Stephen Walling

Untitled Collage I, painted wood, dyed paper, acrylic, 24 X 24, Seventeen Means of Ascent, 2008, wood, paint, 24 X 24, Bluedense, 2005, wood, paint, 22 X 48, Range, 2008, wood, paint, 24 X 48, Belgian, 2007, wood, paint, 36 X 48, Pinescape, 2008, wood, paint, 24 X 24

i'm attracted to this work for the same reasons i'm attracted to the walls in the city...color, texture, repetition, rhythm, life...see more here.

sunday church drawing

Cynthia Atwood

Extinct (detail), 2003, paint, cloth & glue on armature, vinyl dog toys, vinyl cover, 18 x 32 x 18, Hospitality, 1999, silk, velvet, rubber snakes, paint, armature, 29 x 21 x 21, Venus di Milo (detail), 2004, feather pillow, chiffon, paint, silk, buttons, 26 x 13 x 10, Listening Device, 2008, wood, rubber ears, fabric, wire, paint, 9 x 14 x 6, Fabric Drawing #4 (detail), 2004, fabric, Her Pet Question (detail), 2008, styrofoam, fabric, monkey fur, Aphrodite (detail), 2008, wood, styrofoam, fabric, 43 x 24 x 16

In my studio I am motivated by attraction to materials and the pleasure I take in handling them. I make objects that confront my body and the body of my viewer with sensuous humor and some provocation. I am interested in the unrecognizable, the repressed. What is beyond our immediate reality? What is the mystery of our associative, psychological state in regards to our perception of what is underneath our skin? Often there are details of clothing in my work, zippers, piping, button holes, referring to the fashion we cover ourselves with, our facade. My work is an exaggerated reference to the body. It reflects the paradox of intelligence opposing bestiality, the body couture. Our facade is an obsession. The materiality, sensuality, and labor invested in my work are expressions of the body.

love the sensuous tactility...see more here.

Jeannie Weissglass

yellow spin, oil on canvas, 56 x 60, white spin, oil on canvas, 69 x 73, pink calm, oil on canvas, 69 x 73, daisy blue, oil on canvas, 69 x 73

haunting, fleeting, yet hopeful moments....see more here.

Allyson Levy

Rhoaeshock Study II, 2008, Encaustic and poppy petals on wood, 15 X 15 , For Johann, 2008, poppy petals, beeswax on wood panel, 12 X 12 , Once There Were Violets, 2003, encaustic, violets, and elm on wood panel, 24 X 24, Birthday, 2008, Encaustic and plant material on wood, 17 X 18 , Ash III, 2005, plant seeds, beeswax on panel, 15 X 15

After relocating to rural upstate N.Y., I became keenly aware that the natural environment that surrounded me is never static, but constantly in a state of change. It struck me that I had never noticed the seed keys of a maple tree, or the minute differences in the shape of an ash seed, the swelling of forsythia buds.

By combining natural materials with wax, I to try to capture human interaction with nature. I hope that my treatment of these organic materials with various techniques of encaustic painting will convey the feeling of particular moments of time and how they effect human emotions.

These paintings are my attempt to portray these brief moments.

like most encaustic work, these paintings are best viewed in person, but you can get a sense of the beauty of the surfaces and the sophisticated use of simple materials from the large images on the site...see more here.

laura von rosk

Untitled, 2009, oil on wood, 12 x 12, Untitled, 2008, oil on wood, 12 x 12, Untitled, 2009, oil on wood, 12 x 10, The Fourth Place, oil on wood, 14 x 1, Shepard's Hill, 2007, oil on wood, 12 x 12, Untitled, 2008, oil on wood, 10 x 12

My goal is to create an intimate experience of vast, expansive space. By using the elements of the landscape I hope to create a kind of new reality, where memory is mixed and intertwined with an emotional response, to produce a different psychological experience, a new interpretation of place, and new possibilities.

i want to live in these clean, fairy-tale worlds...see more here.

dorothy napangardi

Sand Hills, 2005, acrylic on belgian linen, 165x124, Salt on Mina Mina, acrylic on belgian linen, 104x82, Women's Dreaming, acrylic on belgian linen, 177x104, inland sea, acrylic on belgian linen, 168x123, Salt on Mina Mina, 2004, acrylic on belgian linen, 102x72, Mina-Mina, 2005, acrylic on canvas, 120x91, Karntakurlangu Jukurrpa, 2005, acrylic on belgian linen, 165x104

When I paint, I think of the old days, as a happy little girl knowing my grandfather's dreaming.

another view of the landscape through simple marks...see more here and please take some time to read the explanation of each.

sunday church drawing

darren waterston

mt verna with wound, 2007, pigment print on innova paper, 40.5x28.5, disembodiment study, 2008, pigment print on innova paper, 40.5x28.5, when i die, 2007, watercolor and gouache on rag paper, 8x8, fate, 2006, watercolor on rag paper, 8.5x7, three moons, 2007, watercolor on rag paper, 12x10, composite no 2, 2007, watercolor and gouache on rag paper, 8x8, wounds from the flowering, (the fourfold sense), 2007, original print with hand touched and letterpress elements, 18x13, leper's conversion from the flowering (the fourfold sense), 2007, original print with hand touched and letterpress elements, 18x13

i love the sensitive touch...see lots more here.

James O'Shea

Radiotown, 2006, oil on wood panel, 48 X 72, untitled no 28, mixed media on canvas, 11.5x9.25, Forever Brightness, 2004, oil on wood panel, 48 X 36, untitled, encaustic & faux silver leaf on wood, 32x24, untitled no 4, mixed media on canvas, 12.25 x 8.75, Founder, 2007, mixed media on paper, 11 X 12

my interests of late have returned to landscape and the many varied ways in which artists interpret it...here is yet another that caught my eye...see more here and here.