Margo Was born in Warsaw, Poland in 1958. She always had an interest in art and gardern design. Landscape Architecture seemed a perfect combination of those two interests.

Margo moved to the US in the early eighties and earned her degree in Landscape Architecture from Washington State University. After graduation she worked for a university hortucultural department. 

At the time, she developed her intrests in design and art by painting floral, landscape and abstract compositions using oils as her favorate medium.

About 2001 Margo was noticed by one of North Carolina's premier galleries and her career as professional artist took off.

From then, Margo progressed to exhibit in best galleries including the most prestigious and oldest gallery in Atlanta - The Lagerquist Gallery.

Margo constantly develop new approches, color schemes and styles and enjoys an intrest from publishers who believe that her work is exceptionally well suited for reproduction.

Margo lives near Raleigh, North Carolina with her husband Roman, her two sons, Lucas and Martin.

She is a happy and satisfied person since she is able to do what she always wanted - tak care of her family, work in the gardern and always work on her new canvases.

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​My abstract collages are about found materials which attract my eye and which I combine with paint to create my "interior landscapes."

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Silvio Cattani was born in Trento, Italy in 1947. He studied lithography in Urbino and painting at the Venice Academy of Fine Arts. 

His first exhibition in Trento was in 1968. From 1972 to 1975, he taught graphic Design. In 1976 he became an instructor of painting at the Istituto Statale d'Arte in Trento, which he ran after 1984. 

In 1987 he founded the Institute of Art in Rovereto, where he was director until 2012. Since 2012, he has been director  of the Acedemy of Fine Arts of Trentino.

In the 1980's, he began working with glass and ceramics. He worked for the glassmaker Nason in Murano and in ceramic workshops in Faenza and Macerata. 

Cattani has had exhibitions in Rome, Milan, Catania, Bari, Rovereto as well as in Germany, Austria, Luxemburg, Paris, Lille and at the San Jose Museum of Contemporary Art in Costa Rica.

Cattani lives in Rovereto, Italy, and has his studio there. 

Cattani was influenced by Georg Baselitz.

Cattani style inspired by neo-expressionism, abstract.

He is known for painting, mixed media, glass, ceramic.

Although I have been painting steadily since 1998,  I started my artistic career in 1975 as a photographer where I logged many hours in the darkroom.  After opening Chase Gallery,  I began to appreciate the surface and feel that paint brings to a canvas.  Since then, I have been inspired by a number of artists, many of whom I represented as an art dealer.  I have now learned to love the medium and the effects of color and texture.  I am not satisfied with simply replicating a landscape, figure, or still life.  I try to bring a new perspective that can be interpreted by the viewer and express something felt and not seen.

I show regularly at galleries and art fairs in Massachusetts, New York, New Orleans, North Carolina, Georgia, Florida, and Texas.   

Robin Cheung's paintings and drawings can be found in private collections throughout the US, and internationally including France, England, Greece, China, and Canada. Robin's work is inspired by the transformation of objects as they endure through history, appearing different in form and finish again and again to new cultures throughout time. Her paintings reflect the scratched and crusted layers of ancient walls or the graceful profiles of ornate vessels.

Her work recalls the muted frescos and tile floors of Pompeii or the subdued shades of a worn medieval tapestry—the remnant shapes, patterns and details of antiquity. The focus is taken from historical reference and the geometry of architectural suggestion: an early Hittite jug with a bird-like spout, the delicate curve of a saddle with scrolled handles, the arch of a doorway. Robin's work aims to capture the elegance and balance that these objects have inherited.

Valerie Coursen's mixed-media paintings evoke colors and patterns inspired by childhood summers on the Cape.  Her work is known for tactile surfaces and beautiful color relationships that tap into the magical summers she spends on the Cape and Nantucket. 

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Lisa Daria Kennedy grew up along the northeast edge of the Hockomock Swamp in Massachusetts. She received her BA from Roger Williams University (1995) in Graphic Design, a BFA from Massachusetts College of Art and Design in Illustration (1998), and an MFA from the Massachusetts College of Art and Design in 2D (2013).  Kennedy creates product designs and surface illustrations for the international giftware industry. She is affiliated with Roger Williams University in Bristol, RI as the Design Editor for the literary publication, Mount Hope and is an Assistant Professor at the Massachusetts College of Art and Design in Boston, MA.

As a contemporary artist I create visual poetry and the beauty of the land. The spirit of place is my inspiration for a deeper, psychological interpretation of the journey, the personal quest.

