My paintings are about looking as it becomes seeing and seeing as it becomes contemplation. Something will catch my eye; then, when I look at a scene or a subject I become totally absorbed by it. I start seeing it and it will take on a form of its own, resulting in a different image. This image will stick with me and keeps developing until it turns into a painting with my vision.

"Vision as a precondition for knowing as knowing becomes understanding and understanding to become feeling"   - Susan Ghez

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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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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 The focus is taken from historical reference and the geometry of architectural suggestion: an early Hittite jug with a bird-like spout, the delicate curve of a saddle with scrolled handles, the arch of a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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Ann Feldman is a contemporary Impressionist, finding beauty in ordinary objects and scenes. Her paintings are completed Alla Prima, or "all in one go," which keeps the application of the thick paint fresh and spontaneous. Her signature technique uses layered broken color, giving life and freshness to all of her subjects.

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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.

The landscape has always been a great source of inspiration in my work.  Over the years I have strived to find a continuum between the notion of representation and abstraction, switching from one to the other depending on the need to further explore the issues of painting. The horizon line is a consistent theme in my work.  It represents a place of rest and the notion of infinite beginning.  It is a foundation to capture the space and distance created by our perpendicular presence on the land and a search for a distant calm.

As with most artists, working out the structure given by the horizon and it’s relationship to the proportions in a painting, it is always a struggle to "get it right". The mystery of painting is how an appearance of a subject can be made. It can be illustrated, it can be photographed, but how do you catch the illusive notion of appearance?  With brush strokes and marks, pushing the paint to it’s edge, suddenly appearance comes in with a clarity that eludes the notion of the accepted way.  It can begin as a familiar feeling but end up as something quite different, and that is what is exciting. Nantucket‘s sublime and natural beauty has been etched in my mind and heart since I was a small child as my formative years were spent there. To this day, it continues to  provide an infinite source of inspiration for the years ahead.

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.

As young as five, Alana drew the world around her.  With a desire to win a new bicycle, she entered a national art contest at the age of nine.  She rendered the subject, with colored pencils, winning second prize to the first place oil. The sponsor, Kellogg, was impressed by her talent. 

In a short period she has entered competitions, received awards, completed numerous commissions, exhibited her work and donated her artwork for charitable events.   Her artwork resides with clients in Italy and throughout the United States.  She offers portrait demonstrations, teaches private lessons and teaches portrait workshops.  She is well known for her portraits and maritime paintings.

Primarily self-taught, Alana’s artwork displays remarkable draftsmanship with the compositions intentionally leading the viewer.   She develops harmony with a wide range of values and intensities using limited palettes.  Color harmony with lost and found edges strengthens her style of romantic realism.  Her medium is oil. Additional artwork may be viewed online at www.alanaknuff.com.

Artist statement coming soon.

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.

Jenny Nelson attended Maine College of Art in Portland, Maine, and graduated from Bard College where she received a scholarship to the Lacoste School of the Arts in France. She has been living and working in Woodstock, New York for over 20 years. Her early artistic training was focused on the classical and representational but it has always been her natural instinct to depict her subject matter in abstract forms.  Most of the paintings evolve as an intuitive reaction to her surroundings, be it interior space, inner space, or landscape.  In her work Jenny applies many layers of paint, using palette knives, oil sticks and brushes. Traces of previous layers will remain visible, allowing colors to interact in ways that are not anticipated. Her compositions develop through a series of decisions that are both conscious and unconscious. With great sensitivity to evolving color relationships and mutable forms, a very personal abstract language emerges. Editing, adding and subtracting finally results in a painting in which everything on the canvas co-exists with a depth and intensity that seems balanced yet stimulating. The focus on particular shapes or compositions for long periods of time can result in a series of closely related paintings. For more information, please visit: http://www.jennynelson.com/CV.html

My paintings are executed in oils, with the frequent addition of graphite, ink, or torn tissue paper for textural and linear emphasis. The works evolve from extensive under-paintings and glazes, which, while resulting in certain preserved 'accidents,' also serve as inspiration for the final more deliberate renderings. All of the oil paintings represent my ongoing involvement not only with landscape and seascape, but more importantly with light, strong colors, and textures. Shadow and form are folded over each other, highlighted, or scraped and rubbed away, resulting in the multi-layered pieces that define my work. Composition, color, texture and the use of glazes and layering have always superseded subject when I sit down at the easel. I find myself edging from reality into abstraction, but without losing a sense of time and place. Moving to rural Vermont from the New York metropolitan area 15 years ago, as well as vacation time spent in Nantucket, have given me a focus and helped me to create work that is mine and not a response to the latest trends in SoHo.

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.