Exhibiting Artists
Emergence -
silk cocoons, natural dyes, thread site specific
$12,000.
“Cocoons reference new life and the remains of a home that has been emptied or abandoned. A vehicle for transformation. Hand-dyed with tea, coffee, oak gall, sunflower and walnut inks, then stitched together, they become an organism, growing and invasive. Emblematic of maps, shifting borders, mass migrations, spreads of disease, the insidious contagion of misinformation, lies, and fear. Mapping the myriad lives connected to one another and yet separate. The piece travels from the ceiling, across the wall, around corners, and seeps onto the floor. Beautiful, discomfiting, textured. Benevolent and sinister in each iteration from 2020 to 2026 it grows, morphing, spreading and invading the space it occupies.” This work uses material, scale, and installation to examine collective systems, expanding like a living map to reflect migration, contagion, and interconnectedness as a meditation on instability and shared human conditions.
Current Perspectives (1980-2026)
silk cocoons, natural dyes, thread site specific
$12,000.
“Cocoons reference new life and the remains of a home that has been emptied or abandoned. A vehicle for transformation. Hand-dyed with tea, coffee, oak gall, sunflower and walnut inks, then stitched together, they become an organism, growing and invasive. Emblematic of maps, shifting borders, mass migrations, spreads of disease, the insidious contagion of misinformation, lies, and fear. Mapping the myriad lives connected to one another and yet separate. The piece travels from the ceiling, across the wall, around corners, and seeps onto the floor. Beautiful, discomfiting, textured. Benevolent and sinister in each iteration from 2020 to 2026 it grows, morphing, spreading and invading the space it occupies.” This work uses material, scale, and installation to examine collective systems, expanding like a living map to reflect migration, contagion, and interconnectedness as a meditation on instability and shared human conditions.
Current Perspectives (1980-2026)
Christine Aaron
New Rochelle, NYEmergence
silk cocoons, natural dyes, thread
96 x 96 x 5 in
silk cocoons, natural dyes, thread
96 x 96 x 5 in
$12,000
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Cipher -
burnt drawing on Thai Kozo with inlaid jute
39" x 27"
$1,200.
”I witness the proliferation of lies, and derision for and denial of fact, science, medical expertise and knowledge. Honesty, kindness and responsibility towards those with less (visibility, voice, access) is labeled as weakness. I watch the dismantling and deterioration of values I hold dear. In response, I create burnt drawings. Burning has been used intentionally throughout history to destroy and sanctify. It evokes absence and presence, destruction and regeneration. I systematically and obsessively burn thousands of holes into fragile skins of paper- to create an archive of lives lost, reference language, record keeping, mapping, and ritual. Cast shadows through burnt marks are an ethereal presence, visual evidence of absence. What remains appears as a code or secret language that is instead unreadable, enacting erasure as an action of defiance and mourning.” This work employs process, repetition, and material intervention to confront systems of information, loss, and erasure, transforming fragile paper into a coded field where burning acts as both record and ritual, reflecting on the instability of truth and the persistence of memory.
Current Perspectives (1980-2026)
burnt drawing on Thai Kozo with inlaid jute
39" x 27"
$1,200.
”I witness the proliferation of lies, and derision for and denial of fact, science, medical expertise and knowledge. Honesty, kindness and responsibility towards those with less (visibility, voice, access) is labeled as weakness. I watch the dismantling and deterioration of values I hold dear. In response, I create burnt drawings. Burning has been used intentionally throughout history to destroy and sanctify. It evokes absence and presence, destruction and regeneration. I systematically and obsessively burn thousands of holes into fragile skins of paper- to create an archive of lives lost, reference language, record keeping, mapping, and ritual. Cast shadows through burnt marks are an ethereal presence, visual evidence of absence. What remains appears as a code or secret language that is instead unreadable, enacting erasure as an action of defiance and mourning.” This work employs process, repetition, and material intervention to confront systems of information, loss, and erasure, transforming fragile paper into a coded field where burning acts as both record and ritual, reflecting on the instability of truth and the persistence of memory.
Current Perspectives (1980-2026)
Christine Aaron
New Rochelle, NYCipher
burnt drawing on Thai Kozo with inlaid jute
39 x 27 x 1 in
burnt drawing on Thai Kozo with inlaid jute
39 x 27 x 1 in
$1,200
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Pitchers -
acrylic on paper
12" x 16" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
acrylic on paper
12" x 16" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CTPitchers
acrylic on paper
12 x 16 x 1.5 in
acrylic on paper
12 x 16 x 1.5 in
$1,500
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Snow Window -
acrylic on board
12" x 9" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
acrylic on board
12" x 9" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CTSnow Window
acrylic on board
12 x 9 x 1.5 in
acrylic on board
12 x 9 x 1.5 in
$1,500
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Window and Oranges -
acrylic on canvas
13" x 10.5" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
acrylic on canvas
13" x 10.5" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.” Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CTWindow and Oranges
acrylic on canvas
13.5 x 11 x 2 in
acrylic on canvas
13.5 x 11 x 2 in
$1,500
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Nova -
acrylic on wood
26" x 22"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.” This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work. Modern Shifts (1900-1980)
acrylic on wood
26" x 22"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.” This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work. Modern Shifts (1900-1980)
Pernel Berkeley
Danbury, CTNova
acrylic on wood panel
26 x 22 in
acrylic on wood panel
26 x 22 in
$2,000
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Electric Light Orchestra -
acrylic on wood
33" x 29"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.” This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work. Modern Shifts (1900-1980)
acrylic on wood
33" x 29"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.” This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work. Modern Shifts (1900-1980)
Pernel Berkeley
Danbury, CTElectric Light Orchestra
acrylic on wood panel
33 x 29 in
acrylic on wood panel
33 x 29 in
$2,000
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Forget-Me-Not -
glazed ceramic
21" x 12" x 10"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.” This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change. Current Perspectives (1980-2026)
glazed ceramic
21" x 12" x 10"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.” This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change. Current Perspectives (1980-2026)
Irja Boden
Ghent, NYForget-Me-Not
glazed ceramic
21 x 12 x 10 in
glazed ceramic
21 x 12 x 10 in
$1,500
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Lynx Handle -
glazed ceramic
13" x 16" x 14"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.” This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change. Current Perspectives (1980-2026)
glazed ceramic
13" x 16" x 14"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.” This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change. Current Perspectives (1980-2026)
Irja Boden
Ghent, NYLynx Handle
glazed ceramic
13 x 16 x 14 in
glazed ceramic
13 x 16 x 14 in
$1,500
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Window 74th Street -
oil on wood panel
18" x 18"
$1,200.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
oil on wood panel
18" x 18"
$1,200.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CT74th Street Window
oil on wood panel
18 x 18 in
oil on wood panel
18 x 18 in
$1,200
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Living Room View -
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CTLiving Room View
oil on wood panel
8 x 8 in
oil on wood panel
8 x 8 in
$900
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Snowy Fire Escape -
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CTSnowy Fire Escape
oil on wood panel
8 x 8 in
oil on wood panel
8 x 8 in
$900
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Bedroom View -
oil on wood panel
12" x 12"
$1,000.
“The paintings featured here are inspired by views from a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
oil on wood panel
12" x 12"
$1,000.
“The paintings featured here are inspired by views from a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility. These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.” This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CTBedroom view
oil on wood panel
12 x 12 in
oil on wood panel
12 x 12 in
$1,000
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For Love or Money -
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched with crochet thread and pearl cotton
47" x 47"
$15,000.
”For Love or Money examines the marriage union using the double wedding ring quilt pattern, created from biodegradable starch-based plastic cooked with rose petals and shredded U.S. currency from the NY Federal Reserve Bank. In America, there was a tradition of gifting handmade wedding quilts to daughters when they married. In the Victorian times, women were faced with the dilemma of marrying for love or financial stability. Using techniques of "women's work" — cooking bioplastics and stitching — the labor embedded in both the piece and marriage itself is called into question. As the bioplastics eventually deteriorate, so does the illusion: is marriage a construct, a business arrangement, or a partnership built on love?” This work uses the visual language of traditional craft to examine the intersection of domestic labor, economics, and personal relationships, reframing a familiar form to question cultural expectations and the structures underlying intimacy and exchange.<br>
Current Perspectives (1980-2026)
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched with crochet thread and pearl cotton
47" x 47"
$15,000.
”For Love or Money examines the marriage union using the double wedding ring quilt pattern, created from biodegradable starch-based plastic cooked with rose petals and shredded U.S. currency from the NY Federal Reserve Bank. In America, there was a tradition of gifting handmade wedding quilts to daughters when they married. In the Victorian times, women were faced with the dilemma of marrying for love or financial stability. Using techniques of "women's work" — cooking bioplastics and stitching — the labor embedded in both the piece and marriage itself is called into question. As the bioplastics eventually deteriorate, so does the illusion: is marriage a construct, a business arrangement, or a partnership built on love?” This work uses the visual language of traditional craft to examine the intersection of domestic labor, economics, and personal relationships, reframing a familiar form to question cultural expectations and the structures underlying intimacy and exchange.<br>
Current Perspectives (1980-2026)
Janine Brown
Westport, CTFor Love or Money
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched
47 x 47 in
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched
47 x 47 in
$15,000
INQUIRE
Bittersweet Thoughts -
home-cooked bioplastic, calendula petals, white zinnia petals,hand-stitched with crochet thread and pearl cotton, wood stretcher bars
15.5" x 15.5" x 1.75"
$1,875.
”I used the quilt pattern, Joy’s Delight, from Maggie Malone’s 5,500 Quilt Block Designs as the pattern for this piece about remembrance. The pattern was published by the Needle Craft Supply Company likely in the early-to-mid 20th century. The pattern is crafted from home-cooked bioplastic embedded flower petals using the Language of Flowers as a symbolic element. The calendula petals represent joy or grief depending on the cultural origins and white zinnia petals represent fond remembrance. ” This work draws on historical quilt traditions and symbolic materials to reflect on memory, loss, and the ways personal and cultural histories are preserved through pattern and craft.