I search the essence of the natural environment. I become sensitive to its surroundings. Nature speaks: I savor the scents, sounds, colors and movement. I respond, interpret, transcend. I am touched by it’s life!  It is life’s energy I wish to express.

I am energized by the changing elements in nature; movement of flowing water patterns, cloud formations, and the play of light. My paintings draw you in, as to explore the intimacy of the illuminated pathway or of nature’s expansive earth and sky.

Walks alone on nature trails, western mountain hikes, east coast beaches and exploring water ways have always rejuvenated and inspired me to paint abstracted elements of nature. I am pleased when a viewer sees one my paintings and senses that they have been there before, evoking their own personal memories.

Painting en plein air, alla prima, or in the studio, I concentrate on the act of painting; meditating, visualizing, creating expressive fluid gestures with bold saturated color and rich texture made from natural earth and mineral pigments. I lay down a thick expressive palette knife relief, add layers of color transparencies with subtle blending transitions, and bold sweeping brush strokes. Rags and combs wipe and scrape the painted surface, revealing vibrantly painted under tones. 

Through my expression of art, when I am most at peace with myself I encourage the viewer to experience the power, spirit, and beauty of nature. 

In our world there exists a force which animates. This force manifests itself in everything around us. It is miraculous enough that anything should exist at all. That these things somehow become animated and alive is a miracle beyond words. An ocean of such miracles surrounds us and covers us in it's beauty at every moment. I believe we may become reminded of this beauty through contact with the arts, particularly in the disciplines of painting and music; there, an imperfect portrait of this force can sometimes be achieved. The landscape, both cultivated and wild, can serve as a reminder of the beauty and power that exists beyond our grasp. There is always something happening in the landscape before us, and something is always about to happen. We are traveling along, almost unmindful of everything around us, when suddenly we are startled to see in a distant field a strange arrangement of color and light. We know that in a moment it will pass, and perhaps all we can manage to say is that it is beautiful. For an instant we feel the presence of the miracle once again, allowing itself to be revealed.

Sandy has been a member of the Artists Association of Nantucket (AAN) since 1996 as an oil painter. Sandy won the AAN Rober McDougall award for Promising New Artist in 1998. Her education covers a range: BFA, Colorado State University; Art Center College of Design; School of Visual Arts; Southern Methodist University; Denver Arts Students' League; NY Academy of Fine Art; Caravaggio Studio (NYC); Georgetown University.

"Although I have been studying art for years, interacting with instructors and other artists continues to energize and inspire me."   - Sandra Flavin

From Caravaggio in the 17th century to the American Luminist painters of the 19th century, artists have struggled to capture and reflect a light source in their works. Translating the details of reflected and refracted light is a talent few truly master. Elle’s goal is to seize that sunshine or five o’clock shade to create a brilliant mid-day horizon or a silent, shady sunset moment. Each work gives you a sense of the place in which the artist immerses herself. I have watched her work at the Life-Saving Museum and the creek marshes of Monomoy in Nantucket. Elle concentrates and absorbs the essence of the time, tone, and beauty of the natural landscape and shares it with us.

Laura Hussey comes from a family of artists.  Painting and drawing were a part of everyday life.  As a result, she has tried all mediums but recently has concentrated on sketching plein aire in acrylics and then using the sketches in her studio to do more detailed oils.  The beauty of a scene is what draws her to a certain landscape.  Once the composition is found she will often do many paintings from the same sketch.  

She has studied landscape with John P Osborne, still life with Pam Pindell, and drawing with MJ Dickson.  All of these artist had a great influence on her.

For more information, get in touch with us via the online CONTACT form or by phone.

Artist statement coming soon.

My most recent paintings have evolved from a mostly impressionistic style to one that is a bit more abstract. This difference is achieved largely through unusual textural innovations in otherwise uniform surfaces. Unfortunately, these small (website) images do not really convey the visual impact and detail of the full size paintings.

I am continuously inspired by the complex interaction between sky, water and land…the boundless horizon that provides an intoxicating space for my imagination to roam. My paintings strive to capture the ever changing moods that light imposes on what I see.

Evocative, suggestive seascapes and landscapes draw people into my paintings...into a timeless space that silences the chaos around us. I want to solicit an emotional response to images drawn from my imagination which is incessantly fueled by the world around me.

I keep a photo record of each painting's evolution. I look back at some of these pictures and see how a painting changed in interesting ways. I see my struggles to get something out that I didn’t understand at the time. I am often amazed and sometimes appalled by the many attempts it took to arrive at the final solution. Since I never plan a new painting, this documented evolution reflects the emotionally draining exploration of something within me that needed to be expressed.

