Judy Atlas is an abstract artist. Her paintings, monotypes and collages are expressions of the patterns, shapes and movements found in nature and everyday life. Her work relates to places and landscapes, real and imagined, external and internal.
Atlas has been teaching watercolor painting and collage at Creative Arts Workshop, New Haven since 1998. Her work has been featured in numerous solo, group, invitational and juried shows in New England.
Dancing in the Moonlight
Mixed media 24" x 20"
Acrylic & mixed media 30" x 40"
Mixed media 32" x 40"
Mixed media 38" x 40"
Acrylic painting 24" x 30"
Finding beauty in the imperfect or impermanent, acknowledging moments of change and engaging with the processof transcience (transformation) often form the basis of my work.
My process is guided by the mix of planning and chance that the materials I use offer to the imagery. My most recent sculptures are all constructed of handmade paper. I find papermaking to be a transformative process where I start with the pulp (in this case from raw abaca and flax fibers) and work my way to a cohesive three dimensional form. The process involves a breaking down and reassembling or "revisioning" of both the materials and my own visual memories.
I am also drawn to the ambiquity of forms that go in and out of resolve as you move around them. I am interested in the chaos that comes out of even the most predictable and in that way mirrors nature.
Mixed Media 2016
in the fray
Mixed Media 2016
Rooted in Time
When the Sun Goes Back
Circling the Wind expanded metal ,handmadepaper, pigment approx. 78 x 22 x7
Much of my work addresses issues of perception and point of view. Changes in position, format, scale, and focusing create the illusion of space in very different ways, and affect the emotional response.
I often use multiple images to expand space and time.
Crowley began photographing at age eleven. She has worked as a commercial photographer for theater and dance companies. After many years teaching photography at Norwalk Community College, she now teaches at Creative Arts Workshop, New Haven. Crowley has twice received a fellowship grant from CT Commission on the Arts. She exhibits nationally, with solo shows at Choate Rosmary Hall, Wallingford, Mark Murray Gallery, NYC and Palmer Gallery, Poughkeepsie, NY. Her photographs are in corporate collections, Yale Smilow Cancer Center, Yale Health Center and homes of appreciative people.
Jennifer Davies graduated from RI School of Design and the Rome Honors Program. She has studied and taught papermaking at Women's Studio Workshop and Creative Arts Workshop. Solo shows include Robert C. Williams Museum of Papermaking, JCC of New Haven and Travelers Insurance in Hartford. She has participated in "The Paper Runway" and Fiberarts International 2010, both traveling exhibits.
Paper is central to Davies' art. Some papers she makes herself, using fibers such as flax, banana leaf and hemp. Japanese fiber she cooks and beats to make long translucent hangings and webs. Paper's flexibility allows for creasing, ripping and color absorption, encouraging experimentation and taking advantage of unexpected results. When using collage, she gravitates toward imagery, which she describes as abstraction of the natural world. She suggests surfaces, weatherbeaten, overlaid and transformed by the process of time.
Untitled 17 28" x 22" indigo dyed and other handmade paper
Float 44" x 37" string and kozo pulp
Droplets 30" x 16" kozo
Fevor 85" x 42" pigmented kozo paper
Through the Dark 19" x 30" kozo
Vice Versa (1) 9-ft. x 4-ft. String and handmade paper
Up and Up handmade paper, pigment, and birdnetting 60" x 24"
Fog birdnetting and handmade paper 42" x 27"
Let Evening Come woven string and handmade paper 23" x 37"
Nature’s forces are benevolent and destructive, necessary for our existence and out of human control. The cycles of growth and decay and resurgence of life again constantly affect us. My sculptures, drawings and paintings address these issues.
I find many of my materials; sloughing tree bark, decaying wood, invasive vines in nature, rusted wire, weathered plywood and commercial metal parts from the discard of the streets. The impetus for my drawings and sculptures are these materials, which are reconstructed and transformed.
The experiential, intuition, chance and experimentation are integral to my process. The surprise, the moment of recognition and motion are conveyed in these works. My goal is to make pieces that intrigue the viewer and offer the capacity for personal interpretation.
Freddi Elton has been a member of City gallery since 2008. Her work includes photography, printmaking and encaustic painting. Each of these media serves to elucidate her abstract sensibility, with emphasis shifting from one medium to another just to keep life interesting.
Art training includes an art minor in college and several postgraduate studio courses, as well as many classes at Creative Arts Workshop.
Installation View - Left
Installation View - Center
Installation View - Right
Oculus Carborundum monotype 11 x 14
Zorba's Folly Carborundum monotype 11 x 14
Hillslidehop Carborundum monotype 11 x 14
Squidly Carborundum monotype 5 x 10
Water Music Carborundum monotype 16 x 16
Ducky Carborundum monotype 11 x 14
A time of change/ transition/ looking back/ looking forward. A time to define the need to create work that is new and to experience whatever unfolds with new understanding and visions. I have sought to shelve my familiars, and to experiment with unexplored materials, tools, shapes, concepts of color and design. I am often surprised, frustrated and invigorated. What I have learned is that the same underlying quest continues to inform my work, regardless of the techniques, surfaces and tools. The ability to capture light and air, the intrigue of layers and the mysteries hidden within, and the absorption and refraction of vibrant color remain my focus. I wish for the viewer to share my journey and to join me as we discover together.
As a photographer, I have exhibited locally in Connecticut and New York and have taken classes at Creative Arts Workshop and the International Center of Photography.
