Annetta Gregory

Annetta spent her youth on a farm in Northeastern Oklahoma . Her love of art formed at an early age as she drew paper dolls and their clothes for her three little sisters to play with. This interest continued throughout high school. There was a detour of twenty five years while she received a degree in secondary education, worked and raised a family. In her mid-forties she picked up the brush again. After experimenting with acrylic, watercolor, and pastel she ended up picking oil as her medium of choice.

The flexibility and rich juicy texture of oil fits the style of her art best. She is known for painting mostly domestic animals capturing a bit of their soul in each work. Her pieces are full of brilliant rich vibrant color and her love of animals is obvious. Being mostly self taught with local classes, workshops, videos and books being the main sources of education. she has taken workshops with many well know artists' including Dorthy Dent, Dana Jester, Susan Edgemon, Josie Fitzgerald, Desmond O'Hagan, Kim Casebeer, Nancy Medina, Dreama Perry, and Charles Peer. She is a member of Artists of Northwest Arkansas, Plein Air Painters of the Ozarks and the Ozark Pastel Society. Her work hangs in private collections in most of the 50 states. She now Lives and works full time as an artist in Siloam Springs Arkansas surrounded by the beauty of the Ozark Mountains.

Annie Maguire

Annie Edmondson

Annie Edmondson, a Fayetteville artist, has been creating metal art for over 20 years. The challenge of welding different types of scrap metal, along with the various shapes and textures allows her to create one-of-a-kind sculptures. Her weather proof metal art is suitable for indoor or outdoor installation. Rusted or brightly painted, these unique sculptures always have a story to tell.

Besides creating yard art, Annie will also create personalized commissioned pieces upon request. As winner of two art competitions, Annie's metal art sculptures are now a part of the Hot Springs Sculpture Garden and the Botanical Garden of the Ozarks permanent collection. She also has another sculpture in the Botanical Garden. She taught art in school, summer camps, and to at risk youth for many years. She occasionally teaches art classes at the Community Creative Center.


Alli Woods Frederick

Everyone and everything carries darkness within, and within that darkness lies beauty, love and honesty.  These are the tales I tell – the beauty that lies hidden in the darkness…stories drawn from the depths of the heart; from histories that teeter on the verge of oblivion; from daydreams and nightmares.

I often utilize self-portraiture to explore emotions and experiences in unusual ways.  Fragments of our Jungian past are archived; motes of moments that, without preservation, would fade without notice into the thin wisps of dust and fog from which fragile, half-remembered dreams are born.  This is achieved through the juxtaposition of contradictory and contrasting elements in addition to the interplay of light and shadow and the manipulation of tone and texture.

Though I begin with a clear vision of the image, intuition is given free reign. Impulse is allowed to transform the photograph at any point, sometimes with camera in hand, others once editing is underway.  This freedom allows for visual refinement while maintaining the original intent of the piece.


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Ashley Kaye Gardner

I am an ex Mormon artist who uses photography to explore issues of home, ancestry, family, connectivity and belonging. I am acutely aware of what it means to be simultaneously an insider and an outsider. Since my childhood my family rarely talks about sexuality and gender roles. Such topics are dismissed by words like obedience, faith, and sin instead of examining how I have strayed from the prescriptions of the church. 

This work explores my own identity and cultural belonging by engaging with such themes as pleasure, sexuality, and the self-imposed exile I perpetuate with my daily choices. By confronting the viewer with imagery and objects that invite them to engage in an uncomfortable act, I am attempting to find a metaphor for the growing divide between my family and I. 

This has me questioning where I fit in and how to move forward. The intimacy I share with my partner has opened a new space for discovery and vulnerability where I can explore my identity openly and honestly. 

Carol Corning

Carol Corning was born in 1955 and grew up on a 150 acre farm in a family of ten. She uses found objects and fused glass to take the viewer back to a time when families ate, worked , and played together.

My latest works are inspired by my mother who was an avid quilter. The glass quilts are reminiscent of the quilts she made for her children, grandchildren and friends. Whether I’m assembling quilt block or creating scenes of women from the era I grew up in, my stories are about a simpler time. I recall everything important happening in the kitchen around the table. Evenings were filled with dominos, poker games, sewing, studying, cooking and even bathing in a #2 Washtub during the winter. My attempt is to recreate shared memories that evoke emotion my viewers who have have lived during that time or have heard stories passed down from their parents. I am drawn to color and light through the use of glass and my work is constantly changing as I experiment with glass and found objects.


