Posts in Issue II
Chambers Austelle

Chambers Austelle is a contemporary figurative painter and educator living and working in Charleston, SC. Austelle is best known for her compositions of vivid color and women subjects. The isolated environments in which she places her subjects challenge the viewer to question the way beauty and women are perceived in our culture.

Her work has been exhibited nationally and most recently, she was awarded Best in Show at The City Gallery for “Piccolo Spoleto’s 2016 Juried Exhibition”. Austelle’s work has been featured in publications and blogs such as Expose Art Magazine, The Artist Catalogue, Fresh Paint Magazine, and The Jealous Curator.


I am exploring the complex way in which our society views women and their relation to beauty. Inspired by fashion photography and the evolution of the roles of women, I place idealized women in isolated settings saturated with bright colors, challenging the viewer to confront the dichotomy between the perception of liberation and that of confinement.

Sophie Treppendahl

Painter Sophie Treppendahl believes that life is full of enchantment....not always, but occasionally, in those unexpected moments when the ordinary of life seem to glimmer with vibrancy and ephemeral perfection. Her work seeks to investigate and question these moments. Dissected through the material of paint, these moments come together; experienced, found, created, and explored.

Treppendahl , a Louisiana native, is currently pursuing an MFA in Visual Art at SUNY Purchase, New York.

Colin Quashie

In this post-modern era, Colin Quashie’s highly charged political art may be called “conceptual”. Artistically and aesthetically, much of his art is closely allied to the ideals of the pop-art movement of the 1960’s and 70’s, but the subject matter is radically different from that explored in the earlier genre.

Quashie’s art faces off against hard issues of culture, politics and race with a self-conscious awareness that often offends (or disturbs) black, white and other; he discriminates with equality and equanimity. Quashie is equal to the hard questions he raises, but often the issues are camouflaged in pop-culture imagery and a form of Warholesque flashiness that confounds as well as derides the spectator.

Operating in the tradition of the French avant-garde artists, Quashie challenges the status quo mentality and functioning on frustration with the vision of the masses; a vision that he hopes to help shape and determine by raising questions that the audience might prefer to avoid. His work encompasses a conceptual element which shapes its meaning and underscores the use of art as didactic tools for society. Through the use of ‘positive’ social anger, Quashie uses his art to scrutinize the power bases of our social system, forcing us to examine our collective political perceptions. His point of view makes its mark by challenging us to be more thoughtful, expressive and more aware. With blatant disregard for compromise, he confronts our favorite beliefs, and forces us to think about the roles we occupy in society. Recurrently controversial, his art, “…is as current as yesterday’s headlines, bold and brash like rap music…the equivalent of a three second sound byte; quick, easy and to the point.”

Quashie was born in London, England (1963) and raised in the West Indies. At age six, his parents immigrated to the States and settled in Daytona Beach. The artist briefly attended the University of Florida on a full academic scholarship, but felt ill at ease in academia and left, eventually joining the Navy as a submarine Sonarman. It was there that his lifelong love for art re-emerged. After his discharge in 1987, he made the decision to pursue an art career. Showing steady growth, his art career ended abruptly in 1995 after an exhibition was censored. 

Frustrated with the art world, he abandoned art, moved West and landed a job as a comedy sketch writer on Mad-Tv. His love for art re-emerged two years later and since then, in between writing gigs (he has written for 6 comedy series, associate produced an independent feature film and in 2001 received an Emmy award for documentary writing), he continues to produce his unique brand of art. He lives in Charleston, South Carolina where he paints while developing work for television and freelancing as a graphic artist. Quashie’s latest work was shown at Satellite Art Show with The Southern in South Beach Miami, Dec 1 - 4, 2016.


