Ghost Wagon 

Kathie Florsheim 

Unframed print

$1000

I make photographs because I don’t know how to do anything else. I sometimes rescue myself when the world around me is too much to cope with, by making images. I use the word Make,rather than Take, because I use a camera consciously, deliberately.I’ve been photographing for 48 years, I intend to do so for the next 48 years…or until otherwise advised.

Botanical Series 

Barbara Pagh 

photolithograph/collage, 2022

$50 each

Printmaking allows me to experiment with the multiple in different ways by printing different colors and varying the combinations of images. I rarely make an edition, except for group portfolios. I usually start my process with making paper. I work with abaca and make sheets of various sizes. Some of the three dimensional forms are from flax. I photograph on site and then alter the photographs on the computer in Photoshop. From those prints I make negatives and expose them on a light sensitive aluminum lithographic plate. I save the plates and often re-use them in different ways.

Cosmati Series #2 Number 15

Jack Massey

Paper/ Mixed Media, 1980s 

$800

Jack Massey is a professor emeritus at RISD. He grew up in Pittsburgh, PA and studied at the Albert C. Barnes Foundation and at the Carnegie Institute of Technology. After serving in World War II, he attended the Pennsylvania Academy of the FIne Arts in Philadelphia. After graduating, he was awarded a Prix de Rome and spent three years at the American Academy in Rome. He later returned there as an artist-in-residence.

He has received numerous awards and honors and has participated in many collaborative projects. 

At RISD, Jack was instrumental in establishing the European Honors Program in Rome where he was Chief Critic for a number of years. He was also a member of the artist/ architect design team that rehabilitated RISD’s once derelict Woods-Gerry Mansion which now houses RISD’s main exhibition space for student work.

The Nicaraguan Dog

John Kotula 

Acrylic and mixed medium on paper

$350 

I have thought of myself as an artist since third grade when my classmates started asking me to draw things for them.  For awhile, maybe it was only a week, I spent every recess drawing pages of airplanes, aircraft carriers, and battleships. My friends would then play war by covering the drawings all over with arcing lines that indicated a shot had been fired and scribbles that showed a hit.  I missed getting to fight the battles myself, especially making the sound effects, but  I loved being recognized for drawing the best armaments.

I have been making art continuously, at times obsessively, for about seventy years.  My choice of materials comes and goes and comes back again: pencils, paint in tubes, bottles and spray cans, charcoal, conte, ink, Sharpies (I love Sharpies!) crayons, china markers, pastels, chalk.  Over the years, I have drawn anything and everything (with the human figure as a constant) : portraits, self portraits, apples on reflective surfaces, Chinese take out cartons, Wonder Woman’s glass airplane, rubber animals, nuns, swimming goggles, copies of Caravaggio, Velasquez, Homer, Hopper and Diego Rivera.  Through all the changes in materials and subject matter, what has always been true is that I love making marks and seeing them accumulate to reveal an image.  I make prints, draw, paint, create collages, and make masks. 

Myco-Print

Wendy Wahl

Giclee, 2013

Collection of Kate Dunnigan and Josh Schurman 

In 2007 I began experimenting with mushrooms as a medium to draw with and quickly realized they were teaching me about inner and outer environments. My adventures with these weird and wonderful beings began as a foodie and for medicinal purposes many years before they appeared in the studio. The fungi kingdom helps explain the interconnectedness and inseparability of humans and all other life forms. The piece in this exhibit is from a body of work called Myceliology - defined as an aesthetic exploration of fungi beings. It is a word that combines mycelium, the vegetative part that wraps the globe and is referred to as nature’s internet, with mycology, the study of fungi. Foraging for, growing, and mark-making with mushrooms comes with variables and surprises.  It's an experiential and visual collaboration with another species. Myco-Print 2013 is an enlarged image of an original 2010 myco-drawing (16x20).  More recently, in 2019, Myceliology Diptych was exhibited in ReSeeding the City curated by Judith Tolnick Champa at the Rhode Island State House.  This project continues to evolve.

Below.

Wedding Dress

Alexandra Broches 

Mesh banner, 2019 

$800

Alexandra Broches is the first-generation daughter of Dutch Jewish parents who

arrived in New York in 1939. Her life has been shaped in many ways by being the daughter of a father who lost his family in the Holocaust. When asked how long she has been working on Letters and Pictures from a Box, she explained “in a way there are two answers, the last three years, and second, probably my whole life.”

Early series such as Markings of Loss, Traces of Presence (2001-2002) which combined her childhood drawings in juxtaposition with recent photographs

creating fresh contextual layers of meaning in works about time, place and identity.

Similarly, in 2004 and 2005 curatorial projects, Memory, Identity and Place and Sites of Memory and Honor proved to be precursors to the project Letters and Pictures from a Box. Through this project Broches continues to construct the family narrative and reflect on the process undertaken to understand who she is and

where she comes from.

