Robert Scott Jackson was born in Newburyport, MA. in 1946. After attending the University of New Hampshire he enrolled at Vesper George School of Art in Boston where he graduated as the top student in the fine arts. He was invited to study with the famous Boston painter and teacher R.H. Ives Gammell as well as artists Robert Douglas Hunter and Sidney Willis. Mr. Jackson has been a member of prestigious art clubs including Allied Artists Of America, The Salmagundi Club of New York City, and The Copley Society Of Boston, where he is a Copley Master. He is listed in "Who's Who in the East" and "Who's Who in America."
Gary Korlin (1956-) works in a decidedly French nature and the naturalistic approach is embedded in his 19th Century French Academic training, coupled with a thorough understanding of classical aesthetics and technique. He seeks an impression of life from a delicately modeled rose to the energy of a wind-swept landscape, relying continuously on his ability to create the illusion of the third dimension. From figures in darkened spaces to patterns of blown weeds in sun-drenched fields, his naturalistic eye captures the mood of the subject and the emotion it evokes.
Beginning his career in illustration and architectural renderings, the artist became unsettled and began to travel. While living in Australia he became aware of 19th Century Australian landscape painters. Taken by their naturalistic view and sense of reality, he returned to St. Paul and enrolled in Atelier Lack, which offered the finest training in 19th Century French Academic drawing and painting.
After being placed in a figure drawing competition at the New York Academy of Art, he was invited to attend their 2 year program. Later he moved to Italy and lived in the mountains overlooking Florence, deep in the heart of Tuscany.
Returning to a larger studio in St. Paul, Gary continues with life-sized figure work, landscapes, still-lifes, and an ever-growing demand for portraiture. Still frequenting the European scene, his paintings hang in collections in England, France, Italy, and Austria. His work has been shown in San Francisco, New York, London, South Africa, and France.
Encaustic is a paint composed of beeswax, damar resin and pigments.: The term Encaustic is often used to describe both the paint itself, and the method for using it. Encaustic paint is applied molten to an absorbent surface, and then fused, (or re-melted), to create a variety of effects. Unlike other paints, encaustic is never wet or dry, but goes from a liquid to solid state and back again in seconds, which means additional layers can be added immediately, without disrupting the composition. Once the surface has cooled, the paint has reached a permanent finish, but the painting can be revised and reworked with heat at any time... minutes or years later.
Jim Inzero (American b. 1972) earned his Fine Art Degree in Interior Architecture from Maryland Institute College of Art.
He traveled in Mexico and studied under encaustic painter, Ezshawn Winding. The movement and serenity in Inzero's work conveys the gratitude and bounty expressed by the ocean environment. Inzero is constantly inspired by the connection he feels to the people around him, which allows for a unique opportunity to express energy and emotions in a way that ultimately will always begin and end at the horizon; the horizon in which he feels represents the meeting place for the highs and lows of life. The artist's approach into each painting starts with a color.
"I am passionate about each stroke that is laid down. After many layers of wax brushstrokes, I step back and objectively look at the composition from all directions to see what the painting expresses to me. I look to see a physical response in my work, especially a desire to reach out and touch the painting. It is my intention for you to have a sensory and a visual experience with this work." -Jim Inzero
Vestibulum fringilla vitae velit sit amet pulvinar. Mauris sit amet nunc luctus, egestas est sit amet, suscipit nunc. Sed placerat velit quis commodo eleifend. Duis pulvinar neque tempor ex auctor ultricies. Nam sagittis consequat imperdiet. Cras hendrerit, quam in congue bibendum, libero tellus tempus massa, ut lacinia metus augue a nulla.
Beatrice Dauge describes her work in personal and emotional terms that directly relate to her life experience. In formal terms, her work reflects larger themes about the boxes people occupy in contemporary life today.
Dauge studied art in Lausanne, Switzerland, where she grew up, and in London, Paris, and Florence. Now a Massachusetts resident, she perceives the colors of her adopted home through brilliantly colored lenses. She prefers not to see the gray that dominates our view and that of so many artists who have painted New England seascapes and landscapes throughout history. Her personal view of life's landscape is passionately positive and is translated to her canvas through her luscious color choices and sensual paint textures.