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Cindy Arsaga

Cindy Arsaga lives in Winslow, AR, a short drive from Fayetteville.  She has several acres on a mountaintop and in the summer, she mows a lot.  She and her family own a coffee roaster and restaurant business in Fayetteville, which they founded in 1992.  She is involved with local city issues in Fayetteville and is a board member of Ozark Folkways in Winslow. And a studio artist at 3 East Mountain, just off the Fayetteville Square. 

Her work is mainly mixed media, and often combines encaustic medium with imagery from my own photographs.  Encaustic is a term used for a mixture of beeswax and damar resin, which is applied in a molten state to a receptive surface.  In much of her work printed imagery is included with materials that have been gathered randomly, and assembled in layers on a paper or masonite substrate. She also works with photo transfers over assembled backgrounds, and with assemblage as the primary focus and encaustic as a binder or sealer.

She gravitates to natural imagery and outdoors scenes, and enjoys driving back roads collecting images as they catch her eye.  Much of her work is monochromatic and moody, and there are a lot of birds, which she is very fond of, particularly crows.


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Chris Weaver

"Talking about art is like French kissing on the telephone.”
-Terry Allen: visual artist, musician, songwriter

"Brevity is the soul of wit.”
-William Shakespeare: Playwright


In describing my sculpture, I would simply say it is a search for form and meaning —
with a little humor thrown in.


 Photo by Geoffrey Berliner

Photo by Geoffrey Berliner

Chuck Davis

This is who I am. This is who we are. And the place where we live.

Upon an Ozark Plateau, are the people of Northwest Arkansas, a place emerging from generations of poverty yet arriving today as one of the best locations to be in the United States.

New and recent residents live in the shadow of the world’s largest poultry producer, largest truck line, and home to the largest retailer. Tyson Foods, J.B. Hunt Transportation, and Walmart have a dramatic urban investment underway to attract FORTUNE 500 transplants, creating a schism, and a vortex of values. Power and promise mix at every socio-economic stratum, in this two-year social documentary – the ‘Nexus of Northwest Arkansas’.


Dale Heath

Dale Heath studied art at Pratt Institute in New York City in the 1960s and with William Christenberry at the Corcoran School of the Arts and Sciences in Washington DC in the 1990s.  She has exhibited at the Corcoran Gallery and at the Visionary Art Museum in Baltimore, and is a member of the artist cooperative Fenix Fayetteville.  She lives in Fayetteville with her daughter, her son-in-law, and her twelve-year old grandson.

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I appreciate the tender and the terrifying and I seek to merge these elements in my work.  

The images come about in the process of making marks and the effort to divest myself of what I know.  Both occur if and when I let go of my own idea and the limits of my vision, and follow the work where it needs to go. 

I like the fluidity of house paints and big brushes, especially when combined with the tentative and fragile nature of cardboard. 

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David Bachman

David grew up and spent his early twenties in south Florida. He received his MFA degree from Florida State University. David taught art in Florida for five years before moving to Texas where taught drawing and design at San Jacinto College.

He and his family have lived in Fayetteville for the last forty years. The motifs and colors of south Florida have greatly influenced his mixed media paintings. His individual style is easily recognizable and hangs in private collections through the U.S.

Over the last ten years he has developed the habit of doing mixed media drawings before going to bed. He calls this his nocturnal musings, and they are very different from his daytime paintings. Sometimes he starts with an image (figure); at other times he just starts with some random marks, smudges, etc. and see where it takes him. In these nocturnal musings he experiments with media such as charcoal, prism colors, printing ink, watercolor, grease penicl, show polish, collage, etc.

Artist Statement: Adjusting internal magnifying glasses and rear view mirror can be tricky at times.

Don House

 

Born in California and raised in Texas, Germany, Austria, Missouri, and Michigan, photographer Don House attended the University of Michigan and Wayne State University before being drawn to the rugged isolation and unique character of the Ozark Mountains. For over thirty years, he has photographed the human and natural landscape of the region. Known for his powerful and rich black-and-white imagery, his work has been featured in publications as diverse as Boy’s Life, Forbes, Women’s World, Arkansas Life, and The Wall Street Journal, and is collected and exhibited throughout the country


Doug Randall

Doug Randall was born in upstate New York in 1946. As a child, he was introduced to art by watching the plein air artists painting the fall foliage in the Lake District. After attending the Holden School of Art in 1974, he didn’t get the urge to paint again until 1993. In 2002 he and friend, artist Sherna Cockrill had a two artist show at the Off Broadway Gallery in London, England. He has shown his work in several galleries in the Midwest, as well as his own Gallery, the Rocky Creek Art Gallery in Fayetteville, AR.

