Artists
Jessica Davis
Severe oddities within personal narrative are attractive; I am intrigued with the estranged persona. The majority of my painting deals with the personal narratives of people living with neuro-psychological and physical disorders. As a result of exploring such peculiarities and intimacies of peoples’ lives, I am developing a responsibility to make art as an activist for a demographic of incredible people.
My artwork is highly biology/psychology based and I find most of my imagery in fMRI scans, structural MR scans, and NK-and NKT-cell lines for my paintings and installations (although highly abstracted). I work hand in hand with many people with disabilities, so I tend to paint imagery inspired by fMRI scans that show odd functioning in the brain.
Stephen P. Koelsch
Steve Koelsch is the author of two books of poetry, published throughTrafford Publishing. The Cold Wick, and Dancing Bare. He has had numerous poemspublished in regional and national magazines, and anthologies, including Heartlands,Mobius, and Bear River Review. He has been active in promoting interest in the writtenword in various organizations, including the Newark Arts Alliance, Delaware LiteraryAssociation, and the Independent Midwest Publishers & Authors Consortium. He iscurrently an active member of Cleveland Ohio’s The Lit. He has also hosted Poetry OpenMic events, and been a featured poet at many local and regional poetry events. Steve hasbeen a participant at many workshops, including Omega Poetry Week, Kenyon ReviewAnnual Workshop, Bear River, Hollin’s Advanced Poetry Workshop, and AntiochWorkshop. Steve is also an accomplished visual artist, using the unique medium of claymonoprinting. The covers of his 2nd book, The Cold Wick, are examples of his work.
Jaysond Neill
I think I make art more for the process that leads up to the final outcome, than for the final outcome itself. With art, the unintentional can create a different angle that leads to unexpected places. Exploring the paths that these angles create is what I find intriguing…i.e. how it mimics moments in life.
I see my work as a photograph of my perceptions during an exposure in time. Some exposures are opened and closed periodically throughout the creation of a piece, and some exposures stay open for the entire creative process. This does not mean that some pieces hold more layers and depth than others. It simply means that at that time, everything in my head came out clear.
I use materials that are readily available in my environment; that are often free, but are of great value. These objects represent a true possible unmanipulated moment. However, this isn’t always the case.
w: http://jaysondneill.tumblr.com/
Carrie Ann Fruth
To me painting is a release from day-to-day routine. Each day I’m expected to be a mother, a woman, a student etc. However, when I escape into my painting, I feel only like a painter; nothing else — simple. I think about basic senses and intuition, which I use to channel and create my art. My mind is not filled with over-whelming decision making — the way it often is in our routine. We live in a fixated society that demands a decision between fifty different cereal boxes and twenty different jams.
With painting I make choices based on what’s right in the next step of the process — do I use pink next or yellow? The decisions are quick and confident; free flowing just like the paint itself.
I believe that my everyday environment is referenced in my work on an unconscious level. The candy coated colors I often use are probably related to raising two little girls, and perhaps all those squares come right back to all those cereal boxes.
My work is multi-layered, some of which are later covered up or subtracted. I am adding by subtracting: I pick and choose the things I want to keep showing. Again, much like our lives, we only share certain parts of ourselves with the rest of the world; and we choose things to keep in our lives and things to give up in order to build a greater picture.
Dinu Gavris
I learned to work with wood by watching and helping my father, Emil Gavris — a great self taught artist and woodworker — and have been working since 2002. My love for art, wood, and the wish to continue what my father started are the reasons why I do this work.
My work is influenced by innumerable things: my father’s works, other artists, music, growing up in Transylvania, my friends, and also the materials I use.
Sometimes a piece of wood will dictate what it will become quite clearly.
Another important reason why I try to make everything as well and beautiful as I can is to try to go against the disposable mentality associated with “stuff” these days. I create pieces to be used and enjoyed by others for a long time.
Thank You.
w: http://dinugavris.com/dinu/
Jeff Bell
… of central Ohio, works in sculpture,assemblage, drawing, painting, woodworking, and photography. His materials often come from found, recycled, or unwanted objects: old guitars, mandolins, pianos, and sheet music.
Bell’s djembe drums are often made from logs that sawyers have deemed unusable, or have been slated for firewood. The materials for Bell’s handmade mandolins and guitars often included salvaged wood — even from old pianos.
Other works: shaping stone.gourds.copper.wall-hanging masks. writing music.
More of Jeff Bell’s work can be seen at: www.myspace.com/jbellguitar
Athena Pribanic
My artistic ideas come from images that I see in everyday life: nature, my children, or even patterns. I think subconsciously these images spark an idea. My idea will then grow and turn into another. I can then play around with a few designs and sketch them out. This helps me decide on what will become my next piece of art. Researching other artwork also contributes to the idea. Sometimes I will see a design, maybe even a few and then begin to create an image. Once I have decided on my final idea I start to apply the image with material that can accurately depict the subject of my idea. Alongside the creation of every idea is an influence of my father, brother, mentors, and professors. These influences help to create a hidden dialogue in my work.
I do feel that my personal network of artists is very important to my completed art. They will review my work and give me their honest opinion on what they feel may need to be changed, and this can be invaluable. Sometimes they feel the piece cannot work at all, and you must then be sure of their input for fear of destroying a completed product. I do find myself using their opinion often and growing from it. It continues the dialogue of my work to see the art from another set of eyes. Also, I have been known to flip my art upside down to see any mistakes that I may not have seen before. This being the same concept as seeing it through another’s eyes, the idea is that you view your own art in another perspective and it helps you to see any flaws in the piece itself: to be removed from the artwork, to complete the idea.
w: http://pribanicart.wordpress.com/athena-pribanic/
Chris Pribanic
Chris has been creating memorable portraits for over a decade. He is Commissioned to paint portraits of women, children, families and professional athletes. Some notable clients include: VictorPetrenko, Wade Boggs, Tom Tupa, Orel Hershiser and Edgar Martinez. Chris is honored to have his paintings signed by Greg Norman, Omar Vizquel and Jim Thome. In addition,hiswork can be found in the Joe Hardy Collection at Nemacolin Woodlands.
As well as portraits, Chris has illustrated corporate benefit packages, greeting cards and advertisements; painted a collection of sports paintings for the Sawmill Creek Resort & Golf Club, and donated poster designs: to the Stein Hospice Regatta, Ducks Unlimited, and other local charities. His art work is sold in: Martha’s Vineyard, Massachusetts; Sandusky, Marblehead and Chagrin Falls, Ohio.
- American Greetings – Illustration
- Dotson Art – Illustration
- Findley-Davies – Illustration
Joshua B. Pribanic
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