She chooses to paint the majority of her paintings on square canvases to challenge herself to think out of the box. The square composition is less typical than a rectangle, mostly because it presents more demanding visual solutions. Dauge describes her work on one level, as a struggle to push her way out of the square. She wants to avoid allowing herself to get boxed in as she feels so many do... living in a society where it is safer to remain in boxy rooms, houses, cars, offices, and stores each day.
There is a fierce attempt in her ambitious abstracts to keep pushing outward... above and beyond all boundaries. Ultimately, she hopes to evoke in her viewers the feeling of freedom and peace she feels while creating her work.
Currently, Beatrice Dauge has work in numerous private and corporate collections including: Switzerland, France, Italy, Japan, Cyprus, England, Mexico, Taiwan, and the USA.
Rick Fleury's minimalist, contemporary style of landscape is widely associated with Cape Cod and coastal New England, with growing recognition nationally and internationally. He has used his work as a platform to speak on the issues of conservation, preservation and environmental awareness.
The artist was honored with a solo exhibition at the Cape Cod Museum of Art in 2006. He was later included in An Exhibition from the Permanent Collection at the Provincetown Art Association and Museum, and in recent invitational exhibitions at the Cahoon Museum of American Art, The Cotuit Center for the Arts, The Harvard Club of Boston, the Boston International Fine Art Show, Art & Design 20/21, Boston, and the Jackson Hole Fall Arts Festival.
He is an Artist Member of Boston's Copley Society of Art, the oldest art association in the United States. His work has been selected for numerous juried and invitational exhibitions with Copley, and a near-sellout solo exhibition in 2008.
His work is in the permanent collections of the Cape Cod Museum of Art, the Provincetown Art Association and Museum, the Cahoon Museum of American Art, Dana-Farber / Brigham and Women's Cancer Center, Cape Cod Healthcare/Cape Cod Hospital, Bessemer Trust Company, N.A., Ritz-Carlton Luxury Hotels, John Hancock, Dartmouth-Hitchcock Medical Center, the Arts & Business Council of Greater Boston, and other corporate and private collections worldwide. He teaches at the Provincetown Art Association and Museum Museum School, Creative Arts Center, Chatham, the Copley Society of Art, Boston, and at his studio. He is a graduate of the University of Colorado Boulder, and has pursued post-graduate studies at New York University.
My abstract paintings are about the sensations of life within seagrass beds; the color, the energy, and interconnectedness of species. Seagrass is a flowering plant that lives in the shallow salty waters of our oceans and needs light to survive. It is home to thousands of sea animals including the dugong, manatee, green sea turtle and many more. Seagrass helps with shore erosion (slows down wave action) and hold down CO2s in it’s roots. For me, seagrass symbolizes an amazing source of potentiality. Through my research and collaborations with marine ecologists, I learned about Blue Carbon, the carbon that is captured and stored by marine ecosystems such as mangroves, salt marshes and seagrass meadows. This storage function buffers climate change and ocean acidification. Blue C features paintings and drawings depicting how important seagrass habitats are not only for ocean life, but for the air we breathe as well. Nature already has an amazing way of dealing with pollution we dump into it, to an extent. Clean water is important not only for seagrass ecosystems that need light to survive but also us. When we pollute our rivers, estuaries and oceans we get algae blooms that block light. This results in loss of costal environments that feed and sustain many species of life, including us. In “When the Tide Floods In” I painted the beautiful reliance seagrass has within natural rhythms of tides, and the brilliant light. In my painting “Carbon Capture”, I depict wispy charcoal lines that suggest CO2 in the air. My abstracted seagrass meadow in the foreground is painted with broad strokes, graffiti like marks and drips of paint. Small amounts of pink reflections poke through the plant like matter. I want the viewer to bring their own interpretation and ask more questions. Why are 20 football fields of seagrass lost everyday? How is Carbon stored in the sediment? What happens to this natural storage bank when seagrass beds are destroyed? I portray the quiet beauty and crucial role seagrass plays keeping our air and waters clean.