“I call my art ‘Mindscapes’ I see what I want to see in my mind and I paint it. They are a composite of places and experiences, which create illusion and emotion. My work could be abstract, impressionistic or traditional. I love the play of colors and how they compliment each other. Many of my patrons have said ‘It reminds me of a place that I’ve been too before,” and for me that’s what it is all about.’”


Ed Pennebaker

Ed Pennebaker is a visual artist whose studio is in Clinton, Arkansas.  He has lived and worked as a craftsman and sculptor in Arkansas since 1985.

My works are statements about environmental concerns at the local, regional, or national level.  I have made work about seismic activity caused by fracking in Van Buren County (and other counties in Arkansas) and across the nation.  Titles of some of the sculpture series I have worked on and continue to revisit occasionally are  “Crepuscular Landscape”, “Eluvium: the place of origin”, and “Formations”.

These latest sculptures have combined glass with various metals (fabricated, found, or cast), stone, and sometimes wood or found objects.  My background and interest in various glass techniques helps me include some form of it in almost anything I do.  Besides working with hot glass at the furnace I have used flame working, hot casting, cold working, and fusing to develop my ideas.  I continually strive to make a statement that is about more than just the seductiveness of the glass.  I am interested in the Glass Secessionist group and the idea of moving beyond a craftsman in glass to artistic expression using whatever media necessary to develop the content of the artwork.


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Eugene Sargent

 


Hank Kaminsky

 

My earliest work and educational experience is in the field of science and particularly electronics. I have worked as a test engineer at Hazeltine Electronics, American Bosch Arma Corp. and at S&M Products Corp. in NYC (where I helped design a golf playing machine). My interest in the technology of art is reflected in my work at the Cooper Union in NYC (where I was employed as the facilities manager for the sculpture and architecture technical studios from 1967-1970) and before that at Queens College where I served as ceramics technician while a student there. I operated a bronze foundry in my home and on one of my two European trips. Since 1971 I have been working with a technique I call "Sand-Matrix Design". An example of this technique can be seen in the sculpture "Miracle of the Double Helix" which I installed in 1997 in Little Rock at the University of Arkansas for Medical Sciences and more recently the World Peace Prayer fountain sculpture.

My sculptures these days are little poems about the nature of god and the peace that comes from knowing that no matter how scattered or chaotic our understanding we are still connected to greater truths.


Heather Younger Morton

Heather Younger Morton is an conceptual artist with her MFA in Visual Art from the University of Nevada Las Vegas. Named after the first ever woman gemologist, she is a Eunice Miles Full Tuition Scholarship Recipient from the Gemologist Institute of America, and is on track to graduate as a Graduate Gemologist this year. Heather's interests in the subjective theory of value, the pressure of time, and analytical communication flows throughout her relationships, artwork, and day to day as an independent brand ambassador. She enjoys leadership roles, and has been a teaching artist for 12 years with a passion for educating students of all ages. 

"Aiming to form a human connection, my work exists to assist the viewer down a path of self reflection. I'm very interested in progress and what we have to show for it. I'm always reaching to communicate reflections of everyday observations and personal conflicts. Through it's nature, the art I create is flooded with validation, confrontation, and introspection."


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Helen Maringer


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Hisae Yale


Jan Gosnell

Jan Gosnell

I draw and paint pictures. The source of my inspiration is both the objective world of the senses and that of the imagination. The resulting pieces by my hand have been those which initially sprang from reason and will, but in the process of manifestation, have succumbed to intent and intuition. The process and completion of each work in itself expresses the purpose of my intentions


Janis Ward

Janis is a watercolor artist from Pine Bluff who now divides her time between Pompano Beach, FL, Little Rock, and Fayetteville, where she has lived for over five years. 

