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Painting is silent poetry, and poetry is painting that speaks. Simonides

Sharon Augusta Mitchell


1981 to 1985
College of Arts and Crafts, Oakland, CA.
Studied Printmaking. Portraiture and Calligraphy

1985 to 1990
Artist in Residence, Kala Institute
Worked focusing on tradition copper plate intaglio techniques

1991 to Present
Own and operate Aesop’s Editions, Lafayette, Ca.
Aesop’s is a print studio with production capabilities for traditional etching,
lithography and large format digital editions.


I have regularly moved between natural studies and the pursuit of images that convey a sense of theater, emphasize the grace and structural integrity inherent in natural forms and produce encounter with the dramatic, the bizarre and the humorous.

Throughout my life, I have been fortunate enough to travel extensively. From an early age I was exposed to a variety of cultural aesthetics. During such adventures I absorbed everything from primitive folk art to the wildly ornate theatrics of Baroque embellishment and the ariel feats of Gothic cathedrals. I also became fascinated with the myths and narratives so abundant in every corner of the world. Because of this focus, I never felt an affinity with abstract expressionism. In spite of growing up in the 60’s and 70’s when it flourished so, I chose to virtually ignore it as an influence and instead became somewhat shamelessly representational. As such, my influences amongst the contemporary fine artists of the world are few. I do credit the usual old masters in particular Albrecht Durer whose engravings were an inspiration to take up a somewhat religious zeal toward printmaking while in college. However, though it is almost taboo to say it, during my “formative years” I fairly worshiped illustrators in general. Already headed in the direction of having an illustrative style, it seemed quite natural that I should gravitate to those whose work exhibited a mastership of illusionism.

With regard to subject matter, all sources of mysterious inspiration aside, it comes down to recognizing that which falls within the parameters of my own particular idiom. Thriving on detail and intrigued by rhythm, I tend to focus on subjects that offer an opportunity to explore them. Having come to relish the patterns that occur so abundantly in the wild, as well as those which are unique to the creations of mankind, the temptation to juxtapose them in a composition is irresistible. Within the proportional confines of a sheet of paper, the fractal shapes and structures of nature can be set like jewels into the Euclidian geometry of architecture or the swirling decorative motifs of an art nouveau backdrop. Even while embracing a tendency towards dark humor, I strive in this way to make the work viewable. That some of the pieces are humorous and others decorative is purposeful in so far as it offers me a change of mood-without which I would certainly stagnate or take up bowling.

Sharon Augusta Mitchell

Andrew Ek



I am a painter completely devoted to my work. I am primarily a self-taught artist and began drawing early on. In the beginning, dinosaurs and anthropomorphic creatures were my favorite subjects. In my teens, I became interested in special effects, frequently making Super-8 horror films, which eventually led to my enrollment in the Industrial Design Technology program at the Art Institute of Pittsburgh. At school, I was introduced to a myriad of artistic disciplines and ultimately became obsessed with developing and nurturing my fascination with realistic figurative oil painting. Utilizing my immediate surroundings and friends as fodder for imagery, while incorporating strong emotional undercurrents, my work has culminated into a nexus of finely wrought, phantasmagorical sequences. My aim is to envelop the viewer into an unfolding narrative in a vivid cinematic context, similar to a movie still.

I live with my wife in Chicago.

b. 1975, Evanston, Illinois


2010 Top Finalist, Blagojevich Portrait Competition, Chicago Magazine

2009 Certificate of Merit, Long Beach Arts, Long Beach, CA


2011 The Kinsey Institute, Indiana University, Permanent Collection


Christine Wing Kristensen

Christine Wing Kristensen


Christine has been a practicing artist since 1990 after studying art with Clem Millward, Michael Johnson and John Peart. Her work has been exhibited widely, and she has been represented several times in the Portia Geach and the Doug Moran portrait prizes. Her painting process is lengthy - the oil paint is applied in a series of transparent layers which refract the light and intensify the colours.


