Natalya's art is an extension of her commitment to using recycled and repurposed materials, a lifelong advocacy. Her detailed works are nuanced and reimagined images inspired by the lines of the urban environment. A close examination of Natalya's art reveals delightful and unexpected combinations of materials as diverse as vintage lace, plastic sheeting, and candy wrappers, layered and collaged with machine and hand stitching.
In 2009 Rich Alexander had the good fortune of meeting Illustrator Alan Reingold while Rich was designing the 9/11 firefighter Memorial in Mt. Kisco, NY. Alan encouraged him to attend his portrait classes in Mt. Kisco and at Parsons School of Design in NYC. After working with Alan for two years Rich met fine artist Geoff Barbey who instructed Rich in oil painting at his Dobbs Ferry Studio. Geoff introduced Rich to famed landscape painter John Osborne who taught traditional painting at the Ridgewood Art Institute in Ridgewood NJ and Rich has been painting at the Ridgewood Art Institute ever since.
Rich is a trained Draftsman and owned and operated a Sign Company, hand lettering signs and trucks with lettering enamels. In 1986 Rich became a New York City Fire Fighter. During his 21 year career with the FDNY Rich designed, built and painted dozens of firehouse tables all over New York City, painted murals on firehouse walls and designed many company logos. Most tables have elaborate hand painted murals and are covered in clear epoxy which will last many lifetimes.
Rich describes his transition from working in some of New York City’s busiest fire houses to working in some of the best studios around as “One of the most exciting things I’ve ever done, I’m blessed to have this opportunity. I’m drawn to anything creative, when I was in high school my father and I restored a 1958 corvette. That experience left an indelible impression. Witnessing the transformation of a broken down, dusty old non-functioning classic vehicle to an award winning sports car was awe inspiring.” Rich has renovated houses, designed Granite Memorials, and designed developed and managed production of residential lighting. “I’ve had a good run of creative experiences over the years, oil painting however has captured my heart and changed my life. I can’t imagine doing anything else. I’m devoted to developing my skills as an oil painter. The parallel between the comradery I experienced in firehouses all over New York City and the comradery I see in the studios is captivating. People helping people.” Rich is drawn to seascapes and landscapes but loves still life work as well.
For years I have been taking photographic notes and collecting imagery that serve as a collective library of imagery to draw upon when creating paintings and collages. When we look at the world we see what is in front of us but we also make connections to a lifetimes' worth of visual memories. When I work I am often weaving together images from sometimes completely different sources or perhaps intertwining multiple perspectives of the same place. I am looking to personalize and de-trivialize the situation before me through this process. The synthesis may be subtle or presented as an open dialogue as in a diptych. This conversation between imagery is at the center of my work.
The imagery has become autobiographical. Objects and scenarios from different places I have lived and visited have joined in my imagination. The light always has this extraordinary way of changing the reality of what I am photographing, painting or collaging, always suggesting transformation and a sense of an extended moment in time. As an artist, I am both reporter and manipulator.
Though I operate out of an American Realist tradition I also draw upon aesthetic inventions from Surrealism and Pop Art--all artists who represent the ordinary in extraordinary ways. Figuration, the object, and the perception of the world can be presented in infinite ways. I continue to interpret and represent my world view in an ever-evolving process.
Walter Bernard has designed and art directed many of the country’s best-known magazines and newspapers. He was art director of New Yorkmagazine for nine years, as it established a new standard for city and regional magazines. In 1977, his redesign of Time magazine (which he then art directed for the next three years) brought innovative information graphics, illustration and graphic design to the newsweekly. Other credits include the redesign of The Atlantic Monthly, Fortune magazine (1982) and Adweek, a weekly trade publication. In 1983, Bernard and his teacher, mentor, and friend Milton Glaser formed WBMG. Together, they have designed over 100 magazines and newspapers in the United States, Europe and Asia.
Bernard began his career as a designer in the art department of Ingenuemagazine. He moved to American Heritage in 1962 where he designed the World War I book. In 1964 he became the Assistant Art Director of Esquiremagazine, where he remained until he moved to New York in 1968 at the urging of Milton Glaser and Clay Felker. From 1967 to 1969 he also art directed Book World, the Sunday book review section of The Washington Post and Chicago Tribune. In 1978 Bernard designed High Tech, a seminal interior design book written by Joan Kron and Suzanne Slesin.
Julie Betts Testwuide
Julie Betts Testwuide, a photographer and artist for over three decades, focuses on the creation of timeless equine images inspired by the Impressionists. She has travelled the world to capture horses on western ranches, seaside locations, rural landscapes, and in historic barns. Her photographs have a painterly quality, focusing on simple beauty and celebrating her love of horses.
Born and educated in the Midwest, Testwuide studied photography, completing her master's degree at the University of Wisconsin. After a successful career in corporate and sport photography, she turned to fine art in search of a new outlet for her creative expression.
The natural world is a major theme in Carol’s print work. She creates multi-layered images, incorporating her photography and found objects. Recreating her impressions of natural phenomena and landscape through symmetry and order, she asks us to find new kinship in these relationships.
My practice revolves around the human form concentrating on gesture. Over the years my figures have evolved from small clay women to life sized standing cement figures. They are women; they provide a means to exploit my life through stance and gesture, through stories and relationships.
My work is in clay and in cement or the combination of these earth materials. Coloration is subtle and mostly confined to earth tones and blacks.
“Ventana Rosa II”
Shelley Dell makes images with watercolors and colored pencils on paper about the quotidia of daily life. She finds that catching moments of beauty, closely observing sunlight as it changes and passes through, over, and around objects is an amazing and fascinating thing to observe and try to catch on paper.