Issue II, ArtCreate! Magazine
Camela Guevara

Camela Guevara is an artist and seamstress in Charleston, SC. She received her BA in Fine Arts from the College of Charleston. Her work in cloth employs sewing techniques and references the garment industry using both spare and meticulous imagery. She enjoys sewing tiny beads, as well as weaving and draws inspiration from figure skating costumes, gaudy fashions and utilitarian textiles.

Lance Jones

Jones believes that the ceaseless reevaluation of historical fact allows us to recognize true beauty. To that end, his work begins with images that reference emotional memory. These images, like memory, are pushed and pulled--boundaries blurred, data bent, reality distorted, clarity erased--until the picture is altered, often to the point of complete obfuscation. The result is a recontextualization of the image as a contemporary take on a fleeting moment, a digital impressionism. These selected memories create a reality that may be strikingly disconnected from the original circumstances that created them, manifesting in a composition of globular clusters, organic shapes, and pixilated images.

Jones studied Drawing and Painting at the University of North Texas. He’s had numerous solo and group exhibitions including Temporary Occupants 2011, Eastfield College, Dallas; I’ll tell mom ____ if you don’t ____., The McKinney Avenue Contemporary, Dallas; and Object Object!, Helmuth Projects, San Diego. His work has also been included in Videoholica 5, Varna, Bulgaria; New American Talent 19, Arthouse, Austin; and the 2005 Texas Biennial. In addition, Jones’ work resides in corporate collections, including Brown & Root, Houston; HO+K, Kansas City, MO; Magnolia Pictures and Which Wich, Dallas.


Each piece in this collection of photos possesses the power to evoke a kind of aching and longing triggered by a viewer's familiarity with what is depicted. In this body of work Jones does not present us with the grand theatrical scenery. Rather, he deliberately chooses the more quiet, less cinematic, less studied. These places feel more familiar and democratic. In these images, the presence of humans is only implied and the reality of physical space is supplanted by a digital reconstruction. For Jones, this evokes a sense of what could be called social voyeurism; the figures have left, and we are invited to peek through the curtains, an all too familiar practice as we become increasingly dependent on showing, looking, and telling through digital media. For others, this absence only enhances feelings of isolation, longing, and wonder. Using the already fictional media of cinema, television, and photography, Jones presents viewers with mere fragments of larger narratives, allowing us to consider whether he is telling a greater truth or a greater lie. Either way, the viewer is allowed entrance into the space of the image and that of the artist's thoughts and is free to complete their own story.

Richard McCoy

Richard McCoy is a New Zealand-born creative who divides his time between fashion and art. Before working in Europe at some of the biggest names in luxury fashion in a print design capacity, his master's research was exhibited at London's Tate Britain. This research resulted in the world's first study of 3D printing directly onto fabric. With a recent solo exhibition, 'Hybrids Inside You,' Richard included print works and sculptures made from experimentally hybridized textiles.


Our digital selves, each a screen and a mismatched representation of deeper feelings; desires, pains, and pride. Hidden beneath these layers, we wait, our origins, and our realities remaining in question. What is the relationship between time, reality, and identity when change is so extreme? These new digital works explore these ideas.

JT Daniels

JT Daniels is a Kansas City, KS native. In 2012, he graduated from Park University with a BA in fine art. In 2013, JT was given his first chance to lead a small group of youth through their first community-based mural project. Due to the success of his first mural, in 2014, he assumed the role of Quality Assessor for what then became MAP-IT Murals. Utilizing his roles with MAP-IT and as a Youth Development Coordinator for Mattie Rhodes Center, he's able to mentor youth on varying aspects of art, storytelling and community engagement. Aside from teaching, you can find him either painting live at various events or leading larger group workshops, where his clients include URBANA, ARTS KC, KC LIVE, LISC, Silpada Designs, Ruins Pub & KC Streetcar Authority.


My current work focuses on the idea that our hair is seemingly trapped within a state of constant fluctuation, gradually transforming our external identities and our internal selves. By focusing on the more surreal qualities of human hair, I believe that it can also become a representation of our own self-acceptance. The presence of knives and ray guns is an affirmation of the constant struggle to possess and maintain our sense of self.

