For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

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

Toril Redalen

Artist Statement

As an artist I use the material in different state of being in order to challenge and expand people’s perception of their surroundings and belongings. Using different approaches, I visualize the relationship between thought and the material present. Taking interest in spatial issues, I work with exteriors and interiors containing real and fabricated history. The symbolically charged beauty of nature, the expectations of total freedom; I am fascinated by the modern conception of nature and how this can create controversy. I also reflect on the fundamental Romantic feeling of loneliness that seems to be the concern of most contemporary representations of nature.

My work is driven by “being in” the process, with the primary motivation of exploring. My aesthetic hinges upon a minor de-contextualization of a thing or feeling so that it can be used a means for us to re-experience the familiar in a way that lets us see it again for the first time. My fulfilled work will have an introspective supple quality, like the way a mist shrouds and soften a form, giving it potential to slip just before you fully recognize it. I seek creation, with the material being able to embrace more than a faded cast of an action once happened. I am fascinated by the clays ability to be reused and transformed into future forms and ideas, in contrast to its hard and resistant state as ceramics.

In a world that seems to have fallen either apathetic or frenetic in wanting to make a difference, I hope my work is an honest reminder of the importance of the reality of dreams, and the necessity of feeling a little overwhelmed.
T.R 2010

*”The romantic, sentimental, mythological attachments accumulated in recent past have been necessarily shed like old skin. With this current generation of artists´works (post mid 1990´s); a cool re-evaluation of the intrinsic properties; history; social position; and physical nature of the medium are well underway. Material/Process as an integrated aspect of the concept; as a vehicle with which to make a critical statement, or take a particular stance of on an issue; from the artist`s personal position.”

Jared Janovec

2002 MFA Ceramic, Henry Radford Hope School of Fine Art, Indiana University, Bloomington, IN
1999 BFA Ceramics, Kansas State University, Manhanttan, KS


Generally speaking, my interest as an object maker lies in a desire to create narratives that reference the history of the human animal and it's evolutionary quest to both tame and isolate itself from that which is wild. The curiosities of human invention, discovery and power become fodder for such creations. In the work, there are core formal references to both human anatomy and various botanical and biological forms as a foundation for staging such aforementioned narratives. There is also a conscious effort to provide relationships between disparate associations such as big and small, wet and dry, light and dark, old and new, life and death, ripeness and decay and on and on... I hope to project the possibility of a multitude of metaphors, interpretations and questions about our existence through layering such information within each composition. All of this tends to lie on the surface but, at some deeply seeded level there is the personal spectrum of life experiences, wonder and unknowns that drive the work. 

Richard Cleaver

My sculptures integrate ceramic, which is the primary medium, with wood, fresh water pearls, semi-precious stones, gold leaf and oil paint. They are made complete with secret compartments which serve as hiding places for multiple and often times personal meanings. My recent work is based on narratives drawn from personal and historical events that are overlapped with subconscious images. The figures are like actors on a stage, enigmatic yet tense while being enveloped or encrusted within layers of overgrowth concealing a world within.

- Richard Cleaver

Cleaver, Richard (b. 1952, New Jersey, lives in Baltimore, MD) received a Bachelor of Fine Arts from the Maryland Institute College of Art and a Master of Arts from the University of Wisconsin, Milwaukee and has been carving figures out of clay for over thirty years.


M.A., University of Wisconsin, Milwaukee

B.F.A., Maryland Institute College of Art, Baltimore

Grants And Awards

Maryland State Arts Council Individual Artist Award

The Mary Sawyers Baker Prize

Franz and Virginia Bader Fund

Maryland State Arts Council Individual Artist Grant

Trawick Prize: Bethesda Contemporary Arts Award (1st prize)
Maryland State Arts Council Individual Artist Grant

Maryland State Arts Council Individual Artist Grant

Maryland State Arts Council Individual Artist Grant

National Endowment for the Arts Fellowship

Maryland State Arts Council Individual Artist Grant

Shawn Fields

Born in 1973 in Columbus, Ohio. Married with three children living in Mill River, Massachusetts
Education: BFA, in illustration, the School of Visual Arts of New York
MFA, in painting, New York Academy of Art

Francis Livingston

"Born in Cortez, Colorado, Francis Livingston has been painting for 35 years. He is in the top ranks of American illustrators, and his work has been widely published. Francis Livingston's paintings have been exhibited in San Francisco, Los Angeles, and New York. Livingston was awarded both Gold and Silver Medals from the New York Society of Illustrators, San Francisco Society of Illustrators, and Society of Illustrators of Los Angeles.

Francis Livingston studied at the Rocky Mountain School of Art in Denver before moving to San Francisco in 1975 to attend the Academy of Art. He later taught there for 10 years. Influenced by Sargent and Whistler, Francis Livingston painted primarily in a monochromatic style until he began to study the work of the Bay Area Figurative Movement, including Richard Diebenkorn, Wayne Thiebaud and others. That led to experiments with color and a fondness for the California and French Impressionists.

Francis Livingston lived and worked in San Francisco and San Anselmo for 20 years until he and his family relocated to the Sun Valley, Idaho area, where he has developed a deeper appreciation for the west. He has now become one of the West's premier living painters. Francis Livingston's paintings of western landscapes and pueblo architecture capture the colors and light effects that are unique to the West. His deep understanding of history, the land and its people allow him to create imagery reminiscent of the Taos Founders, and other great western artists. "


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