Early Visions (1776-1900)
home-cooked bioplastic, calendula petals, white zinnia petals,hand-stitched with crochet thread and pearl cotton, wood stretcher bars
15.5" x 15.5" x 1.75"
$1,875.
”I used the quilt pattern, Joy’s Delight, from Maggie Malone’s 5,500 Quilt Block Designs as the pattern for this piece about remembrance. The pattern was published by the Needle Craft Supply Company likely in the early-to-mid 20th century. The pattern is crafted from home-cooked bioplastic embedded flower petals using the Language of Flowers as a symbolic element. The calendula petals represent joy or grief depending on the cultural origins and white zinnia petals represent fond remembrance. ” This work draws on historical quilt traditions and symbolic materials to reflect on memory, loss, and the ways personal and cultural histories are preserved through pattern and craft.
Early Visions (1776-1900)
Janine Brown
Westport, CTBittersweetThoughts
home-cooked bioplastic, calendula petals, white zinnia petals, hand-stitched
15.5 x 15.5 x 1.75 in
home-cooked bioplastic, calendula petals, white zinnia petals, hand-stitched
15.5 x 15.5 x 1.75 in
$1,875
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Nested Stories Yellow -
Chenille wire, sari silk, copper wire
50" x 40"
$4,800.
”Nested Stories Yellow reflects the idea of an accumulation of layered human experience held within the structure of the grid. Using sari silk and wire, the work reimagines the grid as a fluid and responsive system. Yellow, drawn from the visible spectrum, points to a shared field of perception where stories coexist and intersect across time and geography. Within this structure, the grid shifts from a fixed framework into a fluid one capable of holding tension, repair, and connection. The work reflects a contemporary approach to abstraction, where structure is softened and opened, allowing for a sense of visible unity shaped through processes of rupture and restoration” This work reinterprets the modernist grid as a fluid, interconnected system, using material and structure to explore accumulation, rupture, and the shared complexity of human experience across time and place.
Current Perspectives (1980-2026)
Chenille wire, sari silk, copper wire
50" x 40"
$4,800.
”Nested Stories Yellow reflects the idea of an accumulation of layered human experience held within the structure of the grid. Using sari silk and wire, the work reimagines the grid as a fluid and responsive system. Yellow, drawn from the visible spectrum, points to a shared field of perception where stories coexist and intersect across time and geography. Within this structure, the grid shifts from a fixed framework into a fluid one capable of holding tension, repair, and connection. The work reflects a contemporary approach to abstraction, where structure is softened and opened, allowing for a sense of visible unity shaped through processes of rupture and restoration” This work reinterprets the modernist grid as a fluid, interconnected system, using material and structure to explore accumulation, rupture, and the shared complexity of human experience across time and place.
Current Perspectives (1980-2026)
Serena Buschi
Bedford, NYNested Stories Yellow
chenille wire, sari silk, copper wire
50 x 40 in
chenille wire, sari silk, copper wire
50 x 40 in
$4,800
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Beach at Sunset -
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”Not until the latter half of the 20th century have women played such an active role in the public realm, equaling that of men. Fiber art, primarily the domain of women, has become much more prevalent and accepted during the same period. My goal in my work is to use that medium to convey the power and strength of women while also, quite often, working through my own personal feelings of betrayal and loss. Influenced by the work of fiber artists Chicago, Tawney and Abakanowicz and creating backgrounds reminiscent of Avery and Rothko, I create woven pieces portraying female images.” This work draws on the expanded role of fiber art and figuration to assert presence, identity, and emotional complexity, using material and form to articulate women’s experience within broader cultural and historical shifts.
Current Perspectives (1980-2026)
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”Not until the latter half of the 20th century have women played such an active role in the public realm, equaling that of men. Fiber art, primarily the domain of women, has become much more prevalent and accepted during the same period. My goal in my work is to use that medium to convey the power and strength of women while also, quite often, working through my own personal feelings of betrayal and loss. Influenced by the work of fiber artists Chicago, Tawney and Abakanowicz and creating backgrounds reminiscent of Avery and Rothko, I create woven pieces portraying female images.” This work draws on the expanded role of fiber art and figuration to assert presence, identity, and emotional complexity, using material and form to articulate women’s experience within broader cultural and historical shifts.
Current Perspectives (1980-2026)
Carolyn Carson
Carnegie, PABeach at Sunset
fiber
63 x 30 in
fiber
63 x 30 in
$2,200
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Red Sea -
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”I start by spinning dyed or undyed wool on a wheel and then weaving on a floor loom, making design decisions as I go, working intuitively. Weaving for me is almost a metaphor for life, as I’m never quite certain how it will look in the end. While women, the common theme in most of my work, are now ‘equal’ players in society, achieving that goal is often fraught with pain and anxiety. Much of my work is a statement on women’s roles but also conveys my own pain and angst.” This work uses the language of weaving and the female figure to explore identity, labor, and emotional experience, transforming material process into a reflection on the complexities and tensions of women’s roles in contemporary life.
Current Perspectives (1980-2026)
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”I start by spinning dyed or undyed wool on a wheel and then weaving on a floor loom, making design decisions as I go, working intuitively. Weaving for me is almost a metaphor for life, as I’m never quite certain how it will look in the end. While women, the common theme in most of my work, are now ‘equal’ players in society, achieving that goal is often fraught with pain and anxiety. Much of my work is a statement on women’s roles but also conveys my own pain and angst.” This work uses the language of weaving and the female figure to explore identity, labor, and emotional experience, transforming material process into a reflection on the complexities and tensions of women’s roles in contemporary life.
Current Perspectives (1980-2026)
Carolyn Carson
Carnegie, PARed Sea
fiber
63 x 30 in
fiber
63 x 30 in
$2,200
INQUIRE
Fragments of Now -
pigment powder on canvas
30" x 38"
$3,500.
”This work reflects on instability as a shared condition of contemporary life. I work with powdered pigment and water, allowing gravity and time to shape the surface before I intervene. The materials behave unpredictably, spreading, resisting, and settling, so the painting becomes a record of both control and surrender. I think of the process as a collaboration, where each mark holds a moment of change rather than a fixed image. It connects to a broader American experience of constant transition—movement, displacement, and becoming—where identity is continuously shaped through shifting conditions.” This work uses process and material unpredictability to register change over time, presenting abstraction as a record of instability, transition, and the ongoing formation of identity.
Current Perspectives (1980-2026)
pigment powder on canvas
30" x 38"
$3,500.
”This work reflects on instability as a shared condition of contemporary life. I work with powdered pigment and water, allowing gravity and time to shape the surface before I intervene. The materials behave unpredictably, spreading, resisting, and settling, so the painting becomes a record of both control and surrender. I think of the process as a collaboration, where each mark holds a moment of change rather than a fixed image. It connects to a broader American experience of constant transition—movement, displacement, and becoming—where identity is continuously shaped through shifting conditions.” This work uses process and material unpredictability to register change over time, presenting abstraction as a record of instability, transition, and the ongoing formation of identity.
Current Perspectives (1980-2026)
Marina Chistyakova/Chisty
New York, NYFragments of Now
pigment powder on canvas
30 x 38 in
pigment powder on canvas
30 x 38 in
$3,500
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Grand Prize Awardee
Orb -
porcelain
11" x 8"
$1,400.
“Organic forms in nature, including flowers, fruits, seeds, shells, and plants, inspire me to interpret abstractly. I explore cycles of birth, life and death, growth and decay, rhythm and change. I seek to create work that inspires contemplation and beauty in an increasingly technological and chaotic world. I work with porcelain because its plasticity and smooth texture best expresses the curvy, organic forms I create. When fired, porcelain is simultaneously thin and strong.”
This work uses organic abstraction and porcelain to evoke cycles of growth, decay, and renewal, offering a contemplative reflection on the enduring rhythms of the natural world.
Modern Shifts (1900-1980)
GRAND PRIZE AWARDEE
Elizabeth Cohen
Wellesley, MAOrb
porcelain
11 x 8 in
porcelain
11 x 8 in
$1,400
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Grand Prize Awardee
Carved Nesting Set -
porcelain
6" x 11" x 12"
$3,800.
“Organic forms in nature, including flowers, fruits, seeds, shells, and plants, inspire me to interpret abstractly. I explore cycles of birth, life and death, growth and decay, rhythm and change. I seek to create work that inspires contemplation and beauty in an increasingly technological and chaotic world. I work with porcelain because its plasticity and smooth texture best expresses the curvy, organic forms I create. When fired, porcelain is simultaneously thin and strong.” This work uses organic abstraction and porcelain to evoke cycles of growth, decay, and renewal, offering a contemplative reflection on the enduring rhythms of the natural world.
Modern Shifts (1900-1980)
porcelain
6" x 11" x 12"
$3,800.
“Organic forms in nature, including flowers, fruits, seeds, shells, and plants, inspire me to interpret abstractly. I explore cycles of birth, life and death, growth and decay, rhythm and change. I seek to create work that inspires contemplation and beauty in an increasingly technological and chaotic world. I work with porcelain because its plasticity and smooth texture best expresses the curvy, organic forms I create. When fired, porcelain is simultaneously thin and strong.” This work uses organic abstraction and porcelain to evoke cycles of growth, decay, and renewal, offering a contemplative reflection on the enduring rhythms of the natural world.
Modern Shifts (1900-1980)
Elizabeth Cohen
Wellesley, MACarved Nesting Set
porcelain
6 x 11 x 12 in
porcelain
6 x 11 x 12 in
$3,800
INQUIRE
Where Water Holds the Land -
acrylic on canvas
24" x 30" x 1.5"
$1,600.
”Where Water Holds the Land participates in a broader contemporary shift away from purely representational landscape toward ecological consciousness as visual language. Rather than depicting land as backdrop or scenery, my work treats terrain and water as living, interdependent systems — a perspective increasingly central to contemporary art responding to climate anxiety and environmental urgency. My painting's aerial, almost cartographic perspective echoes modern art's embrace of non-Western spatial traditions, dissolving the single-point perspective that dominated Western painting for centuries. Its meditative patterning connects to a renewed interest in slow, labor-intensive mark-making as resistance to digital immediacy honoring process as meaning itself.” This work reimagines landscape through an ecological and cartographic lens, using layered pattern and aerial perspective to emphasize the interdependence of land, water, and environmental systems.