Carrie Beth Waghorn

Carrie Beth Waghorn is a contemporary artist specializing in monochromatic renderings of the female form. Both raw and expressive, her work invokes an unadulterated sense of feminine beauty and vulnerability. She uses a minimalistic approach and bold line work to create stunningly simplistic pieces, portraying roles of feminine stereotypes and sexuality. A survivor of sexual abuse, her painful past adds a poetic layer of complexity to each piece. She currently paints from her sunny studio in Charleston, South Carolina.


Feminism is the New Black and White

At the age of 14, I became a statistic. When I went to sleep, I was myself. I was whole. I emerged from slumber as half a person, as half a girl. My body was there. He was there.

When it happened, I vacated my body. My mind was absent, detached. Any form of intimacy that followed this event left me as the same girl I was when it happened. I would retreat into my mind, the one place left untouched, though even this defense left me dissociated, removed. No limbs, no movement no grace. I remember being too afraid to move. Some of my pieces consist of busts, women with a missing limb or no arms at all, an abstract head on a limbless body. These women express a paralyzed form of beauty. Immobile, yet awake. Dismembered, yet still beautiful. All a direct metaphor for the scattered ways in which I experienced intimacy.

It’s difficult for me to exists as monochromatic artist, so many people are moved and inspired by color. Our entire world is driven and manipulated by images which constantly depict some form of perfection. Instagram filters, social media posts, endless ways to cover up your true self if only to resemble some trivial from of absolute perfection. The same is true for what our society expects of a woman. I struggled for years with this double standard, being the perfect woman meant having an innate ability to love freely and passionately, yet I was numb and out of touch with a complete inability to open myself up and experience healthy intimacy. The only way for me to compensate was through my work. And so I immersed myself into my craft. Each new women on the paper was akin to a new extension of my own rediscovered femininity. In this way, through a combination of movement and creation, I slowly purged the darkness that had taken refuge in my own form.

The pieces I create are not just figurative drawings; they represent a part of me that has been rediscovered, a part of me that has come to form. I seek to constantly explore themes of the modern feminine sexuality and stereotypes in my work. The images I create are derived from negative sexual experiences in my life. They are powerful and sometimes ironically erotic.

I like to play off modern stereotypes to add irony to my work, depicting the balance of feeling empowered with the vulnerability and objectification that is always too often the burden of a modern woman.

When every color on the color spectrum is combined, the result is black. This is the color our society tends to neglect. It is reserved for high fashion editorials and funerals, a color of elegance, dignity, mourning, and obscurity. I am driven and transformed through my pain and often find solace in complete desperation. I hope everyone can at some point truly inspect themselves and revel in the darkest, most damaged parts because that is where we most often find our light. For me, there is no greater beauty than the stark contrast of ink against canvass. It is a product of every form of color, light, and beauty combined with one another. Every woman is a canvas. Every color is a story. This is the source of my ink. Contrast is what makes life beautiful.

Alexander Churchill

Alexander Churchill was born in San Diego California and raised in Vermont. In his time in rural towns, Alex learned to appreciate the natural world and developed a curiosity for how humanity fits within it. Alex's curiosity for nature and science has always run parallel to his philosophical and artistic curiosity, and efforts in meeting the two have become a focus that drives his artistic practice. Alex earned a Bachelors degree in Fine Art from Green Mountain College in 2008 and works as an oil painter in Connecticut.


After certain circumstances have had me spending some time living within one of the richest communities in America right outside of New York City in Connecticut, I have found myself fascinated by the incongruous relationship between wealth and the connective bond of humanity. Coming from the contrastingly different background of rural Vermont I have found myself an outsider seeing this way of life as something wholly unnatural and dissociative. Themes like complacency, entitlement, willful ignorance and the ennui of a comfortable society have become thematic in my work, both in the context of race and class, societal systems and the context of being part of an infinitely complex natural existence.