In Florida, she is an active member of the Gold Coast Watercolor Society (GCWS) and the national league of American Pen Women. She is a signature member of hte Mid-Southern Watercolor Society (MSW) in Little Rock and has had a painting accepted into a National Watercolor Society Show (NWS) in California. She has been active in the Artists of Northwest Arkansas, the former Underground on the square and is currently a member of Fenix.

"I paint because I love to escape into the delights of color, shapes and subject matter, putting all these elements on paper to create the beauty of a captured moment. The memories caught through painting bring joy to my heart for many years as well as the amazing artists whom I have studied under across the country. My favorite teacher has been Douglas Walton of Ruston, LA who taught me not only how to paint what we see around is in pleasing ways, but also how to enjoy what life brings us."


Jaquita Ball

A nationally recognized and collected professional artist for over 40 years, Ball has no desire to retire from her profession. "Seriously," she says, "Why give up a job you love and enjoy going to every day!"

Ball’s art is her voice on issues, such as environment, climate change, animal rights, mean girl bullying, women’s rights, health care, immigration, historical tragedies, racial and gender equality, spirituality ... so much is interwoven into her pieces. She is not a “throw it in your face” artist, so her art can be enjoyed for just the pureness of color or subtlety of a storm. Ball also enjoys creating art for just decorative pleasure, especially in the abstract or plein aire. It is all about the creative process, an image in her mind from the past, an incident on the news, a reflective moment that almost always is manifested as a painting in her mind.

Red Cat Art in Bentonville, AR is Ball's studio where she goes to create almost every day, from large fine art paintings to handmade jewelry to small wonders she calls wall jewelry. She offers several price points and can custom create to your specifications. Rest assured, with a career that spans from being a courtroom artist on a national scale to a successful career as a marketing/business development/media relations executive to the return to fine art, Ball’s collections will have something for most anyone.


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Jo Ann Kaminsky

 


Joel Armstrong

As an installation artist, the entire gallery becomes my canvas. My art is an extension of real life and offers connections with memories, feelings, and expressions that the steady sound of a sprinkler can resurrect, or the bright sounds a happy bird can bring to mind. I tell stories that reflect our human experience. 

In graduate school, I questioned the idea of what a drawing is, or can be. Instead of traditional materials, I chose baling wire, because it most naturally defined me. The sturdiness of the metal, combined with its soft subtle curves makes wire a great drawing instrument. I create wire drawings of everyday items, which I finish off with a rust patina that intentionally references back to my childhood memories of living on the gulf coast of Texas.

Time and space are integral to my compositions. I collect wire drawings into gatherings that either attach to the walls or suspend from the ceiling. I add sounds, light and sometimes even smells the work together with the drawings to create a multisensory environment. My aim is to make people feel at home and offer them time to absorb each piece and to be a part of something special, something bigger.


Karla Walden Caraway

“In contrast to today’s rushed and often confusing world, my artworks tend to be quiet and contemplative, and offer a space that can encourage viewers to slow down and ponder a bit. The contradictions in my work, which are evident, help bring this introspection about. At once both orderly and chaotic, precise and playful, analytic and intuitive, these opposing forces push and pull each other, and in their interaction comes an unexpected harmony that reflects the natures of both our inner and outer worlds.”

Karla Walden Caraway has been working recently in the media of silverpoint drawing, ink and watercolor, but also enjoys oils, woodcut printmaking, and batik. She received her B.A. in Drawing, Painting, and Printmaking from the College of the Ozarks in Missouri and continued studying studio art and art education at the University of Arkansas. After a career teaching high school art, she believes working closely with students has led her to a more personal approach to artmaking and ideas. She has conducted teacher workshops at Crystal Bridges, studied the history of American and Asian art, and teaches private art lessons. Born in Arkansas, Fayetteville has been her home for over 35 years.


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Kat Wilson

Kat Wilson is a Bentonville based artist. She received her MFA from the UARK’s School of Art and is the co-founder of Bottle Rocket gallery. Wilson’s work has been exhibited, performed, published regionally and internationally. Notable displays of her work include the Louvre, Los Angeles Times, 21C Bentonville, Crystal Bridges Museum of American Art, the Washington Post, and Communication Arts.

Wilson’s newest series, Layers, brings complexity to natural spaces, drawing forth a human element with the desire for a sound bite in time. Wilson gathers images from varying degrees, often pulling information in a complete 360*, then layers one on top of the other in an effort to tell a broader story of the scene while staying true to a painterly quintessence.


