Enrique Martinez Celaya's haunting works focus on issues of memory and rememberance, regret, longing and love. He has shown extensively and his work can be found in major museum collections world wide.

These prints are part of an ongoing series based on rare surviving early 19th century dwellings in urban and pre-urban areas. The structures speak to me through their form, utility, history and function as part of the first iteration of urban culture in America. These buildings—and what they represent—are disappearing at a rapid pace. Because the structures speak to me and stand as historical markers, I am moved to pay homage to them.

Enrique Martinez Celaya's haunting works focus on issues of memory and rememberance, regret, longing and love. He has shown extensively and his work can be found in major museum collections world wide.

New York painter Stephen Westfall is widely known for colorful abstractions that add a new twist to the classic grid format. Westfall’s images are anchored in repetition and color rotations. The optical pop between positive and negative space forces the eye to attention while the overall composition lures the viewer into making associations that mirage away into the calibrated patterns of the artist’s abstractions.

My work explores the landscape and natural surroundings as direct influences resulting from my Nebraska heritage and rural environment, my daily experience, and from extensive travel. My visual iconography of invented forms and artistic interpretations are intended to offer contemplations on larger issues of the eternal life struggle, of endurance and vulnerability, growth and destruction. These prints suggest extremes of weather and natural forces at work, a sense of the micro/macrocosm, set against landscape or space, both wild and cultivated, intimate and unknowable. I am interested in the span of time it takes to wear away a canyon, build a mountain, the erosion forces that continually wash the earth, or the instances of cataclysmic change, which ultimately shape our world.

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

Betsy Chaffin works in a variety of forms including paintings, collages, monotypes, photographs and sculpure. She lives and works in Spring Island, SC. Of her recent work, Betsy writes, "The paintings are metaphors for my responses to a time, place, or person; for instance, the flowering coral bean in early May, my mother going for chemotherapy, the birth of a grandchild, a memory of Fran, the mood of being on the Colleton River at sunset. Many times I begin a painting and what it is about changes. The work is intuitive, a non linear process. It is a dance between the conscious and unconscious. It is about my inner life; reflections, memories, an expanding and contracting sense of time, fears. I think the paintings are internal glimpses, more like haku poetry than novels. And the process is filled with continual self-doubt. The work is made up of cross-hatches, indirect ways of mark-making. I began using cross-hatch marks when painting oil over tar. I responded to the physicality and texture of marking through the oil and revealing the underlying tar."

These works on paper are a study in luminosity. Weese builds the ground by layering thin coats of transluscent color. She wipes away the central figure each time in a gesture of carving to reveal the essential shape. As the intensity builds, a visual vibration occurs. The shapes hover and radiate outward ? calling the viewer to step through the key-hole, into an inner world.

These works on paper are a study in luminosity. Weese builds the ground by layering thin coats of transluscent color. She wipes away the central figure each time in a gesture of carving to reveal the essential shape. As the intensity builds, a visual vibration occurs. The shapes hover and radiate outward ? calling the viewer to step through the key-hole, into an inner world.