Current Perspectives (1980-2026)
acrylic on canvas
24" x 30" x 1.5"
$1,600.
”Where Water Holds the Land participates in a broader contemporary shift away from purely representational landscape toward ecological consciousness as visual language. Rather than depicting land as backdrop or scenery, my work treats terrain and water as living, interdependent systems — a perspective increasingly central to contemporary art responding to climate anxiety and environmental urgency. My painting's aerial, almost cartographic perspective echoes modern art's embrace of non-Western spatial traditions, dissolving the single-point perspective that dominated Western painting for centuries. Its meditative patterning connects to a renewed interest in slow, labor-intensive mark-making as resistance to digital immediacy honoring process as meaning itself.” This work reimagines landscape through an ecological and cartographic lens, using layered pattern and aerial perspective to emphasize the interdependence of land, water, and environmental systems.
Current Perspectives (1980-2026)
Rosemary Cotnoir
Westbrook, CTWhere Water Holds the Land
acrylic on canvas
24 x 30 x 1.5 in
acrylic on canvas
24 x 30 x 1.5 in
$1,600
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Flowing South
acrylic on canvas
30" x 30" x 1.5"
$2,000.
”Flowing South engages with contemporary art's return to pattern, texture, and aerial perspective as modes of ecological storytelling. My painting's bird's-eye viewpoint — rivers branching like neural networks across warm, layered earth — reflects a modern shift away from traditional landscape conventions toward abstracted, systems-thinking imagery. Each hand-textured zone speaks to a layered practice using acrylic paint pens over a painted base, where mark-making itself carries meaning. My work bridges Indigenous mapping traditions and contemporary environmental consciousness, resonating with today's art world preoccupation with land, climate, and belonging. In its intricate repetition and organic flow, Flowing South embodies how my attempt is reclaiming slowness and craft as radical acts.” This work uses pattern, aerial perspective, and layered mark-making to reimagine landscape as an interconnected ecological system, reflecting contemporary concerns with environment, mapping, and the relationship between land and identity.
Current Perspectives (1980-2026)
acrylic on canvas
30" x 30" x 1.5"
$2,000.
”Flowing South engages with contemporary art's return to pattern, texture, and aerial perspective as modes of ecological storytelling. My painting's bird's-eye viewpoint — rivers branching like neural networks across warm, layered earth — reflects a modern shift away from traditional landscape conventions toward abstracted, systems-thinking imagery. Each hand-textured zone speaks to a layered practice using acrylic paint pens over a painted base, where mark-making itself carries meaning. My work bridges Indigenous mapping traditions and contemporary environmental consciousness, resonating with today's art world preoccupation with land, climate, and belonging. In its intricate repetition and organic flow, Flowing South embodies how my attempt is reclaiming slowness and craft as radical acts.” This work uses pattern, aerial perspective, and layered mark-making to reimagine landscape as an interconnected ecological system, reflecting contemporary concerns with environment, mapping, and the relationship between land and identity.
Current Perspectives (1980-2026)
Rosemary Cotnoir
Westbrook, CTFlowing South
acrylic on canvas
30 x 30 x 1.5 in
acrylic on canvas
30 x 30 x 1.5 in
$2,000
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Rooted in Light -
acrylic on canvas
50" x 26" x 1.5"
$2,100.
”Rooted in Light is my attempt to engage with contemporary art's renewed fascination with process, texture, and the organic. My intricate, mark-based technique echoes movements like Neo-Pointillism and Maximalism. I am rejecting minimalist austerity in favor of layered complexity. The woven-pattern background recalls digital textile aesthetics, bridging traditional craft and modern visual language. The tree, rendered without sky or soil, exists as pure energetic form, reflecting today's shift toward symbolic abstraction over literal representation. Its golden luminosity emerges from deep earth tones speaks to a cultural movement reclaiming spirituality and interconnectedness — themes increasingly central to contemporary art's response to a fragmented, technology-saturated world.” This work uses layered pattern, symbolic abstraction, and organic form to explore interconnectedness, spirituality, and the contemporary visual culture.
Current Perspectives (1980-2026)
acrylic on canvas
50" x 26" x 1.5"
$2,100.
”Rooted in Light is my attempt to engage with contemporary art's renewed fascination with process, texture, and the organic. My intricate, mark-based technique echoes movements like Neo-Pointillism and Maximalism. I am rejecting minimalist austerity in favor of layered complexity. The woven-pattern background recalls digital textile aesthetics, bridging traditional craft and modern visual language. The tree, rendered without sky or soil, exists as pure energetic form, reflecting today's shift toward symbolic abstraction over literal representation. Its golden luminosity emerges from deep earth tones speaks to a cultural movement reclaiming spirituality and interconnectedness — themes increasingly central to contemporary art's response to a fragmented, technology-saturated world.” This work uses layered pattern, symbolic abstraction, and organic form to explore interconnectedness, spirituality, and the contemporary visual culture.
Current Perspectives (1980-2026)
Rosemary Cotnoir
Westbrook, CTRooted in Light
acrylic on canvas
50 x 26 x 1.5 in
acrylic on canvas
50 x 26 x 1.5 in
$2,100
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Echos of Memories -
pillowcases various sizes
$200. each
“I shape everyday pillowcases into soft, vessel-like forms—transforming objects of rest into quiet containers of memory, care, and emotional weight. Gathered, folded, and stitched by hand, the fabric is allowed to collapse and hold itself, echoing the intuitive, bodily processes that guide my practice. Influenced by Eva Hesse’s embrace of fragility and impermanence, these forms resist rigidity, leaning instead into vulnerability and subtle tension.” Transforming everyday pillowcases into fragile, vessel-like forms, the work explores memory, care, and emotional vulnerability through processes of gathering, collapse, and impermanence.
Current Perspectives (1980-2026)
pillowcases various sizes
$200. each
“I shape everyday pillowcases into soft, vessel-like forms—transforming objects of rest into quiet containers of memory, care, and emotional weight. Gathered, folded, and stitched by hand, the fabric is allowed to collapse and hold itself, echoing the intuitive, bodily processes that guide my practice. Influenced by Eva Hesse’s embrace of fragility and impermanence, these forms resist rigidity, leaning instead into vulnerability and subtle tension.” Transforming everyday pillowcases into fragile, vessel-like forms, the work explores memory, care, and emotional vulnerability through processes of gathering, collapse, and impermanence.
Current Perspectives (1980-2026)
Elysa DeMartini
Stamford, CTEchos of Memories
pillowcases
18 x 10 - 9 x 10 in
pillowcases
18 x 10 - 9 x 10 in
$200. each or $1400 for all
INQUIRE
Marina -
oil on canvas
40" x 30" x 1.375"
$4,000.
”Marina explores the subtle choreography of movement in shared public spaces, focusing on how people gather, pause, and move together. Figures assemble at the edge of a boat, their arrangement shaping the rhythm and structure of the scene. Working in oil, I simplify forms and flatten perspective to emphasize color, light, and composition over detailed realism. The image balances representation and abstraction, reducing forms while keeping them legible.” This work reflects a contemporary approach to figurative painting, using simplified form, flattened space, and compositional rhythm to examine human interaction, movement, and shared experience within modern public life.
Current Perspectives (1980-2026)
oil on canvas
40" x 30" x 1.375"
$4,000.
”Marina explores the subtle choreography of movement in shared public spaces, focusing on how people gather, pause, and move together. Figures assemble at the edge of a boat, their arrangement shaping the rhythm and structure of the scene. Working in oil, I simplify forms and flatten perspective to emphasize color, light, and composition over detailed realism. The image balances representation and abstraction, reducing forms while keeping them legible.” This work reflects a contemporary approach to figurative painting, using simplified form, flattened space, and compositional rhythm to examine human interaction, movement, and shared experience within modern public life.
Current Perspectives (1980-2026)
Natalie Eisenberg
Birmingham, MIMarina
oil on canvas
41 x 31 x 1.5 in
oil on canvas
41 x 31 x 1.5 in
$4,000
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Wire Nests -
industrial wire
9" x 9" x 3" inch
$975.
“I aim to present the natural world in an abstract, enigmatic form that is open to interpretation by the viewer. These wire constructions are formed by wrapping and looping (traditional fiber techniques) using industrial wire. Repetition of many individual modules form the basis of these abstract shapes. Evergreen forests in coastal Maine inspired this concept; the thin soil layers over rocky substrate result in towering trees with root systems that spread horizontally over rocky subsoil. My joy lies in discovering new and unexpected relationships as a piece progresses and evolves into something I often had no concept of at the start.” Through abstract, evolving wire constructions inspired by coastal Maine forests, the work explores organic systems of growth, adaptation, and interconnectedness, transforming repetitive processes into meditations on resilience and discovery.
Current Perspectives (1980-2026)
industrial wire
9" x 9" x 3" inch
$975.
“I aim to present the natural world in an abstract, enigmatic form that is open to interpretation by the viewer. These wire constructions are formed by wrapping and looping (traditional fiber techniques) using industrial wire. Repetition of many individual modules form the basis of these abstract shapes. Evergreen forests in coastal Maine inspired this concept; the thin soil layers over rocky substrate result in towering trees with root systems that spread horizontally over rocky subsoil. My joy lies in discovering new and unexpected relationships as a piece progresses and evolves into something I often had no concept of at the start.” Through abstract, evolving wire constructions inspired by coastal Maine forests, the work explores organic systems of growth, adaptation, and interconnectedness, transforming repetitive processes into meditations on resilience and discovery.
Current Perspectives (1980-2026)
Patricia Frik
Housatonic, MAWire Nests
industrial wire
13 x 13 x 3 in
industrial wire
13 x 13 x 3 in
$975
INQUIRE
Wire Spiral -
industrial wire on felt
12" x 14" x 3"
$1,250.
