Having always been inspired by nature and its expressions in the landscape, Lisa Dawn White collages handmade and painted papers with botanical specimens that she collects, presses, preserves and enhances using a variety of techniques. Each collage is created in multiple layers and finished by hand painting the botanicals to maximize their color preservation over time. Works are often finished with dimensional paints, textiles, shells and stones to help create a sense of movement and spirit.
With the addition of color and texture provided by vibrant pigments and papers, Lisa’s collages offer a contemporary interpretation on the ancient art and craft of pressed flower arranging. Lisa is always searching for pattern and repetition in nature and is thrilled to find it in unexpected places. A whimsical interpretation of nature is the golden thread running through all of her designs.
Most of the botanical specimens used are not commercially available: foraging is an integral part of the process. Lisa hopes that her works inspire people to observe nature more closely, reflect upon their relationship with it and help to nourish it in any way that they can.
Flower painting is a very recent development for me. I gained interest in them as subject material when I began using high quality watercolor paints that allow for translucent layers of pigment and color interactions that I couldn’t achieve before. As such, I don’t associate any deep or hidden meanings to the images, although I hope my enthusiasm for exploring color and new techniques transfer to the viewer as a sense of visual pleasure.
Painting is very personal for me. It is a beautiful inner, in-depth experience and watercolor is the perfect medium. It rewards me with energy. I paint in the early morning, gentle mornings – and a dialogue ensues, a spirit of cooperation between the painting and myself. So I begin with the aim to flow, to be one with the conversation; The relaxed tones, the fluid stroke, shadow and sunlight emerging. Each phase in a painting is complete in itself. A testimony, a bond and remains forever only known by the artist.
On the Iris
Iris was the Greek goddess representing the personification of the rainbow. She was the messenger of the gods who lead the souls of dead women to the Elysian fields. The ancient Greeks planted the purple iris on the graves of women.
The iris symbolizes feminine power, love, intuition, beauty, and hope. In one painting it appears courageous, central, frontal, unfurling its petals – part enchantress, part priestess. In another like a bud, still wound around itself, encasing its full promise, trembling and expectant.
Photography documents – it makes note of – it bears witness. Photography asks us to look and to study. It can record that which is forgotten or make visible that which should never be erased. That is the purpose of this interruption.
Violence against transgender people is an epidemic; it has been labeled a “global genocide” (Kidd & Witten, 2008). The aggressions include familial disownment, homelessness, job discrimination, poverty, discrimination in shelters and in housing complexes, and higher risks of suicide. The conflux of disownment and discrimination places already vulnerable bodies into heightened spaces of danger that, given the intersections of racism, sexism, and transphobia, are most likely to affect transgender women of color. Every year since 2010 the homicide rates against transgender people have increased. Yet their names and their stories are left unseen by corporate media and, as a result, a good deal of the populace.
Don’t Turn Away seeks to interrupt the media silence and confront attendees through multi-modal photography, asking them to bear witness to the ways in which “normal” and maybe even “safe” spaces can be a battleground for those who are targeted by ignorance and fear. The interruption implores the looker to imagine a world that is hostile and even deadly to the existence of a human being because of their gender. This interruption denies erasure through using a razor blade to etch a history of violence into ethnographic photographs. Don’t Turn Away raises and scars the otherwise smooth surface of the print to impress upon the looker that spaces carry traumatic traces and our ignorance, our silence, is complicit in violence.
Susan Nicholas Gephart developed a deep appreciation of the earth and its relationship to art when she was a young child. Her passion to explore out door painting, or “plein air” painting is expressed through a unique use of color, texture, and atmosphere, capturing the landscape with spontaneity and directness. Susan graduated with a Bachelor of Fine Arts from Pennsylvania State University in 1979, and an Associate in Arts from Montgomery County Community College in 1977. She has been exhibiting and painting award-winning landscapes for over forty years. Her colorful, impressionistic plein air pastels and oils are in private and permanent collections across the country, such as The Southern Alleghenies Museum of Art. Susan is an Associate Member of the Pastel Society of America, and a Signature Member of the Central Pennsylvania Pastel Society. She also co-founded the Plein Air Painters of Central PA.
Susan spreads her love of creating art in nature to all ages through her teachings. She has been instructing since the mid 80’s, and organizing the Hameau Artist Retreats for all levels and mediums. Susan’s workshops are supported by top national art supply companies. Her workshops and artwork are advertised in Pastel Journal, PleinAir Magazine, and Fine Art Connoisseur.
Susan’s pastel, “Hameau Farm Sunset and Clouds,” was published in PleinAir Magazine’s July 2016 article, “The Many Moods of Clouds.” This fall, Susan was a featured artist to watch in Pennsylvania Crave Magazine. Susan will be invited faculty for the 6th Annual Plein Air Convention in San Diego.
For more of Susan’s work, visit her website at www.snicholasart.com.
I began watercolor painting about twenty years ago at Gerlesborg Art School in Sweden. At this art school, I was educated by many of the very best Swedish watercolor artists. This education has intensified after moving to the USA five years ago. I live in Central Pennsylvania, where I am surrounded by beautiful farms and farmland. Here you find beautiful hills and valleys, oak forests and lime-stone fed spring creeks.