Shelley graduated from NYU's Steinhart School where she studied painting and printmaking. After college she was awarded a grant to study classic painting methods in Venice, Italy. She later took classes at The Art Students League and The School of Visual Arts in New York City. Shelley's earlier large-scale abstract paintings, completed in New York and Venice, were precursors of her current work. Her current projects integrate classic painting and drawing techniques with the digital world. Her more recent small-scale work concentrates on details and edges, on places where light changes direction. All are explorations that follow the path of the light.
Her work is in private collections in America, Canada, and Europe. Some galleries where she has exhibited include 55 Mercer Gallery, Henry Hicks Gallery, and 80 Washington Square East Gallery in New York City and the Palazzo Grassi in Venice, Italy. She has been selected to exhibit work in numerous juried shows in New York, New Jersey, and Connecticut. Editorial illustrations have been featured in Forbes, Newsweek, and numerous advertisements both regional and national.
Neil was born in New York City in 1958, and grew up in Dobbs Ferry N.Y. He graduated Cooper Union 1981, he worked in advertising for 12 years before returning to fine art. His mediums include drawing, painting, sculpture, photography and Photoshop.
He have had some wonderful teachers and mentors over the years; including Hans Haake, Stephen Rogers Peck, Robert Beverly Hale and D.C comic book artist Irv Novick who was a friend and neighbor.
His work has been seen in The Leslie Lohman Gallery and The Sacred Body Arts Gallery in N.Y.C, as well as the ICON gallery and the Ron Fowler Gallery in Provincetown M.A. He has also had his work exhibited at the The Edward Hopper House, and the Rockland Center for the Arts, both in Nyack N.Y. And the The Blue Door Gallery in Yonkers N.Y. Most recently at the Up Stream Gallery in Dobbs Ferry, and The Katona Museum of Art; both in N.Y.
Lorenze worked as a graphic designer for many years before transitioning to a fine-art career about 10 years ago. Free from the tethers of a deadline-driven schedule, she pursued her longtime interest in classical realism, taking classes through the New York Academy of Art and later with artist Todd Casey. Lorenze has since accrued numerous honors for her work, including awards from the Salmagundi Club and the American Women Artists.
Rafael Perez is a Los Angeles born artist whose work, oil on canvas, and watercolors on paper mostly, is a new form of magic surrealism.
Through color, light and shadow, the artist expresses an impression of nature and the quiet drama of a moment in time.
Puiatti paints primarily with oils on canvas in her Holmes, New York studio. Field studies give way to larger, representational studio works while the abstracted landscapes and the recent HORIZON Series provide a harmonious counterpoint to the artist’s oeuvre.
Her paintings hang in private and public collections throughout the US, Europe, Australia and Africa.
American studies include: The Art Students League, The School of Visual Arts, The Woodstock School of Art, and the Byrdcliffe School of Art
European studies: Stedelijke Akademie voor Schoone Kunst, Deinze, Belgium
Galleries include Oak & Oil Gallery in Katonah, NY, Mark Gruber Gallery in New Paltz, NOA Gallery in Groton, MA, Veronique Wantz Gallery, Minneapolis, Minnesota and Southport Galleries, Southport, CT.
Madge Scott, an Award and Prize Winning artist, began painting and drawing in 1997 when one of her children went missing. She found solace in her small daughters water color paint set when there was nothing else to do. She drew and painted from newspaper articles and anything colorful. Madge became fascinated with faces and practiced her drawing on anything she could get her hands on. People became interested in her work as she took her pencils and sketchbook everywhere she went, and even though she was selling her work she never took it seriously until 2005 when she was discovered by someone who prompted her to have a showing of her work. She showed 31 pieces of her work at the FRC Gallery in Hastings On Hudson, on October 28th and 29th and sold 16 pieces. Since then Madge has shown her work many times in Westchester and New York City. She has been doing commissioned work, folk art and also some spiritual pieces. She showed her work at the Consulate of Jamaica in August of 2007 and since then have shown in Libraries, Galleries, Town Halls, Universities, and at the Katonah Museum of Art two years ago and have conducted workshops at the Hudson River Museum. She has done several solo gallery shows and group shows in the New York area.
Brought up in the west by a military father and an artist mother Rachel spent much of her time in the art studio, as well she spent significant time accompanying her father hunting on horseback in the Wasatch mountains. Some of her earliest, most vivid memories are of experiences with these horses in her native Utah: from feeding them her sandwiches as a toddler, to later riding bareback in the turf farm.
Mid-way through high school, Rachel discovered her love for art making. With hard work and determination, in 1992 she was awarded a full tuition scholarship to College for Creative Studies in Detroit, Michigan. There she excelled, enjoyed and learned most media, from painting, foundry, welding to glass blowing and print making.
In 1996 White was awarded a full tuition Graduate fellowship to Alfred University. Where she focused on sculpture, installation, digital media and print making. After this she went on to practice her art professionally, attending residencies and working for artists.
A significant change happened in 2000 while a fellow at the Fine Arts Work Center in Provincetown, MA. Curious to know what the life of a “9-5er” would be, White sought out and obtained corporate employment. She landed in a creative studio in the luxury cosmetics advertising industry in New York City. She climbed the ladder from Production Assistant to Worldwide Director of (photographic) Retouching, responsible for the perfecting of the photographic image in order to render it more appealing to the luxury cosmetics clientele, using her expertise in imagery and the human figure to perfect and beautify. She then moved into management as the Director of Creative Operations Worldwide in brands such as Lancome, YSL Cosmetics, Ralph Lauren Fragrances and Tom Ford Beauty.
Finally in 2016 after 16 years Rachel White left the luxury beauty advertising industry and is now able to dedicate herself 100% professionally to her own artwork. Rachel lives and maintains her practice in her studio in Katonah, New York with her husband and two children.