lived here my entire life. I’m an artist, entrepreneur, and father.
I think creating art and the process of making it is the way I assess and evaluate the world. I seem to deconstruct a lot of what I see and apply that to what my personal beliefs and experiences are, Ex: How it was made, or why was it made, or what can I take away from that moment and use it in someway in my designs.
I constantly find myself studying things that most people might ignore; things like weathered or rusted materials, shapes and patterns, and the natural directions or composition an object might take on.
I like working backwards with a piece, or starting with an object that has already had a former life. Working backwards usually refers to a set size or a canvas with existing marks.
I sometimes have a picture frame and I work from the size of the frame and format it to my work to save on costs. As for found objects, I pick up “garbage” or other materials all the time. I think most items, if thought out, can successfully be reused in art or design. Sometimes the object suggests a layout, color pattern, or concept and I just run with it. The meaning of the piece doesn’t usually hit me until I finish it and review it as a whole or at a later time.
My motivation comes from within. I can’t explain the feeling I have on a daily basis of wanting or needing to make artwork; it’s just there. It’s a natural drive, a perpetual caffeine; and a spark that refuses to be extinguished.
I guess I would be classified as a “mixed media” artist. Mixed media is where most of my interest and passion radiates, although you’ll see me work in just about any material. I guess that makes me a Jack-of-all-trades and a master of none.
Laura received her BFM from the Columbus College of Art & Design where she studied Industrial Design. She lived overseas for 1 year teaching design & drawing at the University of Xiangfan, China. Drawing her entire life, Laura focused on Caricatures after drawing at an amusement park for 3 years. Her current job in sales, selling Beer, Cider, & Mead, has inspired her most recent paintings including beer labels & oils.
Working in the beer industry I am surrounded by art: tap handles, bottle labels, posters, everywhere I look there is art throughout the beverage industry. Beer itself is art, crafted carefully & intended to be enjoyed & appreciated by others. I wanted to include some of this art, the labels, into my own painting as a way to appreciate what has inspired me & at the same time create something new. Some inspiration came first hand, sipping a beer or cider while peeling the label off & painting it to my canvas. Please have a drink & enjoy! Cheers friends!
Dan Corrigan is a Cleveland based painter. He attended Cleveland State University and received a Bachelor of Arts in 2007. He likes to paint in a variety of media including oil, acrylic, house paint, and anything else that’s available. Dan recently moved back to Ohio after living on the west coast in both California and Oregon. He currently lives in North Colinwood on the east side of Cleveland.
The pieces presented for this exhibition are approaching ‘Shadows’ in a couple of ways. First, the paintings are representational of darker psychological subject matter. While we all have lighter sides, we can equally possess darker attributes. Second, these paintings express the nature of light and shadow. Light hits the figures to create a shadow. Sometimes the areas of shadow have darker colors, and can be blurred and out of focus.
For over 50 years, Ave’s been taking pictures. Many of his images of Hollywood Boulevard from the 1970s are now in museums and libraries including LACMA and the New York Public Library, amongst others. He has published three books: Art Deco LA, Movie Palaces, and Bijou, which was released in October 2016 by Nazraeli Press.
In the studio, Ave is working on a still-life series based on circles, squares, and triangles, substituting industrial objects like pyramids, bottle caps, Wiffle balls, taking the place of the typical vase of flowers or table setting.
Outside the studio, Ave shoots Paper Movies, which are always shot in public spaces and allow him to interact with people passing by, getting them to participate with the camera and background. After collecting hundreds of photos, he edits them to tell a visual story, combining them into a single piece. He’s also producing short, stop-action videos using still images from Paper Movies to promote the series. One of the videos, “Stairway to Heaven,” assembled from images of the Getty Museum Staircase, saw 40,000 views in a week.
Shadows belong to another, unreal world, in between, projected by light like glass projects reflection. I often look for shadows and silhouettes because of this escape from reality to another dimension. I took “Palm, Post and Pole” on a day when I was driving. I saw the shadows on the wall so I pulled over to get the shot. At that time of day, late afternoon, the photo had a wonderful array of shapes and grayscale.
The stark wooden chair frames in the upholstery shop where “Self Portrait” was taken drew my attention. The payoff when I went to investigate was when my shadow appeared in the round frame–immediately suggesting a portrait from an older time. The frame of the window produced a shadow that delineates the two dimensions from one another, two parallel worlds divided by a figureless border.
