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Medium: Watercolor
Size: 10” x 7”
Year: 2020

# data[].attributes.body
Medium: Watercolor
Size: 10” x 7”
Year: 2020

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Medium: Watercolor
Size: 10” x 7”
Year: 2020

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Medium: Watercolor
Size: 8.5” x 5.5”
Year: 2020

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Medium: Watercolor
Size: 8.5” x 5.5”
Year: 2020

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I am drawn to nature and its cyclical changes. We, as human beings, are connected to nature through the water, the Earth and the sky that make up our environment. My images convey this co-existence. Travel is an integral part of my creative process, as I am drawn to variety, which is researched through exploring many landscapes, climates and cultures. I am continuously looking to expand, gather, and organize these experiences. Research is an important component of my art-making process. I equate process and media with idea when utilizing drawing, painting, printmaking, sculpture, video, performance and photography. Drawing is the immediate means by which I bridge the external world to my sensation of it. Not only to the visual richness of nature, but to the rhythms underlying it. Each body of work explores different ways in which our landscapes transform and how they are remembered. Lines are a constant in my work and mark symbolic paths. The paths in my imagery mark the flow within the cyclical changes in the landscape. I would describe my work as obscured representation, in that each piece originates as a representational image that is meticulously developed and manipulated through several different mediums. These notations form the basis of both my abstract and my impressionist paintings.

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A native of Long Island, Esther Marie actively exhibits in many art related gallery shows, auctions and events both nationally and internationally. She works for clients in New York City and across the country. She has also showed her work globally, including in South Korea. She was awarded a fellowship and hand selected for a renowned art residency at The Chautauqua Institution in upstate New York as well as a full scholarship to the Vermont Studio Center.  She also participated in a Rotary International Exchange for a month where she learned about the local culture.  Besides being immersed into the culture they were introduced to native artists, viewed their art and created several different art pieces using local traditional art techniques.  Esther Marie's paintings are in several private as well as permanent collections.  She concentrates on Plein Aire and abstract painting. She continues exhibiting at numerous art galleries in the Northeast of the United States.  Esther Marie was named “Best in Show” at the Northport Plein Aire event.  In perhaps her best achievement yet, she was chosen to be in the exclusive Heckscher Museum of Art Long Island Biennial.

Esther Marie lives and works as an art instructor and adjunct professor on Long Island, New York.

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Patricia Colombraro is an artist living and working in New York. Her images illustrate a personal narrative taking the viewer on a metaphorical journey. Her imagery evokes mystery, exploring the spiritual aspects of ones self. Ms. Colombraro, whose passion lies in making fine art, has exhibited both nationally and internationally.

Ms. Colombraro has worked for twenty years as an extensively published photojournalist as well as owning her own studio business since 1987. She holds a BA and MFA in Photography from Long Island University/C.W. Post Campus. She is a faculty member at The Knox School. She also teaches photography as an Adjunct Assistant Professor at Suffolk County Community College.

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I have always been intrigued with the written word, the uncanny, what lurks in the shadows and the mystery of night. As an avid reader from a young age, I often yearned to create a visual narrative from these curious tales of noir, fantasy and the unknown. Working for many years in the world of photojournalism, these narratives would be driven by factual rather than fictional events, however the journey of becoming a visual storyteller had begun.

“Constellations” examine an invisible veil of time we cannot see, but we can feel move past us. Embracing the mystery the night holds, the viewers are invited on this visual journey to create their own personal interpretations based on these narratives.

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Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

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Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

# data[].attributes.body
Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

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Medium: Pigment print

Size: 19’’ x 25’’

Year: 2018-2019

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Medium: Slab built and sculpted stoneware clay Glazed and painted with stain and gerstley borate wash and embellished with color ceramic decals.

Size: 16 x 23 x 9.5”

Year: 2014

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Michaelann Tostanoski- Flamenco on sheepshead Bay

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Medium: Slab built and sculpted stoneware clay Glazed and painted with stain and gerstley borate wash and embellished with color ceramic decals.

The “oil spill” base for this piece was created from masonite, nails and epoxy resin.

Size: 12.5 x 19 x15.25”

Year: 2014

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Medium: Slab built stoneware clay

embellished with color ceramic decals. Found object.