Due to their beauty and their abundance of mythological, religious and allegorical significances, fruits of all kinds have featured widely throughout the history of art, and have been particularly prominent in the genre of still life painting. In my paintings, they are illuminated by the low sunlight that occurs in the intervals between night and day. Seen in the gathering shadows of a summer evening, or emerging into the brilliance of first light, even the most everyday and commonplace of fruits can assume other meanings.

Carolyn Blish

Observe her paintings... her heart.
Is it any wonder Carolyn is a collector's delight?

"Painting is like a best friend waiting to be hugged, and daily I embrace it with all my energy. My studio is my nest, a place just for me. In the midst of paints, brushes and easel I explore the delight of painting. Each painting is a love affair. How I love the smell of paint, the flow of color, the feel of the brush in my hand! Even before the work is begun, it is long contemplated in my heart.

As I stand before the white, blank rectangle of my canvas, the excitement of visualizing the finished painting sweeps over me.
Faith is seeing the unseen as reality.
Hope is the pigment waiting to be used.
Love is the brush applying paint to the canvas.

Each new painting is a joyful celebration of life. The joy is found in total submersion in the activity of doing...not outside of it. Art is never an outside, separate thing. I have to get that brush in my hand and start moving it. This is a conscious decision on my part. The power comes in the doing.

Painting is the closest thing to prayer that I know. My faith is the most important substance of my life, and painting reminds me of how all beauty points to God... the Creator of all things beautiful. I believe every work of fine art bears witness to Him.

The important thing is not the painting itself, but the love with which it is painted - love is the supreme ingredient. It is technique that enables an artist to paint, but it is love that makes the painting art.

I have an endless fascination with my subjects; the ever-changing moods and rhythms of the shoreline, flowers and children that melt and flow together... soft, fresh, and fleeting. In contrast, rustic country landscapes and the rockbound ledges of the downeast coast of Maine take on a different hue. But all are images that offer the authenticity and inner life that call to be painted.

Recently, a new perspective has taken hold of my brush and heart... inspiration from the Scriptures, the written language of the Creator.

It is my great joy to share with other people the subjects I love. This is why it delights me to make prints of my work available to collectors. It gives me a sense of connection and sharing with others whom I will never have the opportunity of meeting or knowing."

Carolyn's formal art education consisted of a two weeks' study under the tutelage of watercolorist Edgar A. Whitney... learning the underlying principles of composition and design in painting.

A member of the American Watercolor Society, the American Artists Professional League, and Allied Artists of America, Carolyn has enjoyed sold-out exhibitions and shows. She has won awards from such prestigious organizations as The Hudson Valley Art Association, The National Arts Club and The American Watercolor Society.

Joop Moesman - JH Moesman

Hendrikus Johannes (Joop or Willie) Moesman ( Utrecht , 6 January 1909 - Wood , 3 February 1988 ) was a railway official, surrealist painter, polemicist, type designer and amateur photographer.

"Johannes Hendrikus (Jopie of Joop) Moesman (Utrecht, 6 januari 1909 – Houten, 3 februari 1988) was spoorwegbeambte, surrealistisch schilder, polemist, letterontwerper en amateur-fotograaf. De autodidact Moesman vond in het winkeltje van de surrealist Willem Wagenaar een Frans tijdschrift waar hij afbeeldingen in zag van surrealistische schilders. Als voor een raadsel geplaatst begon hij in een vergelijkbare stijl te werken, waarmee hij de belangrijkste surrealistische schilderijen in Nederland produceerde.Het werk van Moesman kreeg in de jaren 1960 enig internationale erkenning door de inzet van Her de Vries, die reproducties liet zien aan de voorman van de surrealisten in Parijs, André Breton. Breton besloot het werk van Moesman daarop op de Internationale surrealistische tentoonstelling in Milaan te tonen. Met Dirkje Kuik en Henc van Maarsseveen was hij oprichter van het Utrechtse kunstgenootschap De Luis.

Moesman was gehuwd met onder anderen de schilderes Erika Visser. Zijn vader, Johannes Anthonius Moesman, was onder meer lithograaf en fotograaf."

source Wikipedia


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