“I aim to present the natural world in an abstract, enigmatic form that is open to interpretation by the viewer. These wire constructions are formed by wrapping and looping (traditional fiber techniques) using industrial wire. Repetition of many individual modules form the basis of these abstract shapes. Evergreen forests in coastal Maine inspired this concept; the thin soil layers over rocky substrate result in towering trees with root systems that spread horizontally over rocky subsoil. My joy lies in discovering new and unexpected relationships as a piece progresses and evolves into something I often had no concept of at the start.” Through abstract, evolving wire constructions inspired by coastal Maine forests, the work explores organic systems of growth, adaptation, and interconnectedness, transforming repetitive processes into meditations on resilience and discovery.
Current Perspectives (1980-2026)
industrial wire on felt
12" x 14" x 3"
$1,250.
“I aim to present the natural world in an abstract, enigmatic form that is open to interpretation by the viewer. These wire constructions are formed by wrapping and looping (traditional fiber techniques) using industrial wire. Repetition of many individual modules form the basis of these abstract shapes. Evergreen forests in coastal Maine inspired this concept; the thin soil layers over rocky substrate result in towering trees with root systems that spread horizontally over rocky subsoil. My joy lies in discovering new and unexpected relationships as a piece progresses and evolves into something I often had no concept of at the start.” Through abstract, evolving wire constructions inspired by coastal Maine forests, the work explores organic systems of growth, adaptation, and interconnectedness, transforming repetitive processes into meditations on resilience and discovery.
Current Perspectives (1980-2026)
Patricia Frik
Housatonic, MAWire Spiral
industrial wire
18 x 18 x 3.5 in
industrial wire
18 x 18 x 3.5 in
$1,250
INQUIRE
Sold
Off Season -
generative AI image
24" x 24"
$500.
“I made Off Season using AI image generation — a process that works more like dreaming than photography. The image fits into one of my common thematic areas, depictions of apparently ordinary, vernacular scenes where something is subtly wrong – small enough for the viewer to initially overlook, but still find unsettling. Here the wrongness is the jarring disparity of scale: vast ocean and sky, huge brutalist structure out of place, single tiny human. I make images that create narrative tension without resolution or explanation. The viewer is invited to fill in the blank — the image acts as a portal into something unresolved.” Through its unsettling manipulation of scale, atmosphere, and digital image-making, the work reflects contemporary anxieties surrounding isolation, perception, and the uncertain boundaries between constructed and lived realities.
Current Perspectives (1980-2026)
generative AI image
24" x 24"
$500.
“I made Off Season using AI image generation — a process that works more like dreaming than photography. The image fits into one of my common thematic areas, depictions of apparently ordinary, vernacular scenes where something is subtly wrong – small enough for the viewer to initially overlook, but still find unsettling. Here the wrongness is the jarring disparity of scale: vast ocean and sky, huge brutalist structure out of place, single tiny human. I make images that create narrative tension without resolution or explanation. The viewer is invited to fill in the blank — the image acts as a portal into something unresolved.” Through its unsettling manipulation of scale, atmosphere, and digital image-making, the work reflects contemporary anxieties surrounding isolation, perception, and the uncertain boundaries between constructed and lived realities.
Current Perspectives (1980-2026)
Mark W Geiger
Albany, NYOff Season
generative AI image
24 x 24 in
generative AI image
24 x 24 in
$500
INQUIRE
Unknown Species no.387 -
oil on linen
36" x 48"
$8,000.
“The visual language of my art uses shapes, color and form. The abstract nonrepresentational artists of the 1980’s to the present time, is my focus. My cellular shapes recall living organisms that are reminiscent of life on a molecular level. The organic patterns I create are achieved by the unpredictable reactions of oil paint mixed with alkyd resin creating concentric circles. I have been influenced by my research on childbirth and infants. I once read that when a baby is born, he or she will be attracted to the shape of a target because of the instinctual need for the mother’s breast and survival. I don’t know if this has ever been proven, but the idea that humans might be drawn to shapes by their instincts fascinates me.” Through biomorphic abstraction and unpredictable material processes, the work explores instinct, perception, and the shared visual structures that connect human experience to the microscopic patterns of life.
Current Perspectives (1980-2026)
oil on linen
36" x 48"
$8,000.
“The visual language of my art uses shapes, color and form. The abstract nonrepresentational artists of the 1980’s to the present time, is my focus. My cellular shapes recall living organisms that are reminiscent of life on a molecular level. The organic patterns I create are achieved by the unpredictable reactions of oil paint mixed with alkyd resin creating concentric circles. I have been influenced by my research on childbirth and infants. I once read that when a baby is born, he or she will be attracted to the shape of a target because of the instinctual need for the mother’s breast and survival. I don’t know if this has ever been proven, but the idea that humans might be drawn to shapes by their instincts fascinates me.” Through biomorphic abstraction and unpredictable material processes, the work explores instinct, perception, and the shared visual structures that connect human experience to the microscopic patterns of life.
Current Perspectives (1980-2026)
Laura Gurton
Northampton, MAUnknown Species no.387
oil on linen
36 x 48 x 2 in
oil on linen
36 x 48 x 2 in
$8,000
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Cythera III -
oil on canvas
48 x 60 x 1.5 inch
$5,400.
”While drawing with pastels at a nearby reservoir and immersed in the dynamic interplay light, sky, water, lily pads and foliage, I felt these elements not only shaping the landscape but transcending it. This visceral experience of transformation is at the core of my work. My process embraces a tension between the familiar and the abstract, where the act of interpretation and distortion gives rise to new meanings. I aim to convey how the raw power of nature can transform not only the physical world but also the way we perceive and represent it.” Through expressive color and abstraction rooted in direct observation, the work explores how landscape can become a transformative psychological and sensory experience rather than a fixed representation of place.
Modern Shifts (1900-1980)
oil on canvas
48 x 60 x 1.5 inch
$5,400.
”While drawing with pastels at a nearby reservoir and immersed in the dynamic interplay light, sky, water, lily pads and foliage, I felt these elements not only shaping the landscape but transcending it. This visceral experience of transformation is at the core of my work. My process embraces a tension between the familiar and the abstract, where the act of interpretation and distortion gives rise to new meanings. I aim to convey how the raw power of nature can transform not only the physical world but also the way we perceive and represent it.” Through expressive color and abstraction rooted in direct observation, the work explores how landscape can become a transformative psychological and sensory experience rather than a fixed representation of place.
Modern Shifts (1900-1980)
Christopher Jones
Norwalk, CTCythera III
oil on canvas
48 x 60 x 1.5 in
oil on canvas
48 x 60 x 1.5 in
$5,400
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Sleeping on Pink Hills -
oil, oil stick on canvas
36" x 30"
$1,900.
”I am thinking about making beautiful and unique marks when I am painting. Marks that celebrate the imprints we all leave on the world. The marks in my artwork are infused with memories and passionate responses to being a mother, a friend, and to nature. My work utilizes exciting gestural shapes, color relationships and linear qualities that react and respond powerfully to each other. Oil paint is the perfect medium because it is rich and thick, allowing for a purely intuitive process. I have found Abstract Expressionism is an ideal way for me to express my ideas as an artist.” The layered gestures, shifting color relationships, and intuitive movement of the paint connect these works to the continuing evolution of abstraction as a deeply personal and emotionally charged language within contemporary American art.
Modern Shifts (1900-1980)
oil, oil stick on canvas
36" x 30"
$1,900.
”I am thinking about making beautiful and unique marks when I am painting. Marks that celebrate the imprints we all leave on the world. The marks in my artwork are infused with memories and passionate responses to being a mother, a friend, and to nature. My work utilizes exciting gestural shapes, color relationships and linear qualities that react and respond powerfully to each other. Oil paint is the perfect medium because it is rich and thick, allowing for a purely intuitive process. I have found Abstract Expressionism is an ideal way for me to express my ideas as an artist.” The layered gestures, shifting color relationships, and intuitive movement of the paint connect these works to the continuing evolution of abstraction as a deeply personal and emotionally charged language within contemporary American art.
Modern Shifts (1900-1980)
Martine Kasmin
Livingston, NJSleeping on Pink Hills
oil, oil stick on canvas
36 x 30 in
oil, oil stick on canvas
36 x 30 in
$1,900
INQUIRE
Changing Course -
oil, oil stick on canvas
48" x 36"
$2,500.
”I am thinking about making beautiful and unique marks when I am painting. Marks that celebrate the imprints we all leave on the world. The marks in my artwork are infused with memories and passionate responses to being a mother, a friend, and to nature. My work utilizes exciting gestural shapes, color relationships and linear qualities that react and respond powerfully to each other. Oil paint is the perfect medium because it is rich and thick, allowing for a purely intuitive process. I have found Abstract Expressionism is an ideal way for me to express my ideas as an artist.” The layered gestures, shifting color relationships, and intuitive movement of the paint connect these works to the continuing evolution of abstraction as a deeply personal and emotionally charged language within contemporary American art.
Modern Shifts (1900-1980)
oil, oil stick on canvas
48" x 36"
$2,500.
”I am thinking about making beautiful and unique marks when I am painting. Marks that celebrate the imprints we all leave on the world. The marks in my artwork are infused with memories and passionate responses to being a mother, a friend, and to nature. My work utilizes exciting gestural shapes, color relationships and linear qualities that react and respond powerfully to each other. Oil paint is the perfect medium because it is rich and thick, allowing for a purely intuitive process. I have found Abstract Expressionism is an ideal way for me to express my ideas as an artist.” The layered gestures, shifting color relationships, and intuitive movement of the paint connect these works to the continuing evolution of abstraction as a deeply personal and emotionally charged language within contemporary American art.
Modern Shifts (1900-1980)
Martine Kasmin
Livingston, NJChanging Course
oil, oil stick on canvas
48 x 36 in
oil, oil stick on canvas
48 x 36 in
$2,500
INQUIRE
High Society -
oil on linen canvas
60" x 48" x 1.5"
$17,000.
