Nina Ozbey's work is about spontaneity, about opening herself up to the unexpected. In this ongoing series of non-objective paintings, she relinquishes subject matter to explore composition, color and line, blending elements of design with intuition. The process of putting paint onto canvas or paper, and the choices that unfold as each work builds and evolves are Ozbey's main interest. As Ozbey explains, Working off the first brushstroke, which often that dictates the rest of the work, I take pleasure in making marks, observing how each stroke relates to and energizes the next. The paintings are records of my brushes’ actions, webs of gestures that I hope embrace something raw and unseen.Ozbey's paintings tend to reveal the season they were painted in as the ambient light and surroundings slip into and influence the consciousness of her work.
Nina Ozbey began her studies at Oklahoma State University, Stillwater, OK, later receiving her Masters of Education at the University of Virginia, Charlottesville. She has taught art throughout her career, while studying independently to advance her own artistic direction and skills. Ozbey is a fellow at the VCCA and has participated in art residencies at Hambige in Georgia as well. Her work has been curated into numerous exhibitions nationwide, and is included in the Emily Couric Cancer Center, University of Virginia Hospital, and Martha Jefferson Hospital collections in Charlottesville, Va., as well as private collections in Florida, New York, North Carolina, Texas, and Virginia, as well as England and Turkey.
My art is grounded in a love and appreciation of rural life and the work is an expression of those feelings, hopes and fondest memories. I am attracted to everyday subjects that affect the quality of the vast sky, moving water, rustling trees, and the quiet of meadows. and this has been my focus recently.
I am captivated by how light plays on the subject, as well as the ever changing shadows, colors, and shapes that occur as the day progresses. The intent is to create a sense of peace, serenity and resolve for both myself and the viewer.
I work with a limited color palette of 4-6 oil paints. Multiple layers of paint are applied to canvas and allowed to dry between each application, creating a depth of richness and atmospheric intensity.
Listening to the sounds of nature, experiencing the changing light of day, and seeing all the beauty that surrounds us helps me continue to evolve and enjoy this magnificent world, experiencing it through art.
Jeanette Cohen pursued a degree at the University of Missouri before studying painting independently under Charles Kello, Anne McNalley, James Warwick Jones and Karen Blair. She has exhibited her paintings in private galleries and in solo, group and juried shows throughout the east coast.
Using the latest technological imaging tools along with his deep background in graphic design and photographic illustration, the work of John Grant captivates the viewer and brings new attention to the beauty that lies within our daily reach. From the cover of Stephenie Meyer’s New Moon to the gallery walls at Kew Gardens, London, where he recently placed in two categories of the International Garden Photographer of the Year competition, Grant's work is found in many major collections, including The United States National Institute of Health, The United States Federal Reserve Board, the permanent collection of Capital One, and many other private collections.
Michelle Gagliano has been painting for over 25 years and has shown across the country, including solo exhibitions in Texas, Louisiana, California, and New Mexico. Her work is held in numerous private and corporate collections throughout the United States and Europe, including Texas, Amsterdam, London, Beverly Hills, New York, Paris, and Washington, DC. Gagliano was born in Jamestown, NY, and studied painting at North Texas State University with painter Vernon Fisher. She has a degree in painting from Plymouth State University (New Hampshire). She travels frequently between Texas, New York and Virginia.
Ephraim Rubenstein, Richard Crozier, Warren Boeschenstein
Chroma's February-March show Books, being as buildings; Buildings, being as books presents three painters working with visual narratives on creation and obsolescence; metaphors in the development and eventual collapse of stories once made and structures once built.
For nearly four decades Robert Strini has exhibited his work across the country in dozens of solo and group shows. His sculpture has been included in a number of corporate and museum collections including the Smithsonian American Art Museum. Initially studying ceramics with Peter Voulkos and James Melchert, Strini received his MFA in sculpture at U.C. Berkeley. In 1971 he was awarded a two-year Rome Prize, and subsequently two NEA grants. Robert Strini's teaching career includes stints at Rhode Island School of Design, U.C. Santa Cruz, and the Corcoran Museum School in Washington D.C.
Millicent Young was born in New York City in 1958 and attended Dalton School, Wesleyan University, and University of Virginia. Two years after receiving her MFA from James Madison University in 1997 she received a Virginia Museum of Fine Arts Professional Fellowship Award.
Her work has been exhibited nationally and internationally. Her work has been recognized by curators and directors from the Whitney Museum, the Guggenheim Museum, the International Sculpture Center, the Hirshhorn Museum, Grand Rapids Art Museum, and the Museum of Contemporary Art in Merida, Mexico. Young’s work received a top award at the 2005 Biennale of Contemporary Art in Florence, Italy and in the 2009 biennale at Chianciano, Italy. She resides in Albemarle County, Virginia.
My interest and focus is in making art spontaneously, but with the conscious objective of self understanding and healing. As a professional art therapist I find that using art as therapy is a highly effective way to explore untapped personal creativity and expand ones greater awareness of the self and the world. In my own paintings, and in helping to draw out ideas in the artwork of my clients, I look to transform outward forces into individual language, to borrow content from those forces, abstract their hidden powers and turn them into expressive play.