Kellie Lehr

Kellie Lehr lives and works in Fayetteville, AR. After receiving her B.S.B.A. in International Economics, Lehr lived in Russia and California before returning to Arkansas in 2007. Her work in high tech marketing has influenced her work as a painter. She has spent the last 4 years studying in the Drawing and Painting program at the University of Arkansas and her work is in private collections in Arkansas, California and Canada. Her work was recently selected for the 59th Annual Delta Exhibition at the Arkansas Arts Center in Little Rock, AR. She has been in numerous juried exhibitions and was an award winner at the 2017 Annual SAAC Juried Art Competition in El Dorado, AR. Her work was recently on display at 21c Museum Hotel Bentonville as part of their Elevate program featuring regional artists August 2017 – March 2018. Lehr is represented by Boswell Mourot Fine Art Gallery in Little Rock, AR.


Laurie Foster

Laurie Foster, a native of St. Louis, has been a resident of Fayetteville for 17 years. She is a retired public school art teacher. Her teaching background has led to an interest in a variety of art materials: ceramics, fibers, and printmaking. These media are often combined to create rich surface textures in her designs.

As a child, I was very shy and more comfortable with animals than humans, so is seems inevitable that my artwork is based on the interconnectedness of the human and animal kingdoms. I create anthropomorphic 3-dimensional clay and cloth figures that emerge from miniature environments to tell mute, sometimes whimsical tales. Often the atmosphere hints of mystery and foreboding, other times comical, suggesting human foibles. My sources are varied: historic, cultural, mythic, folktales, or life experience.


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Margaret Correll

There was always the disconnect.  As a young woman I was fortunate to have had some extraordinary art training despite being all the while haunted with a dark inner/emotional life.  Educated in the 70’s, I was influenced by artists & mentors who were vigorously straining at the boundaries of art in Los Angeles (Otis Art Institute), NYC ( The Whitney), and Minneapolis (MCAD).  Though I found some success & comfort with the heady and philosophical worlds of abstract/installation/conceptual art, I was ever aware that the formalism ran counter to the inner spiritual/emotional world I inhabited.

After marriage and the birth of my son I began earnestly mining my own life's subject matter in my art.  I explored themes of disconnection and loss primarily in printmaking and collage.   With my son’s death in 2008 I continued in this vein, always intuitively, often in agony of despair, to seek expression in the pain of loss.  This will always be an aspect of my work, most recently in series paintings of dead flowers.

Teaching figure drawing at NWACC led me to create a new genre: the Self-Figure.  Beginning with contour drawings of myself nude, expressive, physically reaching; I’d found another way to synthesize inner pain, with beauty and aging.  The Self-Figure became ever more expressive in large canvas oils.  Many of these works feature flamboyant gowns & hats (wearable emotions) and multiple figures rendered in vibrant and atonal colors.

As I age I increasingly see art as embodying a sort of connective filament: a binding force between people, the living & the dead, the cosmic & the temporal.  My latest series springs from the ancient Finnish myth- the forest goddess Meilikki who pulled the bear (Ursa Major) from the stars and placed him in the forest.  Hunters worshipped her.  As in many myths, this is the quintessential connection between the Natural & Cosmic spheres.  I use collage (including Prisma & fabric) to meld Venetian Renaissance and Nordic imagery which speaks to the expansiveness of the concept.


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Martha Litton Guirl

I received my B.A in Art History and Fine Arts at the University of Arkansas. I am a Fayetteville native and 3rd generation artist. I grew up exploring the Art Institute of Chicago every summer during family vacations. Joseph Cornell’s work impacted me from an early age and the seeds of assemblage were planted. Collecting found objects is a passion for me. I really enjoy it when people give me things they have found as well to use in my artwork. Sometimes it can take months to years for pieces to finally come together. I work intuitively with materials and let the shapes, textures, and symbolism dictate how they should be placed together.

I enjoy putting objects together that don’t have an immediate relationship. I am drawn to skeletal and botanical items that when blended together create intriguing connections visually and conceptually. I like the challenge of finding an artistic association of contrasting objects. I love everything vintage and am compelled by the hidden history.

“Nature has its own coherence and structure and the artist need only watch for it and capture it.”

Donald Harington


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Martha Molina


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Mary Collins


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Matt Miller

For the past 3 years I have been painting figures in meditative positions represented by a figure sitting indian style and looking into the horizon radiating energy form that calm state of presence. These paintings are very explicative of how my art is not about achieving one thing or another but who I become in pursuit of it.