”My passion in painting is depicting the beauty and color of our surroundings and to bring uplifting images to life. I paint in oils because I love how they allow you to build one layer over another creating a rich surface of color against color, giving depth and texture to the work. High Society reflects contemporary life in New York, the most dynamic city on the planet. Herein I paint the flexing complexity of intermingled architecture, lights, and brilliant colors. From a high level we look out at the night city pulsing away, as the buildings bolt up into the night sky above the greatest city that survives attempts at its vanquishment time after time over the decades.” Through its layered color, compressed perspective, and luminous depiction of New York, the work captures the energy, resilience, and visual intensity of contemporary urban life.
Current Perspectives (1980-2026)
oil on linen canvas
60" x 48" x 1.5"
$17,000.
”My passion in painting is depicting the beauty and color of our surroundings and to bring uplifting images to life. I paint in oils because I love how they allow you to build one layer over another creating a rich surface of color against color, giving depth and texture to the work. High Society reflects contemporary life in New York, the most dynamic city on the planet. Herein I paint the flexing complexity of intermingled architecture, lights, and brilliant colors. From a high level we look out at the night city pulsing away, as the buildings bolt up into the night sky above the greatest city that survives attempts at its vanquishment time after time over the decades.” Through its layered color, compressed perspective, and luminous depiction of New York, the work captures the energy, resilience, and visual intensity of contemporary urban life.
Current Perspectives (1980-2026)
Elizabeth Killgore
Stamford, CTHigh Society
oil on linen
60 x 48 x 1.5 in
oil on linen
60 x 48 x 1.5 in
$17,000
INQUIRE
Measured Variations -
acrylic on cardboard on screen
54" x 37"
$2,100.
”Working with recycled cardboard has completely altered my artistic process yet has opened up many new possibilities. Here I painted on large cardboard, then cut into squares, rearranged, painted again, and hung from screens. By relinquishing literal reference, I focus on color, rhythm, and gesture as primary elements. The composition is fluid and unexpected in its final form. This work invites viewers to reconsider both the potential of everyday materials and the evolving language of abstraction.” Through its shifting grid structure, layered gestures, and transformation of recycled material into a dynamic abstract field, the work reflects the continued expansion of abstraction as a language of experimentation, process, and reinvention in American art.
Modern Shifts (1900-1980)
acrylic on cardboard on screen
54" x 37"
$2,100.
”Working with recycled cardboard has completely altered my artistic process yet has opened up many new possibilities. Here I painted on large cardboard, then cut into squares, rearranged, painted again, and hung from screens. By relinquishing literal reference, I focus on color, rhythm, and gesture as primary elements. The composition is fluid and unexpected in its final form. This work invites viewers to reconsider both the potential of everyday materials and the evolving language of abstraction.” Through its shifting grid structure, layered gestures, and transformation of recycled material into a dynamic abstract field, the work reflects the continued expansion of abstraction as a language of experimentation, process, and reinvention in American art.
Modern Shifts (1900-1980)
Dede Lifgren
Brewster, NYMeasured Variations
acrylic on cardboard on screen
54 x 37 in
acrylic on cardboard on screen
54 x 37 in
$2,100
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Vanessa After Balthus -
oil on canvas
60 x 40 x 2 inch
$7,800.
”Primarily a contemporary realist, narrative is my springboard. “Nude in Front of the Fireplace” inspired this painting. Scale; simple, strong shapes; viewpoint & theme of a young woman assessing herself are familiar. As a woman, college art professor & daughter’s mother, I’m familiar with the interest & pressure females feel about their looks. Physical appearance being tied to value is a slippery slope. I emulated the narrative & quirkiness of Balthus’s nude in part because I have the mirror, fireplace & models. Conceptually, the female self-reflection crosses centuries & recently I heard of extreme pressure on young males about their appearances...” By reexamining the figurative traditions of modernism through a contemporary lens, the work connects personal identity, self-awareness, and cultural expectations across generations, reflecting the continued evolution of narrative realism in American art.
Current Perspectives (1980-2026)
oil on canvas
60 x 40 x 2 inch
$7,800.
”Primarily a contemporary realist, narrative is my springboard. “Nude in Front of the Fireplace” inspired this painting. Scale; simple, strong shapes; viewpoint & theme of a young woman assessing herself are familiar. As a woman, college art professor & daughter’s mother, I’m familiar with the interest & pressure females feel about their looks. Physical appearance being tied to value is a slippery slope. I emulated the narrative & quirkiness of Balthus’s nude in part because I have the mirror, fireplace & models. Conceptually, the female self-reflection crosses centuries & recently I heard of extreme pressure on young males about their appearances...” By reexamining the figurative traditions of modernism through a contemporary lens, the work connects personal identity, self-awareness, and cultural expectations across generations, reflecting the continued evolution of narrative realism in American art.
Current Perspectives (1980-2026)
Linda Lowry
Boulder, COVanessa After Balthus
oil on canvas
60 x 40 x 2 in
oil on canvas
60 x 40 x 2 in
$7,800
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Evening Glow -
chine colle monotype
17" x 21"
$900.
“Though I see my art as being influenced by the modernists, my focus and work reflect an immersion in contemporary issues, especially environmental, as well as a more-timely approach to printmaking. Evening Glow mirrors my efforts to reintroduce and preserve the natural habitat where I live, replacing invasive plants with native species. It is a portal into my view of a serene, ‘idyllic’ landscape, using a personal photo image as a contemporary take on chine collé, a monotype printmaking technique involving pasting tissue-thin Japanese paper to the prime paper surface before the addition of inks. The erratic line making and darker color infiltrating the scene speak of the precarious state of today’s eco-system.” Through its fusion of experimental printmaking, personal landscape, and ecological awareness, the work reflects contemporary artists’ growing engagement with environmental fragility and the changing relationship between people and the natural world.
Current Perspectives (1980-2026)
chine colle monotype
17" x 21"
$900.
“Though I see my art as being influenced by the modernists, my focus and work reflect an immersion in contemporary issues, especially environmental, as well as a more-timely approach to printmaking. Evening Glow mirrors my efforts to reintroduce and preserve the natural habitat where I live, replacing invasive plants with native species. It is a portal into my view of a serene, ‘idyllic’ landscape, using a personal photo image as a contemporary take on chine collé, a monotype printmaking technique involving pasting tissue-thin Japanese paper to the prime paper surface before the addition of inks. The erratic line making and darker color infiltrating the scene speak of the precarious state of today’s eco-system.” Through its fusion of experimental printmaking, personal landscape, and ecological awareness, the work reflects contemporary artists’ growing engagement with environmental fragility and the changing relationship between people and the natural world.
Current Perspectives (1980-2026)
Joan Macfarlane
Sharon, CTEvening Glow
chine colle monotype
17 x 21 in
chine colle monotype
17 x 21 in
$900
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Heating Up -
monotype
11" x 13"
$900.
“Having spent over 20 years replacing invasive plants with native species to create a naturally balanced habitat, I am ever aware of the delicate balance posed by environmental challenges today. The smell of smoke wafting over the landscape is a stressor for me, with family living in L.A., recollections of Canadian fumes drifting through Litchfield County and the sighting of a forest fire nearby last year. Orange, the color of flames, has started to permeate my work. In “Heating Up”, choreographed line work interrupted the serenity of the inked plate, before native plants were positioned and run through the press. A second run through with added ink created contrast between the embossed botanicals. The piece hints of flames threatening the landscape.” By combining layered printmaking processes with imagery shaped by ecological anxiety and environmental change, the work reflects contemporary artists’ increasing engagement with climate, habitat preservation, and the fragility of the natural world.
Current Perspectives (1980-2026)
monotype
11" x 13"
$900.
“Having spent over 20 years replacing invasive plants with native species to create a naturally balanced habitat, I am ever aware of the delicate balance posed by environmental challenges today. The smell of smoke wafting over the landscape is a stressor for me, with family living in L.A., recollections of Canadian fumes drifting through Litchfield County and the sighting of a forest fire nearby last year. Orange, the color of flames, has started to permeate my work. In “Heating Up”, choreographed line work interrupted the serenity of the inked plate, before native plants were positioned and run through the press. A second run through with added ink created contrast between the embossed botanicals. The piece hints of flames threatening the landscape.” By combining layered printmaking processes with imagery shaped by ecological anxiety and environmental change, the work reflects contemporary artists’ increasing engagement with climate, habitat preservation, and the fragility of the natural world.
Current Perspectives (1980-2026)
Joan Macfarlane
Sharon, CTHeating Up
monotype
11 x 13 in
monotype
11 x 13 in
$900
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A Memory Lane -
unique drypoint 4 x 6 inch
$1,500.
”As a visual artist, I am enthralled by environmental situations. My desire to create this work came after a walk in Wyoming one day, where I was struck by the afternoon light and how it danced from above the tree line in the deep space, softening the leaves, while carefully articulating the depth of the grasses below. Noticing light-struck, vertical lines on each tree trunk, it was like a gift from nature.… beckoning me to continue to journey down the dirt road.” Through its close observation of atmosphere, light, and the American landscape, the work continues a longstanding tradition of artists using nature as a site for reflection, sensory experience, and emotional connection.
Early Visions (1776-1900)
unique drypoint 4 x 6 inch
$1,500.
”As a visual artist, I am enthralled by environmental situations. My desire to create this work came after a walk in Wyoming one day, where I was struck by the afternoon light and how it danced from above the tree line in the deep space, softening the leaves, while carefully articulating the depth of the grasses below. Noticing light-struck, vertical lines on each tree trunk, it was like a gift from nature.… beckoning me to continue to journey down the dirt road.” Through its close observation of atmosphere, light, and the American landscape, the work continues a longstanding tradition of artists using nature as a site for reflection, sensory experience, and emotional connection.
Early Visions (1776-1900)
Nancy McTague-Stock
Norwalk, CTA Memory Lane
unique drypoint
4 x 6 in
unique drypoint
4 x 6 in
$1,500
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Sunset Light-
unique drypoint 4 x 6 inch
$1,500.