Additionally, the processes and behavior of the human brain and how it has evolved inform much of the visual language of my work, using systems and mechanisms like behavioral psychology and phenomenon such as the "Uncanny Valley" and pereidolia serving as tools to actuate experiencing it as an interface of self-exploration. The vulnerability of the human brain in its wide spectrum of evolutionary complexity is a very interesting thing to investigate and manipulate. Higher levels of cognition are at constant odds with more ancient parts inherited from our primitive ancestors. These conflicts are key for my work as it triggers elemental and animalistic parts of the viewer like survival and interpersonal communication, while simultaneously provoking abstract thought and stimulating the analytical and inquisitive brain.

Visual Contradictions and tensions are a foundation from which the work evolves creating a dissonance that leaves the viewer with a sense of disharmonious engagement. Whether it is between empathy and mistrust, attraction and repulsion, curiosity and apathy, or the esoteric and the universally relatable, the conflict remains the most interesting and perpetually abundant subject matter.

I imagine Art as a natural phenomenon of intelligent life that occurs at a confluence between a curiosity for the extra-mental physical world and a curiosity for the internal world of the self via personal experience and how one subjectively perceives existence. My work is an attempt to interpret and express those curiosities in a way that is relevant in my own time.

Javier Kaplan

I'm Monty, a photographer from Argentina, currently hopping between NYC and Miami.

Born on '86. I've loved photography for as long as I can remember, but it wasn’t until recently that I started to take it seriously. In my teen years, I became more focused on filmmaking, and that became my life for a long time. After years of directing and editing music videos and commercials, I started production on my first feature film in 2014. Because it was a very low budget, it ended up being an excruciating and exhausting experience. I was mentally and creatively drained so, after that, I needed something that I could just go and do on my own, by myself, for myself. Photography became the answer to my frustration because it is so simple and immediate. There’s autonomy to it, which is something I appreciate and that goes very well with my personality. I'm not much of a team player.


My photography is all about capturing a certain mood. Being as I’m a bit bipolar, and as a result, a pretty eclectic person, so too is my work. I often find myself taking the most upbeat, colorful pictures, followed by some very dour ones. My style is all over the board honestly, and I like it that way. I get bored pretty fast, so I try to keep it fresh. Be it day or night, light (and lack thereof) is always my main concern. Flash light, street low light, or natural light, are always the tools I use to communicate a feeling. I search for the things everyone else is not paying attention to and try to capture it in a very minimalistic manner.

Tania Dibbs

Tania Dibbs is a professional painter and sculptor who lives and works in the Roaring Fork Valley of Colorado. She attended the University of Virginia from which she graduated with a Bachelor of Arts degree in fine art and biology. Her love of nature and the natural sciences is evident in her work, which revolves around issues of the intersection of humans and nature. Her art studies have taken her to the SACI Art Institute in Florence, Italy, the Art Student's League in New York, and the Anderson Ranch Arts Center in Snowmass, Colorado where she won an Aspen Foundation grant to fund her painting study and an Artists' Fellowships for Colorado Artists award to study steel sculpture. Her honors include a Visual Artist Fellowship Award from the Colorado Council on the Arts and an Art in Public Places selection from the state of Colorado. Tania will be visiting the Arctic Circle on a residency program this fall. She has had one-woman and group shows in Aspen and across the United States, and her work is in collections worldwide.


My sculptures explore the jagged intersection between the natural world, humanity and culture using found objects, resin, beads, glass, and jewels. Using the type of human debris that has become invisible to us makes a statement about our disposable lifestyle. Combining symbols of wealth and culture with their opposites highlights a bigger discussion about our fast-changing relationship with the planet and with nature in general. In these pieces, an obscene abundance of sparkle and glam adorns the object while nature still inexorably morphs, evolves, and continues regardless of conditions.

