#201 | Kathy Drago

www.kathydragoart.com  | (713) 410-5859 | KathyDragoArt@gmail.com

My theater background taught me to deeply examine a character internally to discover her needs and wants and then show and tell it externally with distinct body language, expressions, gestures, and rhythms. I now draw on this theatrical approach when painting women.

These women are worth painting because they reflect a full life story, each one different and distinct. Some are down, some are up, some are pissed, some are over it, and some have passed on. All originate from deep within me and their stories swirl in my head. With a small wood panel or a slightly larger canvas, using color, line, and rhythmic brush strokes, like an obituary, I try to show the essentials and tell their story.

#104 | Isabelle Dupuy

isabelle@isabelledupuy.com | (281) 923-4742 | www.isabelledupuy.com

Born in France in 1969, Isabelle Dupuy spent her childhood the country side of Provence, in Southern France. She developed her artistic skills at Ecole des Beaux Arts in Valence, France. As she continued to study, her relationship with art quickly became a passion. As Isabelle developed her own aesthetic, she took inspiration from her favorite artists, Claude Monet and Van Gogh. Her paintings are often inspired by location near her home, the French countryside.

Isabelle is an ambitious painter who will never limit her subject matter, her techniques and her style. She brings new energy to her work by isolating the most important colors, developing a more bold way of painting for maximum effect. Her art is cheerful, uplifting and stimulating. Her newest direction shows more feeling, energy and freshness while capturing a unique moment in nature.

#106 | John Hovig

artist@johnhovig.com  |  www.johnhovig.com

I explore the tension between the organic and the mechanical. What does it mean to live in an era of vast technology? My paintings, drawings and digital images are active and intense. Exuberant yet anxious, colorful and vexing, they portray mechanical objects and processes imperfectly—roughly, humanistically—in unexpected hues and unusual configurations. My background is in computer engineering, software development and artificial intelligence, but instead of embracing technology in my practice, I prefer to examine it at a distance.

Current projects include: Cycladic Riders digital prints and woodcuts (bicycle parts remixed into humanoid and equine forms); Clips & Ruler paintings and woodcut prints (paper clips, portrayed roughly, arranged symmetrically—albeit messily—around a slashing ruler); CR Mandala digital prints (Clips & Ruler paintings turned into overlapping circular complications); and Asemic Figure Drawings in ink on paper (gestural continuous-line drawings, unbroken hand-drawn lines of ink).

#114 | Joel Anderson Art

Joel@JoelAndersonArt.com  |  (713) 829-1065  |  www.JoelAndersonArt.com

I am Joel Anderson, a largely self-taught artist who incorporates digital imagery into encaustic paintings. I produce my art start-to-finish from hauling 4'x8' sheets of plywood home from Home Depot and cutting them down, mixing my own encaustic medium, and making my own frames.

My background is information technology, which I retired from professionally but carry elements of into my artwork.

I am a member artist at Archway Gallery, an active volunteer with the Visual Arts Alliance, and a frequent participant in regional art fairs/festivals including First Saturday Arts Market.

#115 | Hedwige Jacobs

www.hedwigejacobs.com

My drawings are made with simple materials (pencils, pens and markers on paper) and are drawn from a lexicon of imagery that was developed over many years and continue to grow. They usually have elements of organic growth in them such as the woven structures that are regularly featured in my work. In some cases, the drawings become the basis for my animations, using the same compositional and thematic elements - thus making the drawing come alive for a few seconds.

#302 | Sue Lorenz

midsummer_treescape.jpg

I have been driven to paint since I first inhaled the aroma of turpentine and linseed oil. It fills me with an endorphin high so addictive I have painted for more than forty years and I intend to continue until the wet brushes are removed from my cold lifeless hands. Paintings--good ones--are visual poetry, connecting to something deeply emotional in the viewer. Travel inspires my work. Seeing anew in a strange place, often I am so touched by the beauty around me that I cannot speak. An exquisite fiery sky at sunset. A foggy morning at the shore. The way light dances on the petals of a rose. Joy shining on a child's face. The way my precious shitzu looks at me as if she knows what I am thinking. Light bouncing around my kitchen as I make soup on a winter's day. Desire on a lover's face. Heart stopping moments. 

At moments like these I am overwhelmed with emotions I cannot express except by painting. It may take nine months or even nine years to bring it to life. When I paint the scene, all the amazing emotion that was there at first sight come flooding over me once again. I remember the moment, the exact color, the color of the light and how I felt on seeing it the first time. And so I write a visual poem--a new painting. Instead of finding the exact word as a poet would, I mix the exact color. I strive for rhythm, balance, strength--like a poet. Your eyes are drawn to the light as I show you my beautiful world full of peace, joy and love. When the painting is successful, you will feel the poetry too, but in a way that reflects your memories. When you are moved by my work, I feel honored to share it with you.
Sue Lorenz
September 14, 2017

#304 | Claire Cusack, Artist

ClaireCusack.com  |  (713) 409-8913  |  leticia.london@gmail.com

CLAIRE CUSACK lives in a world inspired by ordinary objects. Whether
in her native Texas or worldly travels, she invariably finds meaningful “trash” that she transforms into unexpected and exquisite sculptures.