Marsha has been making things from about the age of two. Inspired by her mother Louise, and accomplished painter, she never questioned what she would be when she grew up - an artist. Marsha recieved her BFA from James Madison University in 1977 with a double major in Painting & Graphics and Photography. In graduate school at California Institue of the Arts she majored in Fine Art Photography and graduated with an MFA in 1981. From 1983 until 1996 Marsha worked in the film industry in Visual Effects Animation, on films such as Ghost and Braveheart, with her last stint at Disney Studios. In1996 she left the industry to follow a dream of illustrating children’s books. She landed her first book, Jake Johnson, The Story of a Mule, for DK Publishing, in 1998. She has illustrated six books since for major publishers, including Tessa’s Tip Tapping Toes and Saving The Liberty Bell, to name a few. Marsha also co-owned and created designs for the greeting card company mjZOOM, from 1998 until 2006, and then with her husband Kevin from 2006 -2009, that sold nationally and abroad. She continues to design and create for established companies that manufacture greeting cards, wall decor and other products. She has made her living creatively all of her adult life and continues to create fine art through various mediums such as photography, painting and graphics. After living in Los Angeles for thirty years, Marsha and her husband Kevin moved to downtown Sandusky in October of 2009. Although it was a huge change for her to move to such a small town, she feels it was just the right time and is excited to be a part of it’s rebirth. Her studio has been in downtown Sandusky since January 2012, and she opened Carrington Arts gallery in October of 2015.
I have always been fascinated by shadows and have had many ideas regarding them creatively. Shadows are everywhere we look taking on many different qualities, from soft and subdued to exaggerated and contrasty. Still, they are mostly overlooked. But for me this is a visual element that I notice in my everyday life. Because photography is one of my much loved art forms, it forces me to “see”.
Delira and Excira
Stephen Tomasko has been photographing gardens since 1989. However in 2007, as he first began to work in color and then to add supplemental light to the scenes, the imagery took on a life of its own. Time after time, visitors to the studio would gravitate to the prints of the blossoms and exclaim, “It smells like flowers in here!” With encouragement like that, he had little choice but to further focus his efforts selecting and directing the wonders of spring.
At its core, the ongoing challenge of the project is to create an experience of nature delira and excira. The drama unfolds with the flowering trees of spring as the stars, the surrounding landscape as the set. Super-charged with heightened fresh spring light and packed edge to edge with natural abundance, the frames are unapologetic blasts of beauty, mystery and sensuality. They are a delighted and excited affirmation of spring.The images are straight photographs, presented as created in camera. Only minor adjustments have been made to correct color and tone. The prints are archival pigment on matte cotton paper.
David Sapp, is a visual artist and writer living in Berlin Heights, Ohio along the north coast of Lake Erie. As a Professor of Art, he teaches studio art and art history and is director of the Little Gallery at Firelands College, Bowling Green State University. His graphite drawings and mixed media works have been exhibited widely in many solo, group and juried exhibitions across the nation. His drawings were exhibited in an exchange between the Toledo Museum of Art and the Toyohashi City Museum, Toyohashi, Japan. Recently his drawings illustrated a book of poetry entitled Ultrasound by Elizabeth Percer. As a writer, David has published articles on creative behavior, a novel, Flying Over Erie, and poetry in many presses nationally and internationally. He attended the Cleveland Institute of Art, received his Bachelor of Arts degree from Mount Vernon Nazarene University in art and psychology, and his Master of Fine Arts degree from Bowling Green State University in drawing.
In committing to the creative act, my primary endeavor is to actualize a work of art that embodies natural, immediate, and responsive expression through the act of mark-making. My aim is not to produce the sensational or the intellectually novel, but to validate the complexity of the human presence, to find a truth in my human condition as I might interpret it at a particular moment.
A drawing is initiated at a point of encounter and is often a tenuous fragment or impression. This beginning is often a highly chaotic and kinesthetic activity in the accumulation of line. I acknowledge a kind of readiness for drawing more so than the existence of a muse or the notion of inspiration. This readiness requires listening intently to my surroundings; a humility of purpose and acceptance; and a quiet, though often exasperating, patience. I do not seek a drawing out but rather encourage the image to arrive at my threshold. I allow the lines to form organically, in a place somewhere between a vibrant reality and the recesses of my unconscious. I relish the elusive aspect of this emergence and honor this transient beginning as a place of discovery.
Each drawing evolves in its own unique manner. There is no delineated, predictable order or destination; there are few preconceptions. The initial inception is expanded, combined with newly discovered associations, and gradually finds a voice of intent. Even though I encourage states of intuition, ambiguity, and randomness, I must acknowledge that defining formal or aesthetic decision-making occurs; my creative process is not purely automatic. Formal devices are used to clarify and strengthen that emotion which first compelled me to draw. However, any analytic construction is subordinate to the original gestural responsiveness.
In the final image, when the drawing is delivered to the viewer, it appears transformed into a new, autonomous existence. However, at its best, the drawing retains the freshness and spontaneity of the original vision.