Jenna Lynch | Kent, Connecticut

digital photograph
20" x 20"

Image shot in Lalibela, Ethiopia.

Jenna Lynch | Kent, Connecticut

digital photograph
20" x 20"

Image shot in Cairo, Egypt for the photo documentary book; Cairo Commute: The Women's Car.

Jenna Lynch | Kent, Connecticut

digital photograph
20" x 20"

Image shot in Cairo, Egypt for the photo documentary book; Cairo Commute: The Women's Car.

Daniel Evans | Los Angeles, California

Neon artwork
21" x 21" x 4"

When you get four horizontally, vertically or in a square in the loteria game, you've won. Instead of "bingo!" though, winners shout out "bueno!" "Maith" is the word in Irish gaelic that means "good," and I've chosen four cards I believe showcase the Irish personality.

Daniel Evans | Los Angeles, California

Neon artwork
21" x 21" x 4"

This is a Spanish translation of a part of the lyrics from the Bruce Springsteen song \"Rosalita.\" It uses the loteria card for \"rose.\"

Daniel Evans | Los Angeles, California

Neon artwork
30" x 20" x 4"

This is a old map of the Los Angeles area -- 1925 -- printed on metal and superimposed with modern subway lines. 

Daniel Evans | Los Angeles, California

Neon artwork
21" x 21" x 4"

This is an English translation of the loteria card saying that accompanies \"El Sol,\" with a tinge of melancholy regarding its poetic (and tragic) meaning.

Daniel Evans | Los Angeles, California

Wood, glass, transparency
20" x 32" x 4

This is a piece that uses lotería cards on antique green glass.

Michele Utley Voigt | Santa Barbara, California

Oil on Belgian Linen
72" x 48" x 0"

O Thus She Stood depicts five figures rising from face down crouch to stand up tall. The multiple figures are actually a single figure in the stages of being knocked to the ground and gathering herself to stand back up.

Michele Utley Voigt | Santa Barbara, California

Oil, Charcoal on Belgian Linen
48" x 72" x 0"

A portrait of motherhood; restricted to her existence inside the red lines. She is placed in a position of marginal importance, influence, or power. Marginalized in society she is "held down" yet simultaneously grounded by the little hands that up-reach for her.

Michele Utley Voigt | Santa Barbara, California

Oil on Masterpiece Elite Belgian Linen Canvas
48" x 36" 
 

The “Procession of 172 Souls to Heaven” is a visualization of the energy and atmosphere as innocent souls pass after the loss of lives due to acts of terrorism and atrocities.

Nevis Granum | Gig Harbor, Washington

Archival C-Print on fine art paper. 
36" x 42" x 0"

“Sold: The Art of Trophies” The act of placing red over the animals is an act of aggression, and in an artistic sense, exhibits the potential for human control over the animal(s) subjected; they have become targeted trophies, no longer merely beautiful subjects of nature photographs (certainly a form of trophy itself).

Nevis Granum | Gig Harbor, Washington

Archival C-Print on fine art paper. 
36" x 42" x 0"

“Sold: The Art of Trophies” The act of placing red over the animals is an act of aggression, and in an artistic sense, exhibits the potential for human control over the animal(s) subjected; they have become targeted trophies, no longer merely beautiful subjects of nature photographs (certainly a form of trophy itself).

Nevis Granum | Gig Harbor, Washington

Archival C-Print on fine art paper. 
36" x 42" x 0"

“Sold: The Art of Trophies” The act of placing red over the animals is an act of aggression, and in an artistic sense, exhibits the potential for human control over the animal(s) subjected; they have become targeted trophies, no longer merely beautiful subjects of nature photographs (certainly a form of trophy itself).

Edith Hillinger | Berkeley, California

Mixed Media Collage on canvas
30" x 30" 

Patterns seem to be biologically embedded in the human mind. These patterns are painted and assembled using a variety of Japanese papers, walnut and Sumi ink.

Edith Hillinger | Berkeley, California

Mixed Media Collage on canvas
30" x 30" 

Patterns seem to be biologically embedded in the human mind. These patterns are painted and assembled using a variety of Japanese papers, walnut and Sumi ink.

Kristina Key | Florence, Massachusetts

woodcut print

21" x 12.75"

After print, the piece is cut and reassembled to create more connections, using the negative space around and sometimes within the configured forms.

Kristina Key | Florence, Massachusetts

woodcut print

21" x 14.25"

After print, the piece is cut and reassembled to create more connections, using the negative space around and sometimes within the configured forms.

Kimberly Putnam | Denver, Colorado

Paper Plate Lithography
9.5" x 9" 

Each piece is approximately 9.5 x 9 framed. The series is made up of sets of 5 images with the fifth image being the index code that helps identify the era of the four other images. The series can be purchased in it's entirety or and individual pieces.

Kristina Key | Florence, Massachusetts

woodcut print

21" x 13.75"

After print, the piece is cut and reassembled to create more connections, using the negative space around and sometimes within the configured forms.

Kimberly Putnam | Denver, Colorado

Paper Plate Lithography
9.5" x 9" x 0"

This is a detail from the series 'Genealogy of Hair'. Each hair piece has a general identification to hint at the individual alone with a code and the decade from which the hair style originated.

Kimberly Putnam | Denver, Colorado

Paper Plate Lithography
9.5" x 9" x 0"

This is a detail from the series 'Genealogy of Hair'. Each hair piece has a general identification to hint at the individual alone with a code and the decade from which the hair style originated.

Kimberly Putnam | Denver, Colorado

Paper Plate Lithography
9.5" x 9" x 0"

This is a detail from the series 'Genealogy of Hair'. Each hair piece has a general identification to hint at the individual alone with a code and the decade from which the hair style originated.