Tammra Sigler

Tammra Sigler has painted and taught in the Baltimore/Washington area and Naples, Florida throughout the past 45 years. Tammra received her education at Syracuse University, School of Fine Arts, and got her BFA, with honors in painting, from the Maryland Institute College of Art, Baltimore, Maryland in 1965. Ms. Sigler has shown her work extensively and been awarded many prizes in the Baltimore/Washington area as well as Boston, Philadelphia, New York, Cincinnati, Los Angeles, Lexington, Palm Beach, and throughout South America. Tammra’s work has been acquired by The National Museum of Women in the Arts, Washington, D.C. and the Baltimore Museum of Art. It is included in many private collections both nationally and internationally. Her work has been selected three times (1994, 2000, 2010 ) to be represented in the national publication “New American Painting” by Open Studio Press, as well as "Studio Visit Magazine" (2014). Some of her corporate collections include Chase Manhattan Bank of New York, Peat Marwick Mitchell & Co., Ballard Spahr Andrews & Ingersoll, Health Insurance Association of America, Federal Reserve Bank of Virginia, Ayres/Saint/Gross Inc., Equitable Trust Bank, Shelter Development Corporation, Murdock Development Corporation of Los Angeles, Deloitte and Touche, The Johns Hopkins Oncology Center, Percontee Corporation, Commercial Credit Corporation, W. B. Doner Inc., Advertising Agency, United States Consulate, Spain, Health Insurance Association of America, Washington, University of Maryland, Towson University, and The Maryland Institute College of Art. Her work was featured in the13th Annual Naples Museum of Art Artists’ Studio Tour in 2008 and has shown at the von Liebig Art Center in their Founders and Encounter, as well asother juried shows. Her work was selected by the Baker Museum at Artis Naples for the "All Florida" exhibit in 2015. Currently, she is preparing for a two-person show this spring at the American University Museum (The Kaizen), Washington, DC.


These “Gardens” are not quite as carefree as their borders might suggest. They are, in fact,“very serious” self-portraits… the heart and soul, and complex moments of the artist. They fuse memories of real gardens, imagined gardens, and the self….the highs and lows, the joys and sorrows, the mysteries and the unknowns. They are safe confined spaces as well as open-ended exposed areas of suspense. I enjoy ambiguity and the juxtaposition of polar ideas. I like the play between chance/planned, random/order, and spontaneity/organization. These concepts, however, are not part of a preconceived, conscious plan. After the paintings “get painted,” they tell ME what they are about. I just try to pay attention!

Technically, I was interested in how I could make the unpainted areas as important as the painted areas. I learned how to “draw” with tape, making broad marks, and, upon removal of the tape, letting the unpainted areas speak vibrantly. As a result, the taped areas became an armature supporting an undulating, organic painted world. I used house paint on heavy Arches paper with mixed media, crayons, pastels, pencil….blending drawing and mark making, with the joys of paint.


Brittany Marcoux

Brittany Marcoux is a photographer and visual artist from Massachusetts. In 2016 she received her MFA in photography from the Massachusetts College of Art and Design. She has exhibited at the Danforth Art Museum in Framingham MA, AS220 in Providence RI, §üb∫amsøn, Aviary Gallery, and Nave Gallery in Boston MA. Marcoux is currently a teaching assistant in the Visual and Environmental Science department at Harvard University.


Since my parents’ estrangement, four years ago, my perspective shifted into a realm of bitter contemplation, analysis, and critique. Their separation after 25 years of marriage has unsettled not only the foundation of our household but with divorce procedures just underway, I’m noticing that the effects of this event are altering everything: I look at places, people, and (most significantly) objects with different eyes, questioning their purpose, truth, and actuality. This shift accounts for the way I photograph my subjects, taking them out of their context, and into a separate environment for singular speculation. Using installation, edited home videos, and a photographic book, childhood memories are re-created and transformed into tangible layers of self-reflection.