Beauty in the Beast 

Viera Levitt

Photography of Brutalist Architecture (Left) UMass Dartmouth (Campanile - detail)

Photography of Brutalist Architecture (Right)

Digital Photography, 2018

$460 each

My photographs depict intimate, unnoticed visual experiences, unusual structures and architectural details and forms. I make no distinction between modern architecture or a safari. I think that a photographer can find interesting and haunting images or surprising geometric forms anywhere. My appreciation for unexpected juxtapositions in the combination of images comes from my curatorial experience. I enjoy combining and 'curating' seemingly disconnected visual elements. My perception of and appreciation for the world are often experienced through a lens and I enjoy sharing my unique vision and curiosity with others. In my work, I prefer 'straight' photography and chose not to manipulate my images on a computer.

Pallas

Michelle Henning

Digital painting created in Procreate

Printed on canvas, 2021

$250

My work consists of drawing, painting and printmaking based on studies from life. I draw my inspiration and sources primarily from nature and the human figure. I am interested in how that informs my creation of mark making, shapes and form. I look forward to the organic discoveries that are invariably unveiled with any intense study of natural form. 

I began my study of art at a small private high school in NH, then continued to study at the School of the Museum of Fine Arts in Boston for a short time. I am currently a senior at URI completing the BFA that I left unfinished and plan to continue my studies at the graduate level.

Sabretooth Tiger

Molly Kaderka

Pastel pencil and gouache, 2018

$1200

My collective body of work as an artist stems from an earnest desire to create beauty and meaning. I find the most compelling way to do this is to use my artistic practice to search for and evoke for my viewers elements of the sublime.  To experience the sublime is to simultaneously feel and cognitively understand the serendipity and the insignificance of one’s own existence, and to submit to this experience in the face of something greater and more mysterious.  This experience of both feeling and understanding how small we all are is probably unique to humans, but it is not an everyday or universal experience and it can be profoundly transformative.

I am fascinated by the innate human desire to pursue knowledge and understanding and by the processes people go through to find meaning in what they encounter in the natural world. This practice of looking to nature to evoke a sense of the sublime continues to inform my current drawings and my new series of paintings, which focus on extinction.  As we collectively face the prospect of thousands of plant and animal species going extinct, due largely to human-induced climate change, I am more and more drawn to the question of how people experience, or refuse to experience, the natural world.

Molly Kaderka

Lava Rocks

Another Wave

Uli Brahmst

Mixed Media on Paper, 2022

$200 each

I see my work as a gateway into a larger, imaginative world. Suggestive traces in pen, paint, thread or felt invite viewers to embark on their own journeys into their respective realm of imagination, creativity and metaphysical awareness. My process is largely intuitive and spontaneous whereby I frequently include imagery from everyday life: objects, patterns, people, animals and biomorphic shapes that resonate with me and flow into the work as metaphors for more universal realities. I move freely between potentially disparate techniques such as drawing, painting, felting, and sewing yet allow them to inform and energize each other. The sewing thread may come along into my drawings and paintings in the form of stitches, painted or sewn just as line work and painterly elements make their way into my felted pieces. Each time I shift between media, I have a magical sense of “beginner’s mind” which keeps the process genuine, mysterious, and alive. I welcome chance occurrences, imperfections and oddities, in that I see them as the voices of a greater consciousness than that of my own mind.

Butterfly Hide

Abigail Wamboldt

Acrylic on Vinyl, Wood and Rope, 2022 

$800

I paint out of the memory of a sensation or from visual material that manifests itself in my imagination. Through this process I discuss and explore how the sexual self is formed and acted upon. Specifically I consider this through the experience of being a woman and a lesbian who is white. I attempt to be inclusive in my work without appropriating others' pain.

I am drawn to the two dimensional format because it feels like a window into another world. However I sometimes feel the need to break the frame and bring the world of my imagination into three dimensional installation. I gravitate towards tactile materials, such as paint and charcoal, that allow for my body to become physically immersed in the experience of producing an artwork. My body is the vehicle for my interior images so I view the active component of making something the most effective form of communicating my interior vision.                  

 I experience emotion and sensation visually. My interior world is a constant writhing of broken images. The images emerge from what feels like a tumultuous, muddy ocean. Sometimes they rise up with clarity and I can see the completed image of an artwork in my head. Other times my interior world is an upheaval of indiscernible flesh and I have to discover the work through creating it.

Ninety-eight Marks On Red with Swish

Damon Campagna 

Edition of 1, Open bite copperplate etching on paper, 2018

$400

My practice involves documenting and cataloging the “self” through the mark. Each print or painting I produce is a wholly realized entity but simultaneously serves as an artifact of study. Collection reports for each piece, containing a description captured in minute detail, are typed in duplicate and stored in binders for future study. This information is presented with the piece or incorporated in larger installations and environments. As this metaphysical data of self is extracted through the act of methodical documentation and archiving, I ponder the consequences of obsessively collecting and analyzing one’s work in an existential pursuit of the unknowable.