Since my early mixed media paintings, I have been experimenting with many different, sometimes non traditional approaches. Mixed media once allowed me the most flexibility and range of expression. However, oil painting is the more challenging and has become my most satisfying medium. By incorporating the lessons learned from each medium, including digital, my approach is always exploratory as I develop different techniques to achieve the effects I want. 

Without some mystery, some sense of the unknown, I might not manage everything that comes along with painting: the isolation, the expense, and the feelings of rejection, elation, triumph, satisfaction.

The unexpected and unknown aspects of my practice remind me of the stories of Greek mythology, where the challenges of the Gods force the characters into creativity. With my work, I gravitate towards challenging myself and finding new modes of creativity.

I’m not interested in trying to control the process of a painting; I keep working the canvas until I see something I’m satisfied with, though not necessarily what I imagined. What emerges is a different vision of the world around me, a slightly altered reality with order and smoothed over edges. Painting en plein aire brings me such euphoria that my feelings are invariably captured in the painting, elevating reality. The weather, the light, the breeze, and the moods of the place all affect me deeply, and incorporate themselves into the image.

Much of my evolution as an artist occurs between each painting, while I am just living, unaware of my creative process. New visual ideas, new ways of approaching my work build up in my subconscious, manifesting the next time I pick up a brush.

I have spent many hours, over many years, closely observing and meditating on the striations that surround my summer home. I have become fascinated by their geometry and the additional shapes created by case shadows that change and turn depending on my vantage point and the sun's positions. The outward shapes change, but the underlying strict remains the same. In all that changes, what remains unchanged? Can anything endure as time continues its steady attack on any notion of permanence?

As I repeatedly draw and redraw these same structures, I seek out the subtle relationships between shapes. Sometimes I see new shapes and I am amazed that I never noticed them before. The lines that bound the shapes will ship depending on my point of view, but the fact that they always lie connected on these same plane insures their innate relationship: a triangle remains a triangle even when I can't see it. Sometimes I draw the shapes I know are there then adjust them and leave the trace of my thought process as I move and ship in and out of the space of the canvas, always hoping to discover something previously unseen or un-thought of.

As I continue to sit and gaze at these structures, they transition back to the homes of the neighbors. I am overwhelmed by how many lives have passed on through this small community during my thirty years of living here. Yet I am aware that my memory is only a small fraction of the collective memory of my neighbors. Eventually all memory of us and these structures will be erased by time and rising tides. Sometimes I feel them disappearing beneath my hand as I search to capture their fleeting essence.

Elise Phillips was born in Wayne, Pennsylvania into a family with an extensive background in the fine arts. Her great, great grandfather founded Newman Galleries in Philadelphia in 1865, and today she is the fifth generation of the family involved in the arts. 

A graduate of The Hussian School of Art in 1983, she was an accomplished illustrator and graphic designer with many successful commissions in the business community. With an inherent passion for painting, she enrolled at the Pennsylvania Academy of Fine Arts, emerging well schooled in the tradition of the Academy. 

Elise has for many years maintained a studio in Elverson, Pennsylvania, where the bucolic countryside is a constant source of inspiration for many of her paintings, as is Martha's Vineyard, Nantucket, the Chesapeake Bay and the coast of Maine. 

An award winning exhibitor, she is a signature member of the Philadelphia Water Color Society, a member of the Philadelphia Sketch Club, Oil Painters of America, and the Mid Atlantic Plein Air Painters.

I am a figurative painter who paints according to certain traditions – the creation of space (vs. mimicking of space) on a flat picture plane, the use of color and space to create light (vs. mimicking of light), using the principals of abstraction to paint solid forms, compose an entire image (the whole painting), incorporate lines and curves and color and my own light coming from within the painting.

I believe that we are here, alive, to be ourselves, to gain wisdom, to give love, to not miss a moment of life if we can help it, that suffering is a given, but meaning is built into life. I LOVE life, I love being alive. I love nature, animals, people, shapes, colors, music, dance, Shakespeare, great writing, sex, the human body, biology, poetry, cars, dogs, the ocean.

I LOVE to paint – it isn’t always easy, but I love doing it so much.

My first memories are of drawing and painting. I do not know a time when I was not expressing myself through line or color. I grew up in the San Francisco Bay Area and was influenced by the powerful bursts of creativity coming from the abstract expressionists, abstract figurativists, and a brand new technological age in graphic design.