These layers are made physical through constructed images, edited home video footage, and an installation of a room in my childhood home. Through the use of furniture, objects, wallpaper, carpeting, lighting, and scent, the room transports viewers into the past, mine and perhaps theirs. As the old TV flickers between repeating birthday parties, analog static, and cigarette smokers, the audience may recall moments from their own family history, gathered around the giant console TV set, just as it appears in the fabricated room. The video serves as a connector between past and present, personal and universal connection, and also the installation room and photographs. As actions are repeating on screen from a past era, scents, objects, and the book of photographs serve to bring the audience back into present day. The elements that make up the assemblage of my childhood room mimic the way that memories are recalled, questioned, forgotten, confused, and replayed.

Denton Crawford

I was born in Ft. Leanard Wood, MO. and spent most of my childhood and adolescence between the southeastern United States, Germany, and England. I received my BFA from The University of South Florida in 2007, and my MFA in 2011 from The University of Georgia. I’ve exhibited work in California, Seattle, Buffalo, Rochester and at various galleries in the southeast. I work in a variety of materials and visual strategies, merging 2D and installation. Among other things, I enjoy hiking, being outdoors, and going on adventures with my 6-year-old. I currently live and work in Rochester, New York, where I teach a variety of fine art classes at The Rochester Institute of Technology.


My work investigates the relationship between mysticism and the absurd and how personal experience informs our understanding of each. Incorporating landscape and abstraction, combining reality with fantasy, and the ideal with the absurd, I create personalized accounts of experience that explore the boundaries between logic and belief. I like to think about how familiar objects and imagery can resonate with the viewer in ways that cannot be fully understood or codified, crafting a disembodied sensation. The work is fed by conflicting ideologies, presenting unnatural events or ephemera that seem at once enticing and suspicious. The hope is to set the stage for moments of experience informed by the viewers’ own relationship to the work. I want to give them a moment that they will not forget.

Ideas and visual cues are drawn from a wide range of sources. Mostly revolving around places I’ve lived or visited, these works portray moments from fictional narratives derived from various literature, art history, conflicting philosophies and personal adventures or misfortunes. My own photos and sketches, found imagery and objects, and art works throughout history all inform my visual narrative. The work is as much based on thoughtful research, as it is intuitive decision-making and playful speculation. Literary and philosophical influences include Albert Camus, Joseph Campbell, Agnes Martin and H.P. Lovecraft, among other works of literature and film.

My most recent paintings and sculptures are an exploration of the relationships between religious belief, political affiliation and individual rights and freedoms. Much of the impetus for this work is drawn from my adolescence and recent social and political events. Strange lights in the distance, metaphysical figures and objects, and obscure landscapes leave the viewer to build a dialogue with the work based on personal beliefs and experiences, allowing them to fulfill the narrative on their own terms. My hope is to draw the viewer into this altered space where they might suspend themselves in the moment, lingering in the work, and reexamine what they typically believe to be true.


Jovanni Luna

Jovanni Luna was born in Wenatchee, Washington. He received his BFA from Washington State University (2013), and MFA from Columbus College of Art and Design (2015). He is currently living in Brooklyn, NY. Sculptural paintings are an exploration into discovering a balance with the two mediums. The way the paintskins are manipulated and then arranged on the shelves are based on the surroundings the artist experiences.


The use of donated house paint has evolved from an economical standpoint to a method of recycling a material that might have been forgotten in the corners of basements and garages. It is about staying loyal to a material that has allowed me to manipulate it to the extent of my curiosity.

With instinctual repetitive actions of layering, cutting and rolling the paint, this laborious process of working becomes hidden with each additional layer of material, obscuring the actions before it, only allowing subtle cues to be seen in the end: hints of color, gentle textures, subtle brush strokes. I consciously determine the layout of each piece, a simplistic look from afar and complex design up close.


Issue II, ArtCreate! Magazine