”I credit my early exposure to environmental experiences as the impetus for my lifelong focus of the natural world. ‘Sunset Light’ is a unique, one of a kind drypoint based on a very fiery, afternoon sunset I came upon in Connecticut. Bold, orange Charbonnel etching ink was the perfect choice for this piece, as it further emphasized the power of the heat and sun that evening. I loved the long, dark shadows created by the intensity of the strong, yet diminishing light. These peaceful moments are the timeless finds I cannot resist as an artist. The work draws on the longstanding American tradition of landscape as a site of reflection and emotional resonance, using light and atmosphere to transform an observed moment in nature into a deeply felt experience.
Early Visions (1776-1900)
unique drypoint 4 x 6 inch
$1,500.
”I credit my early exposure to environmental experiences as the impetus for my lifelong focus of the natural world. ‘Sunset Light’ is a unique, one of a kind drypoint based on a very fiery, afternoon sunset I came upon in Connecticut. Bold, orange Charbonnel etching ink was the perfect choice for this piece, as it further emphasized the power of the heat and sun that evening. I loved the long, dark shadows created by the intensity of the strong, yet diminishing light. These peaceful moments are the timeless finds I cannot resist as an artist. The work draws on the longstanding American tradition of landscape as a site of reflection and emotional resonance, using light and atmosphere to transform an observed moment in nature into a deeply felt experience.
Early Visions (1776-1900)
Nancy McTague-Stock
Norwalk, CTSunset Light
unique drypoint
4 x 6 in
unique drypoint
4 x 6 in
$1,500
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Afternoon Delight -
unique drypoint 6 x 4 inch
$1,550.
”My artistic practice of drypoint begins with a steel needle drawing into a copper plate prior to the printmaking process. Afternoon Delight was the result of a family hike, when we decided to find a good rock and rest for a bit. To my delight, billowy clouds moved into the skyscape, echoing shapes of the treetops and other foliage. Just enough sunlight continued to peer through, lighting up the stream, highlighting rocks and the felled trees along the banks. I pulled out my pencil and sketchbook and began to quickly capture this idyllic scene to later be done in drypoint.” By focusing on atmosphere, shifting light, and the quiet experience of the American landscape, the work reflects the enduring influence of landscape traditions that sought emotional and spiritual connection through nature.
Early Visions (1776-1900)
unique drypoint 6 x 4 inch
$1,550.
”My artistic practice of drypoint begins with a steel needle drawing into a copper plate prior to the printmaking process. Afternoon Delight was the result of a family hike, when we decided to find a good rock and rest for a bit. To my delight, billowy clouds moved into the skyscape, echoing shapes of the treetops and other foliage. Just enough sunlight continued to peer through, lighting up the stream, highlighting rocks and the felled trees along the banks. I pulled out my pencil and sketchbook and began to quickly capture this idyllic scene to later be done in drypoint.” By focusing on atmosphere, shifting light, and the quiet experience of the American landscape, the work reflects the enduring influence of landscape traditions that sought emotional and spiritual connection through nature.
Early Visions (1776-1900)
Nancy McTague-Stock
Norwalk, CTAfternoon Delight
unique drypoint
6 x 4 in
unique drypoint
6 x 4 in
$1,500
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So Much Water -
handwoven tapestry in wool, cotton, lurex
60" x 42"
$12,000.
”It’s in the Nature of a Journey to have a starting point. Great waters join and present opportunities for exploration. Meriwether Lewis and William Clark followed the Missouri River west from its juncture with the Mississippi, across prairie towards the mountains. We are all on a journey, encountering obstacles, discovering origins. We grow, learn. There is “So Much Water moving underneath the Bridge; love we have wasted on the way.” We try to carry as much as we need with us, but have to leave things along the way. Some views call us to explore, while others welcome us home.” The work reflects on exploration, movement, and personal discovery, using the language of landscape to connect physical travel with the emotional and psychological passages that shape human experience.
Early Visions (1776-1900)
handwoven tapestry in wool, cotton, lurex
60" x 42"
$12,000.
”It’s in the Nature of a Journey to have a starting point. Great waters join and present opportunities for exploration. Meriwether Lewis and William Clark followed the Missouri River west from its juncture with the Mississippi, across prairie towards the mountains. We are all on a journey, encountering obstacles, discovering origins. We grow, learn. There is “So Much Water moving underneath the Bridge; love we have wasted on the way.” We try to carry as much as we need with us, but have to leave things along the way. Some views call us to explore, while others welcome us home.” The work reflects on exploration, movement, and personal discovery, using the language of landscape to connect physical travel with the emotional and psychological passages that shape human experience.
Early Visions (1776-1900)
Janet Moore
Saint Louis, MOSo Much Water
handwoven tapestry in wool, cotton, lurex
60 x 42 in
handwoven tapestry in wool, cotton, lurex
60 x 42 in
$12,000
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Red Orange Pink Droopy Tree -
glazed stoneware
13" x 15" x 8.5"
$500.
”My current works use the covered jar and other wheel-thrown forms as a mode of expression. Informed by the vessel aesthetic, I have always used the potter’s wheel as the main tool to make an evolving series of sculptural forms often inspired by plants. The forms, colors, and layered/cracked surface are meant to be visually compelling, specifically the abstraction of form and the expressionistic surface. My goal is that uncertainty be visible in the final work while conjuring familiar forms from our experience as human beings in this complex world; some easily recognizable and others vague; perhaps as something one might know from the past—yet not identifiable as a specific namable object.” Blending the language of the vessel with organic abstraction, these sculptural forms connect modernist experimentation with contemporary explorations of memory, uncertainty, and the body’s relationship to the natural world.
Current Perspectives (1980-2026)
glazed stoneware
13" x 15" x 8.5"
$500.
”My current works use the covered jar and other wheel-thrown forms as a mode of expression. Informed by the vessel aesthetic, I have always used the potter’s wheel as the main tool to make an evolving series of sculptural forms often inspired by plants. The forms, colors, and layered/cracked surface are meant to be visually compelling, specifically the abstraction of form and the expressionistic surface. My goal is that uncertainty be visible in the final work while conjuring familiar forms from our experience as human beings in this complex world; some easily recognizable and others vague; perhaps as something one might know from the past—yet not identifiable as a specific namable object.” Blending the language of the vessel with organic abstraction, these sculptural forms connect modernist experimentation with contemporary explorations of memory, uncertainty, and the body’s relationship to the natural world.
Current Perspectives (1980-2026)
Donna Namnoum
Canton, CTRed Orange Pink Droopy Tree
glazed stoneware
13 x 15 x 8.5 in
glazed stoneware
13 x 15 x 8.5 in
$500
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Blue and Bronze: Tangled Bud Covered Vessel -
glazed stoneware
15" x 8.5" x 8.5"
$500.
”My current works use the covered jar and other wheel-thrown forms as a mode of expression. Informed by the vessel aesthetic, I have always used the potter’s wheel as the main tool to make an evolving series of sculptural forms often inspired by plants. The forms, colors, and layered/cracked surface are meant to be visually compelling, specifically the abstraction of form and the expressionistic surface. My goal is that uncertainty be visible in the final work while conjuring familiar forms from our experience as human beings in this complex world; some easily recognizable and others vague; perhaps as something one might know from the past—yet not identifiable as a specific namable object.” Blending the language of the vessel with organic abstraction, these sculptural forms connect modernist experimentation with contemporary explorations of memory, uncertainty, and the body’s relationship to the natural world.
Current Perspectives (1980-2026)
glazed stoneware
15" x 8.5" x 8.5"
$500.
”My current works use the covered jar and other wheel-thrown forms as a mode of expression. Informed by the vessel aesthetic, I have always used the potter’s wheel as the main tool to make an evolving series of sculptural forms often inspired by plants. The forms, colors, and layered/cracked surface are meant to be visually compelling, specifically the abstraction of form and the expressionistic surface. My goal is that uncertainty be visible in the final work while conjuring familiar forms from our experience as human beings in this complex world; some easily recognizable and others vague; perhaps as something one might know from the past—yet not identifiable as a specific namable object.” Blending the language of the vessel with organic abstraction, these sculptural forms connect modernist experimentation with contemporary explorations of memory, uncertainty, and the body’s relationship to the natural world.
Current Perspectives (1980-2026)
Donna Namnoum
Canton, CTBlue and Bronze: Tangled Bud Covered Vessel
glazed stoneware
15 x 8.5 x 8.5 in
glazed stoneware
15 x 8.5 x 8.5 in
$500
INQUIRE
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Crossed Passage -
oil and cold wax
18" x 18"
$1,400.
”Here I explore the relationship between openness and structure. I build the surface using layered applications of oil and cold wax, creating a weathered appearance that speaks to the inevitability of change. I am interested in how opposites are necessary to one another, such as circle and line, dark and light, structure and openness. Each relies on the other. My work reflects a search for steadiness within uncertainty and a recognition that balance and resilience are essential.”
Through its restrained geometry and layered surface, the work reflects contemporary concerns with balance, resilience, and the search for stability within an unpredictable world.
Current Perspectives (1980-2026)
Heather Neilson
New Hartford, CTCrossed Passage
oil and cold wax
18 x 18 x 1 in
oil and cold wax
18 x 18 x 1 in
$1,400
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Meridian -
oil and cold wax
36" x 36"
$3,900.
”This work the relationship between atmosphere, movement, and clarity. Using layers of oil and cold wax, I build and excavate surfaces that feel luminous and open, exploring the tension between being both anchored and untethered. My work reflects a universal search for steadiness within change. In a time marked by uncertainty and rapid shifts, I am interested in creating work that feels calm and grounded while still holding a sense of light and possibility.” Through abstraction and layered surface, the work reflects a contemporary search for balance, stillness, and orientation within an increasingly unstable and fast-moving world.
Current Perspectives (1980-2026)
oil and cold wax
36" x 36"
$3,900.