Size: 8.5 x 7 x 4”

Year: 2014

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Michaelann Tostanoski- Waititng for Lyle

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Medium: Digital color decal on stoneware form

Size: 11,1/4 X 19,1/2”

Year: 2013

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Medium: Digital color decal on hand-built stoneware form with handmade tassel

Size: 9.5 X 4”W X 4”D.

Year: 2018

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Medium: Digital color decal on hand-built, glazed stoneware form

Size: 7.5” H X 5.5”W X 5.5”D.

Year: 2013

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Medium:  Digital color decal on hand- built porcelain form

Size: 9.75”H x 8.5”W x 2.5”D.

Year: 2014

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Michaelann Tostanoski- Tranquility Wall Vase

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Medium: Digital color decal on pair of hand-built stoneware forms
Size: 4.5”H X 12.5” W X 8”D.

Year: 2018

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Medium: Hand-built white clay form

Size: 17” H X 10” W X 4.5” D

Year: 1984

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Medium: Hand-built white clay form
Size:17” H X 10” W X 4.5” D
Year:1984

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Medium: Hand built stoneware with glass and silver leaf

Size: 10.25” H x 8.5” W x 1.25” D.       Year: 2018

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Medium: Hand built stoneware with glass and silver leaf

Size: 10.5” H x 8.5” W x 1.25” D.        Year: 2018

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Medium: Hand built stoneware with glass and silver leaf

Size: 9.25” H x 10.25” W x 2” D.         Year: 2018

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Medium: Hand built stoneware with glass and silver leaf

Size: 9” H x 11.5” W x 1.5” D               Year: 2019

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Medium: Rives BFK paper and watercolor

Size: 10” H x 8.5” W x 3.25”
Year: 2014

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Medium: Rives BFK paper and watercolor

Size: 8” H x 8” W x 3.25” D.                Year: 2014

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Michaelann Tostanoski lives and works on Long Island NY, where she has been a full-time faculty member at Suffolk County Community College since 1999 and a full-time practitioner of art for most of her adult life. She earned her MFA from Hunter College of the City of New York, where she studied under Susan Peterson and her baccalaureate degree from the State University of New York, College at Old Westbury.

Professor Tostanoski has received a university of New York Chancellor’s Award for Faculty Service and wrote Digital Decals for the Ceramic Artist, Mud Wizard Press, New York, 2014. She has participated in numerous exhibitions at venues including the Jeanie Tengelsen Gallery, Dix Hills, NY; The Oyster Bay Historical Society, Oyster Bay, NY; The Huntington Arts Council, Huntington, NY; Auburn University, Montgomery, AL; Fairleigh Dickinson University, Teaneck, NJ and Rutgers University, Alexander Library Gallery, New Brunswick, NJ.

Tostanoski is currently a tenured Professor of Visual Arts and the Director and Curator of Gallery West in Brentwood, NY. Her home and studio are in Bayville, New York.

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My work radiates from a lifelong fascination with nature and a deep respect for the earth. I am possessed by the awareness that I, as an artist , have a unique gift of vision that allows me to truly see what I am looking at and a sense that artists, as visionaries, have a responsibility to make people aware of the beauty in the world and also to perceive the consequences of their actions. These conditions drive me to create works of art and also to teach.

Although my work is inspired by the same set of conditions, the work itself can take the form of the pure celebration of that which delights me about nature, fleeting impressions of those things that mystify me about life, or social commentary motivated by my conservationist concerns for the planet.

I am predominantly a ceramist by training, but am also drawn to many other forms of expression. Over the course of my experience with art-making, I have come to consider all media and techniques to be valid elements of a rich language with which to speak my ideas.

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Allison Rufrano is an accomplished artist living and working on Long Island. Rufrano’s thought provoking work has been exhibited in solo and group exhibitions internationally including in New York, Italy, Spain, Russia, China, Korea, and Japan. Her evocative use of light and subject enables Rufrano to tap into the viewers’ perception, creating a personal dialogue between her work and the observer. Ms. Rufrano holds a BA in Fine Art with a Minor in Art History from Adelphi University, a MFA in Photography and a MS in Art Education from LIU Post. With over twenty years’ experience in Higher Ed, she is immersed in the exploration of photographic media and has been instrumental in the development and implementation of innovative program curricula.