Painting actually is a mediatation in action, Yet I always feel there is deeper work to do. When I paint I find a state of flow, and find myself in deep involvement of my subconscious mind.

This series is called “Warriors of the Light”. Always searching for the light within and understanding it is precisely when the woods are quiet and danger is near. A lesson to always be in a state of preparedness for ones next challenge.


Megan Chapman

Megan Chapman's abstract mixed media paintings are an intuitive, visual diary of her interior language. The foundation of her work is in the balancing of shape and line with color, texture, and atmosphere. Chapman enjoys creating meditative places to get lost in, as well as dynamic spaces to explore relationships — such as how we dance between our inner and outer selves and each other. Her work uses color to explore our connection to the world as we navigate the push and pull of life. Megan Chapman's paintings are in collections throughout the United States, Europe, Canada, and Australia. Chapman was born and raised in Fayetteville Arkansas, earned a BFA with honors in painting from the University of Oregon, and currently lives and works in Edinburgh, Scotland.


MM Kent

“Painting is what I do to make sure I’m really seeing the world around me and appreciating it.”

My mother was a great facilitator so I learned to draw early,  painted a picture every year or so and as a young man took a couple of classes in drawing and design at the University of Texas in Austin.  After University I moved to Arkansas and became a “generalist” (carpenter, farmer, plumber, electrician, etc.) applying my creative energy to the many tasks of rural life and raising children in Stone County, Arkansas.

In 1986 I started painting in earnest, studying techniques of Impressionism and Realism with a few instructors, but mostly I’ve followed my own course. Over the last 32 years, my work has been shown in 14 states and has won top prizes in several national competitions, including an Award of Excellence at the American Impressionist Society’s 2011 National Juried Show in  Carmel, California.

After living at the end of the road for over 30 years, my wife, Anne and I moved to Fayetteville in 2003, where the community has been an inspiration for my artwork. My work includes figure painting, landscapes, street scenes and still life but I have yet to paint my masterpiece.

 


Nathan Mabry

Nathan Jay Mabry

Nathan Jay Mabry creates portrait and figure works that blend realism, figurative abstraction and pure abstract design. He works in acrylic and mixed media. In his work he ponders Mental Health, Human Interaction, Communication, Perception and Socialism.

I am not my mental illness, there is much more to me, but it is a part of me and my work often deals with mental health as a subject and a process. My bipolar disorder allows, inspires, forces me to work in a manic space of automatic design and expressive action, while at other times conversely allowing, inspiring, forcing me to work in a depressive space of controlled design while using tedious work as a means of mindful meditation. This isn't to romanticize mental illness, but to accept myself and to utilize my brain to the best of my ability. Early development of my current style came as a means of combating Obsessive Compulsive Disorder as a teenager. My work often plays in the fields and themes of psychology, sociology, philosophy, perception and communication. I am working on finding a balance between realism, figurative abstraction and pure abstract to convey human nature as a malleable, dissonant, joyous mystery. I have a great passion for performance and written word. I also very much enjoy socialism. I don't want to put too much claim on myself as this-or-that artistically quite yet because I am young, I enjoy experimenting in different forms and art is a means of growth.


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Pat Hennon

Painting is about finding rhythms; rhythms between color, shape, form, and feelings.  My art is also about geometry and the thin borders between abstraction and realism.  I’m interested in how these different elements in painting interact with each other and what happens spontaneously on canvas or board because of those connections.

Landscape, figurative and symbolic images are the painting categories I work within.  In each category the other two aspects may also be present.  For example, a landscape painting may include figurative representation and/or have a symbolic relationship to nature.  I depict strong emotionalism in my artwork.

It’s the tension of opposites I try and hold within my work and myself.  Then a third thing can occur like a realization or an experiment that leads into a new energy.  For me, it takes a creative venue to actualize my own authenticity.  The art medium becomes a mirror for my deeper real self to continue to emerge.  My artwork, also, grows deeper, becomes a reflection of myself.


Roberta Katz-Messenger

Stained glass has a compelling fascination for me even after many years in the medium. It is all about light. Powered by the sun, stained glass stirs us with the power of the sun’s aesthetic. The very design of our eyes mirrors the shape of the sun.