I love to paint old barns that are surrounded by a rural landscape. I also like to paint dilapidated farm houses and sheds. Fishermen’s sheds, boats and harbors attract me as well. Being outdoors, painting is very inspiring and I love it. It’s a challenge to paint outdoors while being exposed to wind, sun, rain and even snow.
When I paint, I aim to express a feeling or a mood of the object.
I work primarily outdoors, directly in nature, trying to capture the uniqueness and essence of a scene. A connection may be inspired by an attraction to a particular place, the interplay of light and shadow, the soothing sound of a riffle or waterfall, the feel of a rocky climb, or the smell of a field of freshly baled hay. These natural elements trigger my desire to capture their spirit in a painted image to share with others. By working outdoors, I believe the painter not only paints the landscape, but becomes a real part of that landscape and is able to express a more authentic and honest interpretation.
I am especially concerned with the health of our regional waterways – streams and rivers – and am partnering with community groups whose work promotes conservation and improvements. By working together we can draw attention to the delicate balance that exists between man and nature and increase awareness and efforts to sustain and protect our natural resources.
My working process often begins by developing several notan studies followed by a gestural drawing in nupastel with a turpenoid wash. A variety of soft pastels are applied loosely over the underpainting working from the general to the specific. I enjoy using a limited palette of pastels to bring cohesiveness to a painting. I also believe that painting, like flyfishing, is a life long and delightful learning experience – an artistic journey of truth and discovery.
My love of farms, old barns and the beautiful rolling countryside of central Pennsylvania is the inspiration behind my paintings. Commissions from the owners of Bear Meadows Farm, a grass-fed dairy farm, brought dairy cows into my artistic genre. When painting these gentle animals, getting their eyes just right brings them to life in my studio! I strive for realism in my painting. I work in my studio from photos I have taken of rural central Pennsylvania.
Resume: Barb Pennypacker was a faculty member in the College of Agricultural Sciences at Penn State. She held the rank of professor of Agronomy and assistant Dean of the Graduate School before retiring in 2005. She soon realized that the old barns she loved were rapidly disappearing as farmland became housing developments. Barb felt a strong desire to paint these barns, which she considered to be windows into our agricultural past, before they disappeared forever. To realize this dream, Barb took a private, month-long, drawing class. The studio was an abandoned farm with a crumbling barn. She spent the next year plein air sketching the old barns on Centre County farms. Classes at the Art Alliance of Central PA and subsequent painting partners took her from sketching to watercolor to the oils she now uses. Barb’s paintings are featured in the Bellefonte Art Museum book ‘Landscapes of Central Pennsylvania’, and have been in numerous juried shows including the Southern Alleghenies Museum of Art Biennial 2016. She is a member of the Farmland Preservation Artists, the Art Alliance of Central Pennsylvania and the Bellefonte Art Museum’s Artist Registry.
Anne Kenyon is an artist who has worked in a variety of media, includingwatercolor, handmade paper and most recently in pastel. Her work is primarily landscapes with a focus on local scenes, farms and gardens. For many years she worked in handmade paper collage, making her own paper colored with artists’ pigments and developed into paintings. Over the years, she has experimented with different media and a workshop in pastel led to further exploration of that medium. Her current work is created in pastel. Some works feature pastel over underpaintings of handmade paper or acrylic, adding texture and depth. More recent work includes watercolor and pastel over drypoint.
Ms. Kenyon is a member of the Art Alliance of Central Pa., a signature member of the Central Pa. Pastel Society and the Farmland Preservation Artists. She has exhibited her collage work and her pastels at the Central Pa. Festival of the Arts for many years. In 2002 she received an Award of Merit at the Arts Festival. More recently her pastels have been accepted into juried pastel society shows in New Mexico, Florida and Connecticut. In 2012 Ms. Kenyon had a solo show at the Bellefonte Art Museum in Bellefonte, Pa. In 2015 she had a joint show at the Bellefonte Art Museum featuring her Florida paintings. Also in 2015, Ms. Kenyon ‘s painting “Late Summer” was included in a show sponsored by the Central Pa Pastel Society and the Pittsburgh Pastel Society at the Southern Alleghenies Museum of Art at Ligonier Valley. Ms Kenyon has two landscapes in the recent book, Landscapes of Central Pennsylvania, published by the Bellefonte Art Museum.
Ms. Kenyon has taken a variety of courses and workshops over the last 25 years in watercolor, papermaking and pastel. She studied watercolor with Elizabeth Ayers Nesbitt & Bill Vrscak and papermaking with Jean Giddings. Her recent studies in pastel have included workshops with Robert Carsten, Ron Monsma, Judith Carducci, Terri Ford, Richard McKinley and Albert Handell. More work by this artist can be seen at the Gallery Shop in Lemont and the State College Framing Company and Gallery, Rolling Ridge Dr, State College.
Stacie Bird is a photographer who has lived and worked in Centre County since the early 1980s. She received a Bachelor of Arts degree from Penn State in Film in 1985. Her background in film making guides her photography and visual storytelling. The vibrant, saturated colors of Mexico are providing the most recent distraction, but she always returns to her first love; black and white photography. Stacie is a member of the Art Alliance, is on the Artist Registry of the Bellefonte Art Museum and owns her company, birdworks.