”This work the relationship between atmosphere, movement, and clarity. Using layers of oil and cold wax, I build and excavate surfaces that feel luminous and open, exploring the tension between being both anchored and untethered. My work reflects a universal search for steadiness within change. In a time marked by uncertainty and rapid shifts, I am interested in creating work that feels calm and grounded while still holding a sense of light and possibility.” Through abstraction and layered surface, the work reflects a contemporary search for balance, stillness, and orientation within an increasingly unstable and fast-moving world.
Current Perspectives (1980-2026)
Heather Neilson
New Hartford, CTMeridian
oil and cold wax
36 x 36 x 1.5 in
oil and cold wax
36 x 36 x 1.5 in
$3,900
INQUIRE
The Card Players -
oil on aluminum composite panel
40" x 60" x 2"
$8,500.
”I paint in fragments that become whole. Up close, my surfaces resolve into fields of irregular, organic color shapes — bounded zones of paint that suggest a freehand mosaic, a paint-by-number drawn from instinct rather than instruction. The shapes are not pixels in any mechanical sense; they are more alive than that, more unpredictable. But they share with the pixel a fundamental quality: meaning is withheld until you step back. Only at a distance do the figures emerge — the card players, the dinner guests, the narrative subjects. This is not simply a technique. We are a nation of fragments — distinct, irregular, each with its own boundary and color — that can cohere into something recognizable and even beautiful, but only if we are willing to hold the whole in view. The figurative tradition gives me the human presence. The fractured surface gives me the truth about how precarious that presence is.” By merging fractured, mosaic-like surfaces with recognizable human scenes, the work reflects contemporary questions about perception, social connection, and the fragile ways individuals come together to form collective identity.
Current Perspectives (1980-2026)
oil on aluminum composite panel
40" x 60" x 2"
$8,500.
”I paint in fragments that become whole. Up close, my surfaces resolve into fields of irregular, organic color shapes — bounded zones of paint that suggest a freehand mosaic, a paint-by-number drawn from instinct rather than instruction. The shapes are not pixels in any mechanical sense; they are more alive than that, more unpredictable. But they share with the pixel a fundamental quality: meaning is withheld until you step back. Only at a distance do the figures emerge — the card players, the dinner guests, the narrative subjects. This is not simply a technique. We are a nation of fragments — distinct, irregular, each with its own boundary and color — that can cohere into something recognizable and even beautiful, but only if we are willing to hold the whole in view. The figurative tradition gives me the human presence. The fractured surface gives me the truth about how precarious that presence is.” By merging fractured, mosaic-like surfaces with recognizable human scenes, the work reflects contemporary questions about perception, social connection, and the fragile ways individuals come together to form collective identity.
Current Perspectives (1980-2026)
Jack Rosenberg
Washington Depot, CTThe Card Players
oil on aluminum composite panel
40 x 60 x 2 in
oil on aluminum composite panel
40 x 60 x 2 in
$8,500
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Homecoming -
latex on canvas
54" x 78" x 1.5"
$12,000.
”As a child, I found beauty in forgotten places. Something in me woke up in those hidden spaces, and that recognition has never left. This painting is an abstracted landscape, painted on industrial drop cloth with latex paint. I am seeing the landscape through current light — the same sky that stretched over this land 250 years ago. I recognize I am painting the same skies the early American Masters captured, and I now stand before in museums. The work holds space the way light holds dust — something settled and alive. A place to land, and remember.” The work bridges the emotional atmosphere of historic American landscape painting with a contemporary abstract language, reflecting an ongoing dialogue between memory, place, and personal experience across generations.
Current Perspectives (1980-2026)
latex on canvas
54" x 78" x 1.5"
$12,000.
”As a child, I found beauty in forgotten places. Something in me woke up in those hidden spaces, and that recognition has never left. This painting is an abstracted landscape, painted on industrial drop cloth with latex paint. I am seeing the landscape through current light — the same sky that stretched over this land 250 years ago. I recognize I am painting the same skies the early American Masters captured, and I now stand before in museums. The work holds space the way light holds dust — something settled and alive. A place to land, and remember.” The work bridges the emotional atmosphere of historic American landscape painting with a contemporary abstract language, reflecting an ongoing dialogue between memory, place, and personal experience across generations.
Current Perspectives (1980-2026)
Alison Scherr
Peapack, NJHomecoming
latex on canvas
54 x 78 x 1.5 in
latex on canvas
54 x 78 x 1.5 in
$12,000
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Internal Spiral -
porcelain, glaze, silverleaf
10.75" x 10 x 5"
$1,200.
”This piece incorporates contemporary techniques for using clay as a fine art medium. The crawl glaze creates an organic, textural surface on the body, and the use of porcelain clay gives the white, spiraling part of the work an ethereal weightlessness. The silver-leafed ball is at the center, representing our search for inner peace.” Combining sculptural experimentation with symbolic form, the work reflects contemporary interests in material transformation, mindfulness, and the search for emotional and spiritual balance.
Current Perspectives (1980-2026)
porcelain, glaze, silverleaf
10.75" x 10 x 5"
$1,200.
”This piece incorporates contemporary techniques for using clay as a fine art medium. The crawl glaze creates an organic, textural surface on the body, and the use of porcelain clay gives the white, spiraling part of the work an ethereal weightlessness. The silver-leafed ball is at the center, representing our search for inner peace.” Combining sculptural experimentation with symbolic form, the work reflects contemporary interests in material transformation, mindfulness, and the search for emotional and spiritual balance.
Current Perspectives (1980-2026)
Rosalind Shaffer
Weston, CTInternal Spiral
porcelain, glaze, silverleaf
10.75 x 10 x 5 in
porcelain, glaze, silverleaf
10.75 x 10 x 5 in
$1,200
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Sweet Tooth -
white earthenware
16" x 7" x 7"
$1,200.
”This piece is an upbeat contemporary rendition of a classic vase form. It is less concerned with perfect symmetry than with the exuberance shown with the elements that playfully adorn the piece.” By reimagining a traditional vessel through playful surface detail and expressive asymmetry, the work reflects contemporary approaches that value individuality, experimentation, and reinterpretation of historical forms.
Current Perspectives (1980-2026)
white earthenware
16" x 7" x 7"
$1,200.
”This piece is an upbeat contemporary rendition of a classic vase form. It is less concerned with perfect symmetry than with the exuberance shown with the elements that playfully adorn the piece.” By reimagining a traditional vessel through playful surface detail and expressive asymmetry, the work reflects contemporary approaches that value individuality, experimentation, and reinterpretation of historical forms.
Current Perspectives (1980-2026)
Rosalind Shaffer
Weston, CTSweet Tooth
white earthenware
16 x 7 x 7 in
white earthenware
16 x 7 x 7 in
$1,200
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Ultimate Oneness -
mixed media on Japanese paper
16" x 18" x 5.5"
$3,500.
”In 2024 I took a memorable trip to Japan run by the director of the Cornell University Johnson Museum, where I was an advisory council member. The paper in this work was purchased in Tokyo and the Haiku poem, one of a series, was inspired by the trip. During this time our lives feel endangered and vulnerable, guns are rampant, unnecessary wars are occurring and our constitution is being threatened and challenged. As a result, I felt the urgency to make a statement through my work. Ultimate Oneness represents what we need around the world to proceed forward toward greatness.” By combining personal experience, handmade materials, and a call for unity in a time of global instability, the work reflects contemporary concerns surrounding interconnectedness, empathy, and collective responsibility.”
Current Perspectives (1980-2026)
mixed media on Japanese paper
16" x 18" x 5.5"
$3,500.
”In 2024 I took a memorable trip to Japan run by the director of the Cornell University Johnson Museum, where I was an advisory council member. The paper in this work was purchased in Tokyo and the Haiku poem, one of a series, was inspired by the trip. During this time our lives feel endangered and vulnerable, guns are rampant, unnecessary wars are occurring and our constitution is being threatened and challenged. As a result, I felt the urgency to make a statement through my work. Ultimate Oneness represents what we need around the world to proceed forward toward greatness.” By combining personal experience, handmade materials, and a call for unity in a time of global instability, the work reflects contemporary concerns surrounding interconnectedness, empathy, and collective responsibility.”
Current Perspectives (1980-2026)
Marlene Siff
Westport, CTUltimate Oneness
mixed media on Japanese paper
16 x 18 x 5.5 in
mixed media on Japanese paper
16 x 18 x 5.5 in
$3,500
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Birthday Balloons
oil on canvas
40" x 50" x 2"
$6,500.
”The painting reflects the yearly ritual of celebrating an anniversary, as both continuity and quiet reckoning. Three figures gather with emptyish plates, a slice of cake and drifting balloons, their strings threading the space. One figure reluctantly wears a paper crown, while another slips into a disconnected hand, unsettling the scene. The paint moves fluidly, allowing forms to soften and shift. Luminous yellows and pinks press against darker blue-grays, creating a subtle tension. Familiar yet off-beat, the painting holds celebration alongside an undercurrent of mortality, where presence feels fragile and life and death quietly coexist.” By combining contemporary figuration with atmospheric abstraction, the work reflects present-day explorations of intimacy, vulnerability, and the emotional complexity embedded within ordinary rituals and shared experience.
Current Perspectives (1980-2026)
oil on canvas
40" x 50" x 2"
$6,500.
”The painting reflects the yearly ritual of celebrating an anniversary, as both continuity and quiet reckoning. Three figures gather with emptyish plates, a slice of cake and drifting balloons, their strings threading the space. One figure reluctantly wears a paper crown, while another slips into a disconnected hand, unsettling the scene. The paint moves fluidly, allowing forms to soften and shift. Luminous yellows and pinks press against darker blue-grays, creating a subtle tension. Familiar yet off-beat, the painting holds celebration alongside an undercurrent of mortality, where presence feels fragile and life and death quietly coexist.” By combining contemporary figuration with atmospheric abstraction, the work reflects present-day explorations of intimacy, vulnerability, and the emotional complexity embedded within ordinary rituals and shared experience.
