Maria Ritter
Maria Macedonio-Ritter redefines the art of painting in her
most avant-garde work to date titled, Our Last Supper. The
artist eliminates any form of painting support by using
latex color fields that are dried on polypropylene and
peeled. The peeled paint becomes the only surface and is
able to be viewed from both sides. There are two generic
hues used in the work to symbolize sky and land and aid in
simplifying the figurative image. The piece is an
appropriation of Leonardo's Last Supper and explores our
twenty-first century environmental zeitgeist using an iconic
image which embraces self-sacrifice.
As we mindlessly consume during a time of abundance, or
supper if you will, we must be aware that much of the
availability of our natural resources for generations to
come is contingent upon our daily habits of today.
Mariellart@optonline.net
www.centerforvisualarts.com
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Lorena Salcedo-Watson
Lorena Salcedo-Watson is an artist and printmaker. Her
current work consists of large-scale drawings, paintings,
and prints. Her imagery focuses on the structures and
essential qualities of life forms. Based on a fascination
with human anatomy, botany, and entomology, she creates
imaginary "landscapes" which transform and re-interpret
aspects of nature, filtering through personal experience,
observation, and imagination. Her professional work has
primarily been in the field of printmaking. She has worked
as a master printer and collaborator, involved in developing
projects with artists utilizing a broad range of printmaking
techniques. She taught intaglio printmaking at Cooper Union,
and is currently teaching printmaking at Stony Brook
University. Recent exhibitions include; Marist College Art
Gallery, the Jeanie Tegelsen Gallery of the Long Island Art
League, and The Staller Center Art Gallery in Stony Brook.
Lorena received her BFA degree from The Cooper Union in
N.Y.C. and her MFA degree from Stony Brook University.
lsalcedowatson@optonline.net |
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Bill Shillalies
My work takes its influences from the natural forces in our
environment. I find
physical impulses are represented in both the process of
creating the
work and finished piece. I am drawn to rack formations and
organic beauty
that surrounds us and the change of seasons.
Exhibits:
-June 2009- 11th Annual Invitational Unison Sculpture
Exhibition
Unison Outdoor Sculpture Garden- New Paltz, NY
-March 2009- MADE
Architectural Digest Home Design Show-Pier 94, 12th Ave.
55th Street, NYC
-January 2009- Texture, Fire, Color
Lobby Art Gallery- Patchogue Theater- Patchogue, NY
-November 2008- Alpan 101
Alpan Gallery- Huntington, NY
William.Shillalies@ncc.edu |
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Sally Shore
Historically, ribbons have been used as trims (folded,
pleated, stitched, gathered and wired) and woven together
for clothing, blankets, pillows, book covers hats and
purses.
I love to experiment with plain weave, twill weave, and
basket weaves combining widths, textures and colors in
layers much as a painter layers paint on a canvas. I am now
using ribbon as the medium for the Asian basket weaving
technique called anyam gila, or the “mad weave”. This
tri-axial structure can form dozens of visual tricks emerge
by varying the color, value and placement of the ribbons.
I have participated in numerous solo and group exhibits and
competitions across the U.S., and I regularly teach for
guilds and small groups. I recently published "A Ribbon
Weaver’s Handbook" containing photographically illustrated
instructions for six weave structures using ribbons.
www.ribbonweaver.net |
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Richard Smith
Richard Smith. Born 1931 England. First One Man Show in New
York 1961. Exhibitions world wide since including Tate
Gallery, Walker Art Institute, MIT, Ferrara Italy, and in
several Biennales including Sao Paulo (First Prize) Venice
in 1966 and 70 (One Man Show). Collections include Tate
Gallery, Museum of Modern Art, Guggenheim, New York and
Walker Art Institute, Minneapolis. After many years in New
York City, he now lives with his family in Patchogue.
rsmithny@mac.com
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Robert Toedter
Robert Toedter is an Assistant Professor of Photography and
Photography Area Coordinator in the Art Department at Nassau
Community College in Garden City, New York. He received his
B.F.A. from the Rhode Island School of Design and his M.F.A.
from Massachusetts College of Art. His photographs explore
the history and impact of industrialization on the American
landscape. His photographs have been exhibited in galleries,
museums, and universities both nationally and
internationally, and have appeared in The New York Times,
The Atlanta Journal, Art Papers, and Photography Quarterly.
www.toedter.org |
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