All photography involves time and memory: every photographic image, however abstract, depicts some moment in the past, some state of things that no longer is. Much of my work is intended to capture this change. Within present states I try to depict both idealized past states and relentlessly oncoming future ones. That is the heartless beauty of decay.
Harris received B.A. degree from Brown Univ. in Art History. Studied Art Students League, NY. Apprenticed with designer Lester Beall. Worked on staff of APPAREL ARTS (ESQUIRE) and HARPER’S BAZAAR. Solo and collaborative installations from 1997-2010 at Silvermine Guild Art Center, New Canaan, CT, New Britain Museum of American Art, John Slade Ely House, New Haven, CT, among others.
With varieties of paper, new and recycled, she uses an etching press and hand tools to ink, paint and draw on these surfaces. There is no preconceived image to be developed. She might start with an image or text and transform it into a new one. When pulling a print, it might be slightly off-register but this keeps the history of the process alive.
Midtown Mixed media monotype
Williamsburg Mixed media monotype
March, 1887 Mixed media monotype 24"x24"
Bedford Avenue Monotype with silk aquatint 24"x24"
Sunrise Highway Monotype 16" x 30"
Sheila Kaczmarek studied art at St. Martin's School of Art, London, UCLA, Calif and the Academie des Beaux Arts, Brussels. She has taught art for over 20 years. She is a founder member of City Gallery, is President of the Guilford Art League and serves on the board of the New Haven Paint and Clay Club.
She works with mixed media including transferred photographic images. Her interest lies in both the process of layering and in stripping away surfaces. She apprenticed in the ceramic studio of the Guilford Art Center for 5 years and works with clay incorporating it with paint, metal and encaustic wax. Recently she has been intrigued by the complexity which can arise from assembling multiple forms
View of "Take Two" Exhibition
Towers of Rankapur
This work is about the perception of the line, its placement on the paper and the effect it has on the space surrounding it. All marks are line; it is everywhere and everything.
I love the process of mark making. To try to make the perfect mark. While it may take minutes to execute, it takes hours of thought and observation before the actual line is made. There is also the added intrigue and challenge of burying the color while considering the line.
Using various tools captures the “fun” of the line. A trip to the hardware store is an adventure. Mops, squeegees, rubber spatulas, you name it, they are all fair game to the mark-making.
Painting the tiles is still an important part of the process. They are my studies yet are important in themselves. The arranging and rearranging of them is like a game, a ballet.
Susan Newbold is a painter and printmaker whose work explores the organic flow of nature. She combines representational and abstract techniques to portray the vibrant forms inherent in the natural landscape. Newbold breaks the rules of traditional, linear narrative and favors organizing space lyrically. She captures the essence of natural forms by embracing their innate contradictions. The artist’s inventive blending of media signals the infinite flow of natural forms. Her mark-making celebrates the repetitive nature of growth, and her varied use of line and color invite the viewer into its variety. Newbold strives to express the joy of creation through the spirit of these elements.
Susan Newbold is an award-winning mixed-media artist who has exhibited, taught and studied extensively within the United States and abroad. Her work has been collected by private donors as well as institutions, and she has been invited to participate in solo and juried exhibitions at several regional museums, galleries and art centers. The artist has been awarded several distinct fellowships to work in New Zealand and France by the Virginia Center for the Creative Arts and the Maryland Institute of Art. She has taught a variety of workshops and courses at schools and art centers on topics ranging from printmaking to book-making to drawing. Newbold received a BA in Studio Art from Principia College, IL and an MFA in Visual Art from Vermont College. Her final project, an artist book, was acquired by The Chicago Institute of Art. She is also a graduate of the Post-Baccalaureate program of the School of the Museum of Fine Arts in Boston, MA.
Mixed Media 36" x 50"
Mixed Media 79" x 60"
Monoprint 12" x 12"
Low Tide 1 (detail)
Winter Oil based monoprint 33" x 22"
Colorado Oil based monoprint 30" x 22"
Low Tide (detail)
By the Sea Oil based monoprint 62 x 24
Low Tide 1
Tom Peterson began his documentary photography career after his retirement. He photographs almost daily while exploring different urban centers in CT. He has exhibited in numerous juried shows and solo shows at Gallery on the Green, Canton, City Gallery Gallery, New Haven and Christopher Martins, New Haven. Tom's Photographs are in corporate/business collections and homes. Since retiring 2003, Tom has devoted himself to photographing local urban environments. He has set out to create a visual epic poem, with different themes that explore everyday objects, people and scenes. He often focuses on the play of strong shadows and cropping to create abstract images of everyday structures that we often pass by, but rarely notice. Through his black and white and color photographs, he seeks to create for viewers the experience of a unique, visual walking tour.
I have become increasingly interested in the relationships and interaction of figures and how they can be expressed in form and color in prints. Shorn of distinguishing facial features and clothing detail, they become anyone and everyone, yet they are uniquely individual and somewhat mysterious. The figures are selected because of the gestural qualities and their ability to relate to each other and the space in which they are placed.
They are frequently, but not always based on people I know and have had the opportunity to observe as they go about their daily lives. Taken out of those contexts and rearranged into a panorama that has a narrative all its own, one that is especially meaningful to me on a personal level and one that I invite the viewer to interpret this world in his or her own way. The interrelationships of the figures and the movement within the panoramas are supported by the vibrant, subtle and nuanced range of colors within the prints.