Current Perspectives (1980-2026)
Narelle Sissons
New Canaan, CTBirthday Balloons
oil on canvas
40 x 50 x 2 in
oil on canvas
40 x 50 x 2 in
$6,500
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Battery-Dance-III
gelatin silver print
11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
gelatin silver print
11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
Anne Louise Tetenbaum
Westport, CTBattery-Dance-III
gelatin silver print
11 x 14 in
gelatin silver print
11 x 14 in
$1,500
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Battery-Dance-IV
gelatin silver print 11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
gelatin silver print 11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
Anne Louise Tetenbaum
Westport, CTBattery-Dance-IV
gelatin silver print
11 x 14 in
gelatin silver print
11 x 14 in
$1,500
INQUIRE
Battery-Dance-VI
gelatin silver print
11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
gelatin silver print
11" x 14"
$1,500.
”There is a particular kind of freedom that comes with age. Specifically, an unselfconsciousness, a willingness to simply move. These photographs were taken in the middle of that freedom. I came upon this group unexpectedly, with the immediate sense that something true was happening. They were dancing outdoors, in public, completely absorbed in one another. Nobody was performing. They were just together, in motion. These images are about joy, but also about community and what it looks like when older people claim public space. They are part of a longer American story, shaped by the quiet, evolving creativity of ordinary people who find ways to express themselves and connect. At a time when American life can feel increasingly fragmented, these photographs offer a counterpoint and perhaps a reminder that connection and community have always been present, visible to anyone willing to slow down and look.” By focusing on shared experience, public gathering, and the expressive lives of everyday people, these photographs reflect a contemporary vision of American community shaped through connection, resilience, and human presence.
Current Perspectives (1980-2026)
Anne Louise Tetenbaum
Westport, CTBattery-Dance-VI
gelatin silver print
11 x 14 in
gelatin silver print
11 x 14 in
$1,500
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Church Bus -
oil on canvas
36" x 36" x 1.5"
$32,500.
”For God and (cross-) country, the Church Bus represents more than a spiritual journey within the family. It becomes a broader symbol of movement, freedom, and collective experience within American life. The bus serves as a vehicle that carries individuals across a vast and varied landscape, making intermittent stops along the way—gathering and depositing a diverse cast of passengers. In this way, it reflects a shared journey shaped by faith, community, and the evolving identities that define the American experience.” By using the church bus as a symbol of shared movement, belief, and community, the work reflects the ways personal history and collective experience intersect within the broader narrative of American life.
Current Perspectives (1980-2026)
oil on canvas
36" x 36" x 1.5"
$32,500.
”For God and (cross-) country, the Church Bus represents more than a spiritual journey within the family. It becomes a broader symbol of movement, freedom, and collective experience within American life. The bus serves as a vehicle that carries individuals across a vast and varied landscape, making intermittent stops along the way—gathering and depositing a diverse cast of passengers. In this way, it reflects a shared journey shaped by faith, community, and the evolving identities that define the American experience.” By using the church bus as a symbol of shared movement, belief, and community, the work reflects the ways personal history and collective experience intersect within the broader narrative of American life.
Current Perspectives (1980-2026)
Ezra Thompson
Port Jefferson Station, NYChurch Bus
oil on canvas
36 x 36 x 1.5 in
oil on canvas
36 x 36 x 1.5 in
$32,500
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Coloring Book -
oil on canvas
13" x 13" x 1.5"
$18,500.
”This work explores the role of mass-produced imagery, a democratization of art, in shaping cultural identity. Rooted in the history of coloring books as tools of art education through entertainment, the work reflects on how visual language is introduced and internalized from an early age. The painting depicts a child absorbed in coloring American superheroes of the 1980s, set within a domestic interior filled with Colonial Revival furnishings popularized after the 1976 Bicentennial. This convergence of mass culture, education, and nostalgic design reflects how national identity is constructed through everyday imagery, particularly within working-class American homes.” By connecting childhood imagery, popular culture, and domestic space, the work reflects how American identity is shaped through shared visual traditions, memory, and everyday experience across generations.
Current Perspectives (1980-2026)
oil on canvas
13" x 13" x 1.5"
$18,500.
”This work explores the role of mass-produced imagery, a democratization of art, in shaping cultural identity. Rooted in the history of coloring books as tools of art education through entertainment, the work reflects on how visual language is introduced and internalized from an early age. The painting depicts a child absorbed in coloring American superheroes of the 1980s, set within a domestic interior filled with Colonial Revival furnishings popularized after the 1976 Bicentennial. This convergence of mass culture, education, and nostalgic design reflects how national identity is constructed through everyday imagery, particularly within working-class American homes.” By connecting childhood imagery, popular culture, and domestic space, the work reflects how American identity is shaped through shared visual traditions, memory, and everyday experience across generations.
Current Perspectives (1980-2026)
Ezra Thompson
Port Jefferson Station, NYColoring Book
oil on linen
13 x 13 x 1.5 in
oil on linen
13 x 13 x 1.5 in
$18,500
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Red Flow -
PLA biopolymer
10" x 8" x 6"
$3,500.
“I created this piece using 3D computer-aided design solid modeling software to develop the form's composition, and 3D printing to create the object. It follows the “Current Perspectives” theme with its use of digital design technology and advanced fabrication systems. The material is a biopolymer formulated from a corn byproduct, which is environmentally responsible in that the waste from the fabrication process will biodegrade. Using the 3D CAD software, this sculpture can be enlarged to the scale of public artworks and created in a broad array of materials, including traditional bronze and stainless steel. This object presents as an abstract, biomorphic sculptural form characterized by continuous curvature, torsion, and asymmetrical balance.” By combining digital modeling, 3D printing, and sustainable materials, this work reflects how contemporary artists are redefining sculpture through emerging technologies while continuing the modernist exploration of abstract form and spatial movement.
Current Perspectives (1980-2026)
PLA biopolymer
10" x 8" x 6"
$3,500.
“I created this piece using 3D computer-aided design solid modeling software to develop the form's composition, and 3D printing to create the object. It follows the “Current Perspectives” theme with its use of digital design technology and advanced fabrication systems. The material is a biopolymer formulated from a corn byproduct, which is environmentally responsible in that the waste from the fabrication process will biodegrade. Using the 3D CAD software, this sculpture can be enlarged to the scale of public artworks and created in a broad array of materials, including traditional bronze and stainless steel. This object presents as an abstract, biomorphic sculptural form characterized by continuous curvature, torsion, and asymmetrical balance.” By combining digital modeling, 3D printing, and sustainable materials, this work reflects how contemporary artists are redefining sculpture through emerging technologies while continuing the modernist exploration of abstract form and spatial movement.
Current Perspectives (1980-2026)
Derek Uhlman
New Canaan, CTRed Flow
PLA biopolymer
10 x 8 x 6 in
PLA biopolymer
10 x 8 x 6 in
$3,500
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Cyclamen in Sink -
gouache
15" x 12"
$500.
“I paint in gouache and watercolor, still lifes and interior spaces, the quiet objects and rituals of daily life. Window views introduce looser, natural textures that contrast with hard reflective surfaces inside, the outdoor world paradoxically contained by the geometry of the window frame. Occasionally the indoor/outdoor relationship reverses itself, as in the form of a self-portrait in the reflection of a pot lid, or the unruliness of a plant in the sink. The prosaic subject matter opens onto larger themes: a celebration of domesticity, and its obverse — the ruminative undercurrent beneath routine.” By focusing on the overlooked rhythms of domestic life, these works reflect a contemporary perspective in which personal space, observation, and everyday experience become sites of reflection, identity, and quiet psychological depth.
Current Perspectives (1980-2026)
gouache
15" x 12"
$500.
“I paint in gouache and watercolor, still lifes and interior spaces, the quiet objects and rituals of daily life. Window views introduce looser, natural textures that contrast with hard reflective surfaces inside, the outdoor world paradoxically contained by the geometry of the window frame. Occasionally the indoor/outdoor relationship reverses itself, as in the form of a self-portrait in the reflection of a pot lid, or the unruliness of a plant in the sink. The prosaic subject matter opens onto larger themes: a celebration of domesticity, and its obverse — the ruminative undercurrent beneath routine.” By focusing on the overlooked rhythms of domestic life, these works reflect a contemporary perspective in which personal space, observation, and everyday experience become sites of reflection, identity, and quiet psychological depth.
Current Perspectives (1980-2026)
Patricia Weise
Winsted, CTCyclamen in Sink
gouache
15 x 12 in
gouache
15 x 12 in
$500
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Summer Reflection -
gouache
11" x 14"
$500.
“I paint in gouache and watercolor, still lifes and interior spaces, the quiet objects and rituals of daily life. Window views introduce looser, natural textures that contrast with hard reflective surfaces inside, the outdoor world paradoxically contained by the geometry of the window frame. Occasionally the indoor/outdoor relationship reverses itself, as in the form of a self-portrait in the reflection of a pot lid, or the unruliness of a plant in the sink. The prosaic subject matter opens onto larger themes: a celebration of domesticity, and its obverse — the ruminative undercurrent beneath routine.” By focusing on the overlooked rhythms of domestic life, these works reflect a contemporary perspective in which personal space, observation, and everyday experience become sites of reflection, identity, and quiet psychological depth.
Current Perspectives (1980-2026)
gouache
11" x 14"
$500.
“I paint in gouache and watercolor, still lifes and interior spaces, the quiet objects and rituals of daily life. Window views introduce looser, natural textures that contrast with hard reflective surfaces inside, the outdoor world paradoxically contained by the geometry of the window frame. Occasionally the indoor/outdoor relationship reverses itself, as in the form of a self-portrait in the reflection of a pot lid, or the unruliness of a plant in the sink. The prosaic subject matter opens onto larger themes: a celebration of domesticity, and its obverse — the ruminative undercurrent beneath routine.” By focusing on the overlooked rhythms of domestic life, these works reflect a contemporary perspective in which personal space, observation, and everyday experience become sites of reflection, identity, and quiet psychological depth.
Current Perspectives (1980-2026)
Patricia Weise
Winsted, CTSummer Reflection
gouache
11 x 14 in
gouache
11 x 14 in
$500
INQUIRE
Catalog