Her artist materials are often gathered from urban intersections, rural roads, beaches, old garages, railroad tracks, and other surprising places. According to Cusack, many of the objects have individual voices that guide the unusual pairing and complex assembling of each piece.
In her constructions, she minimizes the use of glue and other fixatives, relying on precise furniture making techniques to ensure that parts are securely fitted. The perceived simplicity of the end result masks the artist’s strenuous process and meticulous attention to detail.


Cusack’s work evokes an honest passion that comes from the heart. The reinvented context of objects through her vision has many stories to tell. Ultimately, her art expresses a raw spirituality not unlike the art of many primitive cultures.

#308 | Monique Weston

sinuouschandnx.jpg

moniqueisabelle@comcast.net

I make strong focal pieces that highlight vintage architectural/industrial elements, including hinges, musical instruments, keyholes, chandelier parts, antique tools, intriguing hardware and objects that were originally designed only for function - so their beauty is transformative. My work evokes hope, renewal and endless possibilities.

I grew up in Asia as a third-culture kid. My professional background is in intelligence/kidnap and ransom. Self-trained, I've never had a formal art education, but collaborated with well-established designers, with focal pieces appearing in Vogue and popular soap operas. I sell in boutiques in TX, MA and CA, as well as Amazon Handmade. I’m also a veteran of art markets and festivals, and I absolutely love the vendor experience!

For years I designed jewelry made with traditional materials, and now I work with...everything! It's very rewarding to find an object haunted by its old glories, to glimpse its potential beauty, and to reinvent it. The result is a striking and adventurous synthesis of industrial strength and glamour.

#308 | Erik Hagen

www.erikhagenstudio.com

DEEP TIME is a term used by geologists to indicate historical perspectives much older than those of human existence. My introduction to deep time came when as a boy in Minnesota I unexpectedly found both an arrowhead and fossilized coral. This life-changing discovery began my exploration of deep time through artistic processes simulating sedimentation, erosion and fossilization. My engineering background helps me to develop alternative ways of sculpting and painting.

I incorporate slowly moving water, called “laminar flow,” to sculpt a surface dusted with plaster and pigments, harking to my training in water resources engineering. Some artwork looks like topographical landscapes as seen from 20,000 feet, while other pieces present the fossils we might leave behind in the geologic record. My stone-like work straddles the line between sculpture and painting and incorporates found objects, plaster, acrylic, pigments and resin on ripped cardboard. These wall-reliefs invite the viewer to contemplate the beauty of the colors and marks found in nature, reflect on the notion of deep time, and meditate on what is truly important in our lives.

#310 | Kristen Cliburn

www.crisworley.com/kristen-cliburn/

Kristen Cliburn’s immaculately executed canvases are visual distillations of the natural world. Cliburn views the work as allusions to the physical world through the “subtle isolation of color and light”. Their deceptively minimal appearance quickly gives way to an intense depth of presence, followed by an unanticipated sensory experience. Requiring the act of “slow seeing” Cliburn’s paintings can be positively transformative, calling on the viewer to stop, be still and contemplate.

Kristen Cliburn received her BFA in Painting at the University of Texas, Austin and her MFA in Painting from the University of Houston. She has participated in over 50 group and solo exhibitions, including several juried shows. Selected jurors include Rock Hushka (Curator of Contemporary & Northwest Art – Tacoma Art Museum), Irene Hofmann (Director & Chief Curator – SITE Santa Fe), Dave Hickey (Independent Art Critic), Larissa Harris (Curator – Queens Museum of Art), Miranda Lash (Curator of Contemporary & Modern Art – New Orleans Museum of Art).

#312 | Jen Lam Parmer

www.jenlamparmer.com

I’m a Houston based artist and absolutely obsessed with all things jewelry.  It is my passion and I could happily sit at the bench for hours on end blissfully creating little shiny things. 

My father’s only nickname for me growing up was…”The Destroyer”.  Now I’m finally allowed to play with fire, wield dangerously sharp objects, and make lots of noise.  Thankfully, I found an art where your mission is to cut, hammer, and torch metal until something beautiful is revealed.

Artistic inspiration comes from ancient mythology, numbers, scripture, family, and most of all, nature.  And from time to time, when the stars are perfectly aligned, I collaborate with my talented husband, Nathan Parmer, to create a special piece.  

I’m grateful for the many generous teachers I’ve had the opportunity to train under; including the talented jewelers at the Revere Academy in San Francisco where I refined my skills and earned the JTI Diploma.  Thank you for keeping this ancient art alive.  

My mission is to make meaningful jewelry and pass along what I've learned.  Thank you to my wonderful friends, family, and supporters alike.  I’m so grateful for the opportunity to live out my passion!