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Andrew Bernard

I create these images with my IPhone by the way of “deliberate” misuse of its panoramic camera function. My Pano-Sabotage images are one of a kind taken as I move, twist, and paint with the camera. There is no post editing or photoshop. My goal is to distort the reality of the "moments" that compose my image to create a new one, that is enhanced by the digital glitches of color, objects, and movement.   

Meryl Blinder

"In my geometric paintings, drafted contours make patterns which are a platform for the interaction of colors. The color choices play with the forward and back of spatial illusion, often confounding expectations of figure and ground. The visual effect of color continuity can run across multiple surfaces and platforms as in the Phosphorescent triptych." - Meryl Blinder

Cathy Corcione

"Striving to capture a dreamy kind of light and a certain stillness of movement, I add layer upon layer and tone upon tone to bring to the surface of the paintings a diffused softness and somewhat complicated simplicity." - Cathy Corcione

Darrell George

"My paintings could be a result of an evolving relationship the individual has with the physical and spiritual world, and making those two parts whole. I’m in search of the fleeting moment that exists between what is real and its abstract counterpart.

The by product of this ideal lends to a greater potential of not fully knowing the outcome, but I would never want to be completely convinced of what I’m doing with the paint; otherwise there would be nothing left for me to look forward to…"

Ellen Martin + Kevin Hinkle

Ellen Martin has always admired Kevin Hinkle’s photography and felt comfortable asking him to use photographs from her abandoned series as a base for his own fusion technique. The series encompasses pictures of houses, warehouses, stores, gas stations, and cars, and was completed over the course of several years. “This wasn’t my first collaboration,” says Ellen. “I’m always excited to see how other artists will transform and reimagine my work. It brings new life into it.”


This was Kevin’s first time working with a series of photos from another artist. Without any limitations imposed, he began to experiment with a variety of his own photographs to layer with hers. At first, Kevin went for moody, haunting types of images that leaned into Ellen’s abandoned theme. Later he gravitated towards a range of styles from minimalist to lush which were less tied to the concept of abandoned things and more towards composites (fusions) that he found aesthetically pleasing (whether it be due to a certain graphic quality or color). 


“It was a great pleasure to engage in this type of collaboration because it incorporates two points of view, and the process has helped me think about and envision possible future collaborations. Making composites resulted in an evolution in my art practice, and I expect this collaborative process to have a similar effect. I’m excited to be able to show, for the first time, a series of works created through a collaboration with artist and curator, Ellen Martin,” said Kevin.