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When I was first introduced to photography, I became mesmerized by its ability to capture light. The medium offers limitless possibilities to transcend my subjects into a subconscious world. I enjoy breaking boundaries, always in search of new ways to approach old techniques. Put photographic materials in my hands and watch me energize. It is a physical process, from start to finish, and ultimately an aesthetic experience I am after.

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Medium: Cyanotype Emulsion and Acrylic on Rice Paper

Size: 12x9 inches

Year: 2020

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Medium: Cyanotype Emulsion and Acrylic on Rice Paper

Size: 12x9 inches

Year: 2020

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Medium: Cyanotype Emulsion and Acrylic on Rice Paper

Size: 12x9 inches

Year: 2020

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John Cyr is a New York based photographer and Assistant Professor of Photographic Imaging at Suffolk County Community College. Cyr earned his MFA from the School of Visual Arts in 2010 and his work has been featured in various publications including the New York Times, BBC News, ARTnews, TIME, NPR, Popular Photography, the Telegraph and Photo District News. He is the author of the powerHouse published monograph, Developer Trays. Cyr's photography is represented in many notable public and private collections including: George Eastman House International Museum of Photography, Rochester, New York; The Photographic History Collection at the Smithsonian's National Museum of American History, Washington D.C.; and The New York Public Library, New York, New York.

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My work deals with photography’s history as a light based process in comparison with contemporary digital means of production.

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Medium: Archival Pigment Print Size: 16 x 20
Year: 2011

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John  Cyr-Lillian Bassman's Developer Tray

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"Developer Tray from the George Eastman Legacy Collection of the George Eastman House"

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"Developer Tray from the George Eastman Legacy Collection of the George Eastman House"

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Medium: Archival Pigment Print Size: 16 x 20
Year: 2010

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John Cyr-Developer Tray from the George Eastman Legacy Collection of the George Eastman House

# data[].attributes.body
Medium: Archival Pigment Print Size: 16 x 20
Year: 2010

# data[].attributes.body
Medium: Archival Pigment Print Size: 16 x 20
Year: 2010

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John Cyr-Ansel Adams' Developer Tray (1)

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Medium: Silver Gelatin Print
Size: 16 x 20
Year: 2009

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Medium: Silver Gelatin Print
Size: 16 x 20
Year: 2009

# data[].attributes.body
Medium: Archival Pigment Print Size: 16 x 20
Year: 2009

# data[].attributes.body
Medium: Archival Pigment Print Size: 16 x 20
Year: 2009

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Medium: Silver Gelatin Print
Size: 11 x 14
Year: 2016

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John Cyr- Ocean Abstraction 8.16.2016 (1)

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Medium: Silver Gelatin Print
Size: 16 x 20
Year: 2017

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Medium: Silver Gelatin Print
Size: 8 x 10
Year: 2015

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John Cyr- Developer Abstraction 7.12.2015

# data[].attributes.body
Medium: Silver Gelatin Print
Size: 8 x 10
Year: 2015

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John Cyr- Developer Abstraction 6.10.2015

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Grace Pentecoste is an educator and mixed media artist who combines photography and printmaking to create weathered and worn imagery. Through her photographs of abandoned house’s, Grace transforms these images of structure and form into self-portraits. Art has been her escape and voice throughout her whole life and strives to inlay the same vision with her students.

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I am an experimental photographer who enjoys exploring the world and capturing the beauty of decay and nature. There is a unique interaction between the structures we build and the environment in which they exist. Life changes, but our past remains the same. Memories begin to decay, but they don’t vanish. I identify myself in each of these buildings. I find my true self, they show sadness, my sadness. They show my ugly truths from an ugly past and I find peace in them. I connect with others in my pain through empathy and I find comfort in that. The ethereal mood gives the hope to a better future. My pain from my past will never change, it is forever a part of me and my homes will continue to bring me that peace I need.

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Medium: Solarplate Etching

Size: 8 x 10

Year: 2020

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Medium: Solarplate Etching

Size: 2019

Year: 8 x 10

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Medium: Solarplate etching

Size: 8 x 10

Year: 2019

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Medium: Solarplate Etching

Size: 8 x 10

Year: 2018

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Gwyneth Scally was born and raised in Washington, D.C, and lives and works in Brooklyn, NY. Her work is deeply informed by time spent on the family sailboat on the Chesapeake Bay.  The artist was strongly influenced by the eerie dark waters of the Chesapeake, and by the endangerment of the Chesapeake ecosystem.  Scally received her MFA from the University of Arizona, and worked as an artist in the West, interspersing her work with travel to Latin America, Europe, Northern Africa, New York, Los Angeles, China, Newfoundland and the Black Sea of Bulgaria.  Scally explores issues of displacement, nostalgia, and the Sublime, while suggesting deeper issues of an environmental order overturned. Current work addresses the legacy of the Romantic Movement in our cultural concepts of both Art and Nature.