In commission situations, I work with my clients to discover what they love and then seek an image that will serve as a mandala or centering device, inspiring and enriching their days as the sun brings it to life. My inspiration is often the creatures and vegetation that honor my days and dreams or I might play with circular mandala images or just let the glass do the talking.

My husband Steve says he’s the tactical member of the team with years of experience in glass construction and installation.  We have an owner-built showroom and construction facility in Clinton, Arkansas. We have designed and built stained glass for many applications over the region including gallery shows and fairs, 26 churches, public installations, and restorations,.  For 17 years we operated Pentacle Gallery of fine art and fine craft showing our own work and that of over 100 other artists and fine craftsmen. 

Served as board member: North Central Arkansas Foundation for the Arts and Education;     Arkansas Craft School; Clinton Chamber of Commerce; Leadership Van Buren County; was named a Master Craftsman by the Department of Heritage; taught stained glass in classes and apprenticeships and was project manager for a public art project “Three Rivers Trail Head,” a sculpture by Hank Kaminsky in Clinton City Park.


Robin Miller Bookhout

My Joie de Vivre and life-long passion is drawing, painting and creating art work. I have a deep reverence to God and to the many influences that are part of my past and present.  
As a practicing artist, I am partial to watercolors {myfirst love} because of it’s spontaneousness and free spirit, but also enjoy creating using oil pastels, inks, and virtually all art media, including digital artworks. 


My themes resonate of God’s creations, preservation of nature, art of the heart and soul, as well as, still-lifes, historical places.  I am particularly interested in Sumi-e and Gyotaku because of their historical significance and the medium.  The intrigue with these art-forms and medium has so many similarities to the fluidity of watercolor painting, that as a result, I became fascinated with Chinese brush painting.  


My style and technique are correlated to the type of medium I am using, but I am always open and flexible to experimenting and solving artistic problems.
Continually a seeker of learning opportunities, I also enjoy plein air studies, art adventures, traveling and taking photographs of places that family/friends or I visit which later are utilized in my studio.


 Photo cred:  @ashkaye

Photo cred: @ashkaye

Rob Gordon

Photography is how I orient myself to the world. I photograph compulsively, capturing images of my life and surrounding environment. I believe that hidden within the photographic impulse are the collected memories of a lifetime.

We retain more memories than we can recall, and need only mechanisms to access them. Like Proust’s madeleine, photography and art can be these mechanisms. This generative process is central to my practice; taking a photograph can stimulate a memory, which can than lead to more involuntary memories and more photographs. One photograph leads to the next, just as one moment or one choice leads to another.

Dealing with themes of masculinity, trauma, illness, nostalgia and longing, my art interrogates the nature of memory and how the past shapes our future. Through reflecting on improvised photographs of the quotidian, I hope to strip away the veneer of everyday life and get to something vital and true.

 


Sabine Schmidt

Sabine Schmidt is an award-winning photographer, writer, and translator. Originally from Germany, she is now based in Fayetteville, Arkansas. She has translated books by Wynton Marsalis and Henry Chancellor and translates regularly for the German edition of National Geographic. Her writing has appeared in many publications in the U.S. and Germany. In photography and writing, her work is centered on understandings of house, home, rootedness, and wandering.

She is represented by Fenix Fayetteville. Schmidt is included in the 2017-2018 Registry of the Arkansas State Committee of the National Museum of Women in the Arts and is listed with the Arkansas Arts Council Artist Registry. She was named one of Ten Artistic People to Watch in 2016 by the Northwest Arkansas Democrat-Gazette. One of the winners of the Art in Its Natural State competition, she created an outdoor piece that will be displayed at the Winthrop Rockefeller Institute in central Arkansas from April 2018 to April 2019.


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Stacy Piker

 


Samuel is a visual artist from Fayetteville, AR. He has lived and worked professionally as an artist and designer in NW Arkansas for over 10 years.

Artist statement:

"My work tends to have a surrealist manner and hyper-realistic style. Charcoal is my primary medium of expression which is a give and take relationship. The physically exhausting process of putting on the charcoal and erasing it gives a raw and exposed feeling similar to subject matter. You are left with an emotional experience that sometimes gives an answer, but mostly leaves you with more questions.
As an artist I have the unique ability to creatively cultivate the world around me. I use metaphors and symbols type with portraiture to help share a narrative or an experience that others can connect to.
As a child I used art to share what I wasn’t able to share. What started out as self expression soon became a form of communication with others. I strive to reveal the light in the darkness. You sometimes have to see the bad to understand the good. Art can be used to open our eyes to the unknown and give us a renewed lens of the world and ourselves. I hope that my work gives people the chance to sit, to contemplate, and to experience a wider variety of emotions."

