Brian Turkowski

Passages No. 01


Passages are a cycle of thirteen works that continues the artist’s practice of using leather, “flesh”, as a sculptural medium. The reappropriated horse saddles set on end with accents in 24 karat gold leaf emphasize the feminine form and primordial contours of each piece. In these works the artist is interested in the relationships between objects: the link between the dichotomous concepts of human and animal, where a piece of flesh (the hide saddle), serves as a unifying and connective bond between these binary states of being. The saddles were previously conventionally used and contain the effects of sweat and wear from both human and beast, which is embraced as part of the sculptural process. The layered nature of the pieces are reflected in the title Passages, which by definition is: a passing from one location, state or condition to another; or suggestive of the materials, a formal dance-like equestrian trot, where horse and rider momentarily become suspended in air.


Anastasia Davis

Untitled (flowers)

My work is concerned with sensory and emotional experience before it is translated into meaning and what lies between perception and interpretation. I explore the incongruity that I often experience between what I see and what I feel and seek images that affect me emotionally, but elude any specific interpretation. I am interested in this ambiguity and in photography’s capacity to suggest complex emotional states

Fatiha Kheddaoui

Bustan Al Kasr after airstrikes, Aleppo, Syria

I embroider large window screens where thread casting shadows is part of the experience and my signature work and concept since 2007. The term ruin refers to the past, but what if it is a constant? I look at continuous images from my news feed that eventually become white noise. We all consume news daily. Sooner or later it becomes a place of discomfort and fiction, masking the real destruction of places far away from our day-to-day lives. The artistically slow process of embroidery results in having to look closely at every stitch. I pause and observe in the images the sheer deconstruction from what was a home and safe place. Stitching the immense ruins where vibrant inhabitants dwelled, I can feel the life that was there a moment ago, now replaced by ghost like images. Will they come back? Did anyone survive? What is next? Are those the places from where the refugees come? Looking at the engagement and disengagement of the world community, I am adding to my series of Debris.

Andrew Dines


My work explores ideas of progress and power through depictions of landscapes, infrastructure, and people. In paintings and multimedia work, these representations become hollowed out and faded. Signs of development are undermined through the use of oxidation, pale washes of color, or crumbling concrete and plaster. Stripped of their original contexts and layered into one another, these depictions still hint at the optimism driving growth. Yet they somehow seem to miss the mark. Something critical is missing, and its absence haunting. Lacking a clear narrative, the omissions and contradictions provide space for something new to emerge. What results is something more complex, reflecting a reality where power is leveraged and costs borne. The fragile descriptions of development challenge our assumptions of permanence, and the scars of aggressively-worked surfaces speak to both decay and renewal. The subtle marks and stains invite a slow read that stands in contrast to the pace of modern life.


James Dye

Anima Mundi

Through ink, I explore the ritual nature of art and the symbiosis of image and story. I draw inspiration from mythology both personal and established to create works that speak to the imagination.


James Kimak

Bournemouth #2

I have been a working artist in my disciplines for over 40 years with shows based in Rockland County and NY City. I have also been part of a juried show at the Parish Museum among others. The works I am submitting are from a recent solo show in Piermont NY – all acrylics on canvas, completed in 2019. The show was entitled “Explorations in Form and Light” which speaks to the direction of my works that combine realism with abstraction

Jay Arpin

The Flood

I fell in love with Printmaking during my undergraduate studies at the University of Wisconsin – Milwaukee. I was drawn to the variety, flexibility and surprises inherent in the process. My preference for drawing and working in black and white is celebrated in the nuances of cutting the linoleum, etching the plate, applying the ink and pulling the print; the variety in texture, value and contrast that come from black ink on paper is thrilling. My work explores themes of nature, portraiture, and time. Currently, I am working on a body of work that examines humanity’s complex relationship with the Industrial Revolution, further technological advancements and the consequences for the future. Embodied in the strong graphic sensibility of my work, are inspirations from music, expressionism, film noir and comic book art.

Marco Hernandez

El Demonio en el Pasado

My current body of work explores issues of religion, society, and politics in contemporary Mexican culture. I’m also inspired by my personal experiences growing up as a Mexican Immigrant in California and the Midwest.  Mexican and Mexican American symbols play a large role in my prints. The symbols span from ancient Mesoamerican imagery to contemporary popular culture items such as the Valentina hot sauce. Life experiences and a traditional Mexican upbringing have influenced my thoughts and beliefs, and ultimately been inspirational in regards to the imagery and meaning in my current work.




emanuela harris-sintamarian


As an artist, I am interested in choices: what remains to be seen, what is absent and how decisions are made. As an immigrant artist, my work is informed by the relationship between my identity to my sense of displacement, memory/ narrative, and movement/ changes, Most recently I have been drawn into fragmented and fictitious landscape as a mean to devised to reconcile these incongruous elements of personal displacement/ replacement. Although I still follow a pictorial logic, I tend to defy conventional depictions of forms, colors, space I do no paraphrase a real space, rather in between spaces. My working method is serial and intuitive consisting of blending of techniques and mediums. I am interested in surface tactility, immediate/gestural marks, which at once build onto each other and cancel each other, thus I am more connected with the act of painting and drawing, rather than a pre-digested aesthetic.