Scally has received numerous fellowships, scholarships and awards, and has participated in up to eighty exhibitions, including the solo exhibitions Children of the Romantic Age at Kipp Gallery, of Indiana University, Wilderness Scaffolding, at Redux Contemporary Art Center in Charleston, The Rise of the Original Eden, at Cella Gallery, LA, Protection, at Pickled Art Center, Beijing,  Clean and Pure, at The Museum of Contemporary Art in Arizona, Spilled, at hpgrp Gallery, New York, 20 Years “Process – Space, at Shipka 6 Gallery in Sofia, Bulgaria, as well as numerous others.  She has attended several artists’ residencies, including The Residency at Vyt in the Hudson River Valley, the Digital Fabrication Resdiency in Easton, Maryland, the Process-Space Festival Artists Residency in Balchik, Bulgaria, the Pouch Cove Foundation Artists’ Residency in Newfoundland, Canada, and the Red Gate Gallery of Beijing Visual Artists’ Residency in Beijing, China, with extensive travel to study traditional murals in the monastaries of Tibet.  She is also an academic; she has taught college classes in drawing, painting, and art history, and has delivered papers on the relationship between nature and visual culture, including The Museum of Dying Giants and the Arctic in Arizona at the South Eastern College Art Association Annual Conference.

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These paintings explore our romantic and catastrophic relationship with the natural world.  These images, taken from the Arctic and from city park and National Park locations in New York and the West, depict people lost in a forest of fading pine trees and inexplicable events. This series explores humanity's skewed relationship with nature, through allegories of displacement.  In these works, trees skewer human bodies, the corpses of grizzly bears drift through the Washington DC subway system, and a suit of armor floats like a ghost in a dying forest. Images of ragged Northern pine forests and human-built structures are casually conflated, suggesting mysterious ecological links between the two.  Recently, I was awarded a grant to visit Glacier National Park, in order to make work describing the park's vanishing glacial ice.  The resulting series focuses on Global Warming and its children; melting icecaps, dying pine forests throughout the Americas, and the rise of oceans around the world.

My recent work investigates the historical underpinnings of our attitude towards the natural world, as well as our contemporary methods of experiencing it.  In some of these works, the Romantic movement, with its emphasis on transcendent and sublime natural encounters, is implicated in depictions of a literal romance between man and wild beast, rendered with the drama of overwrought Harlequin novel covers. Recent residencies in the Hudson River Valley have allowed me to extensively research the work of the American Romantics- Cole, Church, etc.- and their reaction to the increasing urbanization of the Industrial Revolution.  The escapist impulse of these artists' work, and their idealized visions of nature, echo in the contemporary advertising imagery used by major companies such as Eastern Mountain Sports, as well as in the managed experience of our city parks and curated urban green spaces.  By questioning the degree to which we accept the mediation of Nature I point out our catastrophic disassociation from the actuality of the natural world.

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Medium: Graphite on paper

Size: 84 x 130”

Year: 2016

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Medium: Oil and graphite on canvas

Size: 72 x 96”

Year: 2009

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Medium: Oil on mylar

Size: 60 x 80”

Year: 2012

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During the quarantine I decided to return to my initial discipline of painting, and celebrate my interest in architecture and the homes and gardens in my area, that I find architecturally and visually compelling

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Jerelyn Hanrahan's artistic career began with a Bachelors of Arts degree from the University of Maryland in College Park where she studied with David Driscoll, Anne Truit, Martin Puryear, and William Willis. In 2002 she received an M.F.A. in Computer Arts from the School of Visual Arts .