With a nomination for a National Medal of Arts, an award given by the President of the United States from the National Council of the Arts, and continued success throughout galleries across the United States, Liz Gribin continues to evolve into one of the East Coast's most celebrated artists. The nomination, which was initiated through her alma mater, Boston University, is the highest honor given by the United States Government to artists and arts patrons. Gribin is not new to receiving such accolades, having won numerous awards for her acrylics on canvas from the National Association of Womens Artists, the National Arts Club, and the National Society of Painters. She also received the Eleanor Roosevelt Award for Advancing Arts on Long Island in 1996 and in 2000 was named a Living Legend during the United States Library of Congress Bicentennial. Gribin's paintings have been self-described as Post-Abstract Realism, usually bonding the human form with its environment - breaking into the figure and tying it to the background, so that the figure and ground hold together. The form and composition is by no means rigid, but free and still cohesive at the same time. Influences include Japanese art, which Gribin was drawn to during her tenure at Boston University, Matisse, for his use of color, drawings by Picasso, and Californian artist Richard Diebenkorn.
"The human figure is the theme of my art. My work is classical in spirit, but handled in contemporary terms. It is a personal expression of my own feelings, and the result of first-hand experience and emotional trials. As I work directly from the model, reality is my starting point and becomes my vehicle for artistic expression. I combine both abstract and figurative elements in my paintings which allows me to free myself from the conventional. I want each work to be a new and challenging adventure for me as well as the viewer. Making an artistic statement is what is most important to me, not reproducing nature." -Liz Gribin
Geoffrey Smith has accumulated an incredible list of accomplishments during his long journey as a professional artist. In 1968 at age 19 he was admitted to Boston’s Copley Society of Art. The following year he completed a portrait of the late Sen. Robert F. Kennedy that wins critical acclaim. The portrait is shown in Hyannis, MA, New York, Boston and Washington D.C. The work is later considered by the U.S. Postal Service for a stamp honoring the late Senator.
In 1978 Geoff left a full time teaching position to launch his fine art career as a painter, receiving numerous awards and high profile commissions. His work can be found in many prestigious public and private collections.
Sheryl Daane Chesnut
Sheryl Daane Chesnut was born in the Seattle area but moved at an early age to Marblehead, Massachusetts. After a number of years on the East Coast she moved to the Bay Area; although she has lived in many parts of the state since then, California has consistently been her home. Sheryl earned her Bachelor’s Degree in Fine Art from the University of California at Santa Barbara and UC Berkeley with an emphasis in printmaking and a minor in Business.
After graduation Sheryl began a career as a graphic, environmental, and product designer, and her work has won a number of awards both locally and internationally. She also wrote and illustrated a children’s book, I’ll Be There, published by Simon and Schuster. With children growing up and more time and freedom, she is again creating contemporary fine art. She has always been influenced by abstract expressionism and by the artists of the Bay Area Figurative Movement.
Experimenting with a variety of materials, Sheryl works with shape, texture, and color to create abstract and representational abstract artwork. She is currently working on a series of representational abstract figurative paintings and abstract paintings based on the writings of philosopher Kahlil Gibran.
"My work is intuitive and focuses on shape, color, and fluid line. Details are unimportant and purposefully left unsaid. Most recently I have been concentrating on abstract figurative pieces. The figures integrate themselves into the piece as they seemingly float between the surface and the background. I am constantly striving to take more away and push reduction. I see beauty in the shape of people and items etched by backlighting, blurred by motion and fuzzy in their shadow.
My abstract landscape and non-representational work also play with color, shape, and texture; I use skimmers and trowels, squeegees and brushes, sand paper and heat guns to paint, scrape, add and subtract until it feels complete. I try to employ new ideas and random techniques while maintaining the balance of color and composition to pull the viewer into each piece. While intuitively created I hope my artwork evokes a feeling of stillness and contemplation." - Sheryl Daane Chesnut