Steven Schneider

Artist Steven Schneider was born in Lake Charles, LA in 1955 – a time where playing outdoors was all a kid wanted to do. Having a passion for nature, science and the arts, Steven received a BS degree with a minor in Fine Arts from The University of Louisiana Lafayette (formerly USL) in 1978. He pursued his art career in Lafayette, LA as a fine artist/illustrator/graphic designer until moving to Donaldsonville, LA in 2004. There, Schneider and his wife Cynthia owned and operated Schneider Art Gallery and an award winning Cajun/Creole restaurant. The sculptural series “RiverSpirit” was inspired by walks and gatherings along the Mississippi River which ran just over the levee from Schneider’s studio.

Steven’s desire to be in nature inspired the couple to purchase a home in Goshen, AR in 2014. With 5 acres overlooking the White River, Steven designed and built an art studio on the property where he continues to create and refine his vibrant, energetic style paintings. Known as a talented colorist and landscape painter, Schneider’s works have been included in numerous shows including the “Delta Exhibition” at the Arkansas Arts Center and the Arkansas Arts Council’s “Small Works on Paper” exhibit. His work can be found in many corporate and private collections including, The Womans Hospital in Baton Rouge, LA; Belle Alliance Plantation, Donaldsonville, La.; Our Lady of Lourdes, Lafayette, LA; Gaar Law Firm, Lafayette, LA. and George’s Inc, Springdale, Ar.

Steven is a member of PAPO (Plein Air Painters of the Ozarks), ANA (Artist of Northwest Arkansas) and the Fenix Fayetteville artist collective.


Susan Idlet

I decided I would be an artist when I was a little girl. Specifically an abstract artist, living in a garret in Greenwich Village, dressed entirely in black, smoking cigarettes and drinking lots of coffee. That was my 6-year-old vision. I actively pursued this goal until I was 15 when I stopped making art altogether. That was 1970, and maybe I was having too much fun being a young hippie to focus on my art.

I finally got the courage to start up again, and today I can truly say that I AM an artist (living in NW Arkansas, wearing lots of black, drinking plenty of coffee, and happy to be an ex-smoker.)

I love clear, intense colors. I scrub my Prisma pencils down to their nubs to fully cover the white of the paper. I draw inspiration from photographs and phrases/words. Sometimes my pencils are drawn to the humorous side.

I find joy each day drawing at my kitchen table to the soundtrack of the whirring pencil sharpener and family conversation. I can’t wait to see what comes next!
 


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Teresa Hall

These works represent my ongoing series using manipulative tactics that include hammering, torching, bending and soldering, to create mixed metal collages, and in some cases, combined with painting. My focus is on painting and mixed metal collaborations. Whether I am painting or compiling metal, I am always thinking about patterns, color, and textures, and how to interpret the landsape combining realism and abstraction. My fascination for the last 15 yerars has been working with metal, found objects, and sometimes combing them with small intimate watercolors. I like to create dialogue between the cold metal surface and form a patina that can interact with my watercolors. Inspirations for my work are combined with my life experiences which included living by the oceans of California, the deserts of New Mexico, the asphalt jungles of New York, and my present life in the mountains of Northwest Arkansas. Over a 40-year span, I have had the good fortune of living in these very diverse landscapes and making many works of art from these inspiring environments which has also helped my work mature and evolve through exploration of new media. I consider myself to be in a continual state of learning and experimentation as I strive to make meaningful expressions through art. 

Through the years, I have shown work in Washington D.C., Boston, Memphis, Little Rock, and Various group exhibits in Northwest Arkansas. I studied art at the University of New Mexico in Albuquerque, the School of Visual Arts in New York, and completed my Bachelors of Fine Art in Painting at the Universiyt of Arkansas at Fayetteville, where I have lived since 1990. It is my ongoing hope to transcend and transform through the building and painting process, the spirit of nature that is such an important influence in all of my work. Life experiences and decisions have altered my work in many ways over the years, for which I am thankful, because otherwise, there would be much less meaning in my world as an artist.