She has traveled extensively throughout India, Asia, Korea, Europe, Cuba and the United States. Jerelyn Hanrahan has been interviewed on three occasions for the PS1 / Museum of Modern Art radio station, and on National Public Radio with Margo Adler, the BBC in New York and London, Telli –Bern in Switzerland, Air Canada in Toronto and on Havana T.V. in Cuba. Her work has been favorably reviewed by Sculpture Magazine, The New York Times, Newsday,neue bildende kunst, Time Out Magazine, the Village Voice, NYArts, the Brooklyn Rail, Tages Anzeiger , Kunst Bulletin, Art Observer, Adbusters and The Resident, as well as many local newspapers and numerous international publications.

Her book of 97 drawings entitled Notations On A Trek was published by Andreas Zust. The book release was accompanied by a solo exhibition of drawings at Art Magazin, Rolf Muller Galerie in Zurich, Switzerland, and a reading of the text by Max Blagg at the Drawing Center in New York.

Ms. Hanrahan’s drawing series Schwartz Blumen (black flowers), represented by Brooklyn’s Pierogi 2000 Gallery,were on view at the Andy Warhol Museum in Pittsberg, Pennsylvania.

Hanrahan was listed by Pulse Magazine as a VIP artist.

As an internationally accomplished artist, professor and curator, her two and three-dimensional, public sculpture, museum and gallery installations, video and digital work are exhibited, published and awarded throughout North America and Europe.

Ms. Hanrahan also continuously coordinates prestigious exhibitions, lectures and symposia of historical and contemporary art for an international audience. She was an active member of the Sculptors Guild of New York for five years and was elected President of the Board of Trustees in 2006. The Sculptors Guild is a non-profit organization supporting the careers of sculptors since 1938. Ms. Hanrahan rapidly expanded its audience and achievements on an international scale.

Jerelyn Hanrahan curated and coordinated In-Site, an exhibition on Governors Island consisting of 65 international artists. The exhibition was aired on televised and radio broadcast, and published in Time Out, NYArts, Brooklyn Rail, New York Times, New York Magazine and a variety of other publications. Simultaneously she was instrumental in securing the Governors Island venue for future sculpture exhibitions.She coordinated the Sculptors Guild at the Art Cologne art fair in Germany, and Sweden’s Supermarket Art-fair. Ms. Hanrahan assisted in the coordination of Windows on Fifth, where contemporary art was on view in the windows of Saks Fifth Avenue, New York.

Ms. Hanrahan’s many interactive and sculptural public works have been sited with the collaboration of Creative Time Inc., LMCC, Symbiosis, Kiosk / Kunstkanal, Bern, Switzerland, and the Burning Man Foundation in the financial District of New York, Bern, Switzerland, Toronto, Canada, and Nevada. Other public sites include Adelphi Biennial, Tilles Performing Arts Center, and the city of White Plains.

Jerelyn Hanrahan's international public work, Gesture As Value, was sited in Bern, Switzerland at the Galerie Francesca Pia, the Bank of Symbiosis in Toronto, Canada, and in the Financial District of New York. National Public Radio, PS1/ MOMA, Art and Technology radio , BBC, Telle-Bern (Swiss television) and Artdirt (web-based radio talk show) broadcast interviews with the artist on her work. The project is included in the book publication Sweet Dreams, by Johanna Drucker, Professor of Media Studies at the University of Virginia.

Jerelyn Hanrahan’s multi-media works were screened and exhibited at the VII and VIII International Digital Exhibition and Colloquium in Havana, Cuba, for which she received an SOS travel grant to attend her exhibition, from the New York Foundation for the Arts and was interviewed on a televised broadcast in Cuba.

Highlights from Jerelyn Hanrahan’s extensive history of grants and awards include: Special Opportunity Stipends and Sponsorship from the New York Foundation for the Arts  artist and project funding from the Lower Manhattan Cultural Council . Ms.Hanrahan has received project support from NCR Media Systems, Creative Time Inc, LMCC, Thundergulch, and the Pro-Helvetia Arts Council of Switzerland, as well as the Puffin Foundation and support from Switzerland’s Fondation Nestle and Stadt Bern.