Getting Comfy

Susan Mead Matthews

Ceramic and fiber

2022

$2000

I started working on this piece in the spring of 2019.  A year before I, and everyone else on the planet, knew what a coronavirus looked like.  Now, 4 years later, I am finally exhibiting it. I am honestly not sure about the association that viewers inevitably now make with this form and the virus.   It was not intended, but perhaps it is not a problem.  Our world has changed our perceptions. Though I am concerned that it may be difficult for viewers to imagine other possibilities for this form beyond simply “virus”. We will see. 

I am also trying a new way to “display” or locate my work, placing it on, or combining it with a cushion.  I wonder what sort of impression a cozy, settled-in sculpture will make.

Untitled

Roberta Richman

Oil stick on paper mounted on board $250

Landscape inspires my work. Looking at horizons, fields, marshland, dunes and beginning new work with a particular place in mind is how I move from a white sheet of paper to the first of many stages of the original image. My affinity to natural landscape has not changed but over time my expression of it has. 

All of the work, although it starts as a particular landscape, quickly becomes the vision of my imagination. I am never certain when I start a painting, what it will eventually become. I have been making art for many decades but with long interruptions. Now I am able to work more regularly, to come back to a painting and watch it gradually emerge.  The end is usually a surprise to me. Although I carry the image of landscape in my mind, art and nature are not the same. I make no effort to replicate nature in art.

Remnants of Tartaria 1

Jason Smith

Oil and acrylic on acrylic sheets, 2022

$2,500

The core of my fine artwork is connected to the study of ancient art history, mythology, mysticism, religious beliefs and symbolism. Reading on these subjects leads to a visual summary of my interpretations. The knowledge behind the artwork can be appreciated with the symbolism and hidden meanings behind the figurative imagery. I use pen and ink, pencil, charcoal, oil pastels, paint as well as the intaglio and lithography methods of printmaking. My interest in digital media has produced professional logo designs, digital art, t-shirt designs and album cover contributions. Most recently I've challenged myself further by expanding to web development and taking on the role of studying various computer languages.

Calm

Elizabeth Lind  

Agate relief

NFS

Lately I’ve been fascinated with the translucency that stone is capable of. Having experimented with various alabasters, I’ve found the perfect stone- to have the strength to tolerate the thinness needed, and the clarity to make it worth the risk.

I cleaved an alabaster pursuing the idea behind this design of a floating woman, at home with the fluid world around her.

Consequently, I turned to this agate, and have been able to push it to its limits. When the glowing transparency became apparent, I decided to illuminate it. 

This piece touches on the courage one needs to release to the state of abandon. The  rugosa beach roses celebrate romantic love, and the warmth and beauty of summer, while afloat in the changing currents.

Lady Like

Sonja Czekalski 

Yarn, Pearls, and Miscellaneous Fabrics and Wool 

2021 

$600

I am an interdisciplinary artist, driven to tell women’s stories. I consider the bloodline of my grandmother, my mother, my sister, the web of women who raised me, and Mother Earth herself. Using natural materials and traditionally feminine craft materials and

techniques passed down by my grandmother, I create each of my works from my own body and personal experience.

I want the viewer to explore the female figure through an empathetic gaze. I invite the viewer to question the validity of the stereotyped feminine; to experience and respond to the emotional labor, embarrassment, shame, confusion, richness, and power of female sexuality, fertility, social expectation, and responsibility.

Monster Pyramid #2

Mara Trachtenberg

Cut paper

$150

“Monsters” grew from drawings of creatures that use automimicry, transforming parts of their body to appear as parts of other species, as in butterflies with spots that resemble eyes on their wings. This offers such creatures protection from predators, allowing the creature to be mistaken for another or allowing them to hide in plain sight. 

The  17th century Italian philosophist and doctor, Fortunado Liceti made drawings of monsters depicting different birth defects as animal-human combinations. Liceti’s drawings described such birth defects not as evil supernatural occurrences but as monsters requiring inquiry and admiration rather than fear and derision. My monsters are combinations of human males and creatures that use automimicry. They resemble humans but have abdicated their humanity to gain status and power through their destructive and self-serving behavior and domination of others. My monsters are to be feared, admired, and investigated.

Like monsters throughout human culture, the monsters in this exhibition are reactions to and manifestations of my fear and anxiety around the experiences of isolation brought on by the pandemic and the toxic masculinity present in the concurrent political and environmental unraveling I have been watching in real time.

Monster Pyramid #1

Mara Trachtenberg

Cut paper

$150