Graduating from high school I struggled to find the courage necessary to pursue art full time. Having read about the College of Arts and Crafts in Oakland, California, I applied and was delighted to be accepted on a full scholarship based solely on my portfolio, to this institution where many of my heros (Manuel Neri, Wayne Thiebaud, Richard Diebenkorn, Viola Frey) made their mark.

San Francisco allowed me to soak up its visual riches in fabric, sculpture, furniture design, and painting which excited and shaped me. I studied design and illustration, and began working for an internationally known graphic designer, Einar Vinje, who fostered in me a strong, independent devotion to purity in art of all expressions. He exposed me to Robert Motherwell, Miro, and Hans Hoffman’s work, which left an indelible imprint.

I started a family early, and have two lovely daughters who practice each behavioral and relational psychology, respectively. My painting continued through those years, but began to come into its own when the abstracts took over as I went through a major life shift ten years ago.

Travel has added to the warp and weft of my expression. The cultures of China, India, Africa, Europe, Central and South America, amongst others, lend texture and connection in the paint.

Visual and emotional immersion is what I pursue in my work to express an interior landscape which combines with reflections in world mythology, archetypal concepts, current culture and nature.

My paintings are a personal exploration which give me an opportunity to break down the elemental aspects of a subject, allowing light, color, shape, and balance to become flexible. I can feel the work rising, as well as see images, before approaching the canvas to paint in a direct, engaged relationship with the piece, as it has a life of its own. I follow it, allowing my own energy to respond to and work alongside the energy of the work. I am able to feel who I am, in painting and in life, in the process.

I now live and work on Nantucket island which inspires a great deal of creativity in me. 

I do not look for theories to explore nor the latest social term to exploit or the latest fad in execution. I believe in the pure exploration of material. The excitement of new discovery. Process is everything. Some of my work may be nonrepresentational then the next might be a simple oil still life. I don't believe in one method being better than another; but whether the execution is solid and well defined.

The formal elements of painting and abstraction interest me, namely color, form, line, shape, surface and a pleasing yet challenging presence within the painting. Nature is the language I speak in my work. I seek to invent a painted surface through the use of color, an awareness of direct brushstroke and the application of paint to the surface, while maintaining a connection to earth and water, the sky, plants and dwellings, a messy yet ordered place of color and natural forms. More recently the horizon has slipped off the picture plane, yet it will most likely reappear. 

An Artist Member of the Artists Association of Nantucket, Caroline shows her landscape and still life/abstracted oil paintings on Nantucket Island.  She studied Fine Art at the School for the Arts at Boston University.  Not quite ready to immerse into Fine Art, she worked to receive her Master of Arts in Teaching in Chicago, moved to The Big Apple, and became an elementary school teacher in New York City for over a decade.  During her time as a teacher, she extended herself into her design interests. Caroline's design sense re-immersed in her love of jewelry design.  Her jewelry joined color combinations and construction, and she sold her designs at Nantucket Looms.  Her color and construction sense led her back to oil painting.

Caroline comes from a travelled St. Louis family that has summered and appreciated art on Nantucket since the 1940's.  Through her family's travels, the enclave of Montecito in Santa Barbara and the French culture entwined with perfect Nantucket lighting are some elements that have poured inspiration into her art.

Nantucket has been home since 2013.  During this time, Caroline has opened herself up to see what she still has inside herself as an artist.  She has embraced the local art community through workshops and talks.  And, of course, becoming friends.

Dog walks and Sunday drives are where she finds her composition- color combined with contrasts and textures of the landscape.  “Distinctive skies, clouds and finding those special places I love are what inspire my imagination."

Painting with hints of abstraction, my knowledge of drawing and letting go of that knowledge through color and form...

The shapes that are shown through nature, sand dunes, wildlife on Nantucket and through travels-- landscapes through the seasons, and hints of changing color; these are important elements in my subject matter. many of the ingredients that lead my imagination to find that story with paint on canvas.”

In particular,  I love the colors and contrasts of Nantucket.  Its rich landscapes and beaches with many secret paths provide rich material for my oil paintings.  The Rainbow Fleet, Steps Beach, Miacomet, the Snowy Owls in winter, the lighthouses and cobblestone streets are many of the ingredients that lead my imagination to find that story with paint on canvas.”

 “In early or late afternoons Dionis is a good beach to take my dogs to run.  Miacomet also inspires me with its many winding dirt roads, shadows from wind-blown trees, and wide beaches with the dunes overlooking the surf."

These dirt paths, late afternoon beach strolls, sunlit landscapes, moody still lifes, and abstracted florals tell a story and invite the viewer into that world on canvas.

Additional artist information coming soon.