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Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

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Jerelyn Hanrahan- First Prestreteraian Church

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Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin on canvas board

Size: 9” x 12”

Year: 2020

# data[].attributes.body
Medium: Acrylic and resin paint on canvas board

Year : 2020

Size: 9”x 12”

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Medium: Oil on panel

Size: 15x 20 inches

Year: 2019

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Jeff Epstein- Night Cedars with Bird Feeder

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Emma Wasielke earned her MFA in Illustration from the Fashion Institute of Technology and was a resident artist at MASS MoCA in North Adams, Massachusetts. Emma spent two years at the School of the Art Institute of Chicago where she pursued drawing, and fiber and material studies. After graduating, Emma began to document the lives of her friends through photorealistic charcoal portraits. These drawings captured her peers navigating the emotional space between youth and adulthood. Inspired by the indie comic artists Daniel Clowes and Adrian Tomine, early 90s Riot Grrrl zines, and the Mission School, Emma creates artwork that negotiates between the temporal and permanent. Her work functions as a visual diary of snapshots suspended in time that explore how we attach personal meaning and desire to moments and seconds fated to pass.

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My artwork is born of a desire to document and connect. This compulsion manifests itself visually through the acts of knitting, animating, photographing, drawing, and reportage sketching. Executed primarily in black and white, my work references xeroxed zines and explores themes of transience, disposability, and youth. My drawings create a window into the world I see, one where the women who occupy it grapple with the impermanence of their neighborhoods, their friendships, their love lives, and themselves.

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“Still from projected animation of Emily”

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“Still from projected animation of Emily”

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Medium: Digital animation projected onto exterior wall

Size: 12ft x 18ft

Year: 2018

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Emma Wasielke-Still from projected animation of Emily

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Medium: Charcoal on paper

Size: 8” x 8”

Year: 2018

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“SWING BY / tv static: past texts part I”

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“SWING BY / tv static: past texts part I”

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Medium: Crocheted cotton yarn

Size: 3.5ft x 1ft

Year: 2020

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Emma Wasielke- SWING BY, tv static, past texts part I

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“Installation view of solo exhibition Diary of Days”

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“Installation view of solo exhibition Diary of Days”

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Medium: House paint on paper, acrylic on terracotta pot, digital animation displayed on analog television

Size: 10ft x 10’ft

Year: 2018

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Jeff Epstein is a painter and educator living in Brooklyn, NY and teaching at Suffolk County Community College on Long Island, NY. He earned an MFA in Painting from Brooklyn College, studying with Lennart Anderson, Lois Dodd and John Walker; and received a BA in Studio Art from Moravian College in Bethlehem, PA. Originally from New Jersey, he divides his time between New York City and rural Maine.

Epstein received a New Jersey State Council on the Arts Fellowship as well as other awards. His work has been exhibited in many solo and group shows in galleries and museums including The Trenton City Museum, The Newark Museum and The Noyes Museum of Art, all of NJ; The National Academy of Design, NY; USSR Artists Union Gallery, Moscow; and the Center for Maine Contemporary Art. He is represented by the Caldbeck Gallery in Rockland, ME.

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My paintings explore where the natural and made landscapes overlap, often at night. Although the spaces are unpeopled and speak of solitude, there is usually evidence of human activity.  A bird feeder is a friendly incursion into the natural landscape, while tire marks on pavement suggest less gentle intentions. But each is a record of someone’s interaction with the world.

Utility poles and snow plow markers stand in contrast to their surroundings while wires connect buildings with the landscape and provide strong, linear elements. Similarly, “burnouts” made by the noisy, rapid acceleration of vehicles, become what a friend calls “rural graffiti,” calligraphic lines left on country roads.

Documenting the effects of light and weather is another important aspect of my work. The shadow of a snowbank on a dazzling winter afternoon, or wood smoke rising on a bitterly cold day, depend on those changing conditions to give them shape and form.

The intersection of the natural and constructed worlds is a space where moments of natural beauty are interrupted by human intrusions, where disruption and harmony coexist, sometimes uneasily. It’s that balance that I want to describe.

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Medium: Oil on panel

Size: 19.5 x 24 inches

Year: 2020

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Medium: Oil on panel

Size: 12 x 14 inches

Year: 2018

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Medium: Oil on Panel

Size: 15 x 20 inches

Year: 2018

# data[].attributes.body
Medium: Oil on panel

Size: 20 x 15 inches

Year: 2018

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Medium: Oil on panel

Size: 20 x 8.75 inches

Year: 2018

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Medium: Oil on panel

Size: 12 x 20 inches

Year: 2020

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Medium: Oil on panel

Size: 15 x 20 inches

Year: 2020

# data[].attributes.attachment_link.title
Jeff Epstein- Bird Feeder with Reflection, No. 2