Kristine Martineau Gellerman

Kristine Martineau Gellerman is a fine artist who works primarily with pastels. She studied art and design in the Twin Cities and perused a growing interest in classical realism while studying drawing at Atelier Lack in Minneapolis.

She proceeded to study painting and printmaking and subsequently returned to drawing as the principal concentration of her work. While using a collection of drawing materials and exploring a variety of archival papers she discovered the perfect marriage of drawing and painting in the form of pastels, preferring to draw directly with the vivid, pure pigment.

Kristine has received numerous awards for her work which may be found in private and corporate collections internationally, and has been published in New American Paintings, a juried exhibition in print.

“Light and shadow informs and inspires my work as an artist; indeed, it characterizes all of life, and through the duality of light and darkness appears beauty and clarity, revealing an openhearted silence.”

Judi Ekholm

For over thirty five years my paintings and exhibits have been about JOY. I find inspiration in the land, the sky, and the water of this great world. My paintings are about the happiness I find in color, pattern, light, and the moods of the land. These are the elements I can run through my head, my heart, and my soul and then use in my personal language of painting. I constantly explore and plan adventures that will trigger my imagination. I consistently search for the “perfect picnic spot.”

Ekholm has exhibited her paintings in Wisconsin at the Miller Art Center, the Neville Art Museum, the Bergstrom Mahler Museum, the David Barnett Gallery, Milwaukee, and the Oshkosh Public Museum. Edgewood Orchard Galleries in Fish Creek, Wisconsin has exhibited her contemporary impressionistic paintings for over ten years. Her work has also been shown in various locations in the greater Chicago area. She has been featured in Gulf Shore Life Magazine, Reiman Publications, and Midwest Living Magazine. Her oil on linen paintings and outdoor murals can be found in over 900 national and international, public and private collections. In 2017 she has been honored with a one woman exhibit of her work at the Southwest Florida Community Foundation in Ft. Myers, Florida.

Ekholm resided in Door County, Wisconsin for thirty years and presently lives near Naples, Florida with her husband, Reed Saunders, and her sidekick Havanese, Molly.

Barry Roal Carlsen

Artist Statement

If you don’t know where you are, you don’t know who you are. –Wendell Berry

I was recently invited to visit Norway. It was my first visit to the country I claim as my heritage. I have used it over my life to shape my identity. Being adopted has always left me with a lot of questions about how the self is formed. My adopted parents and family have shaped the person I have become. My personal narrative is totally created by the people I’m connected with by fortunate chance. In visiting Norway, I hoped to better understand those connections through experiencing the place where my father’s family came from, an adopted history in an adopted land.

In a broader sense, I want to convey the physical and psychological impact the landscape has in shaping people. A sense of place is powerful; it can express the feelings of belonging, separation, distance, and loss. Can the landscape be the physical embodiment of an idea or concept, a personification? I believe so.

Landscape as avatar.

Technique

Recent changes have brought an expanded approach and handling of materials to the work. Formal training in printmaking and a long professional involvement in the graphic arts are being acknowledged. Painted works might include oil paint, acrylic paint or encaustic media. Lithographic and other transfer processes often aid in the image creation. The work’s surfaces are built up in a series of applications and removals of the chosen materials. All frames are designed and built by the artist using a variety of hardwoods. Some works incorporate gilding on the frames or as a substrate under paint.

Ginnie Cappaert

Though Ginnie’s art is based on landscape as a subject, she is primarily interested in color, texture and abstracted forms. It is the landscape imagery and its deep space that she explores in her work by building up thin layers of oil paints then scraping and dissolving areas to create a final peaceful, subtle mix of texture and natural colors.

The peacefulness, the power and the beauty of the landscape has always intrigued her. She continues to express those qualities of the ‘pristine’ and ‘unspoiled’ landscape which is being threatened and is quickly vanishing. It is not a specific time or place, but an overall serene feeling of nature that she is trying to create.

Ginnie’s dedication to her art continues to inspire other artists and also builds upon her collector base. When she isn’t painting (which is almost every day) you can find her hiking, biking, horse back riding and enjoying the outdoors. She is inspired by the beautiful landscape surrounding her as well as her travels to the South West and Europe.

Diane Campion

I am an artist and lover of nature, a lifelong learner through observation and daily painting.  My world is chock full of inspiration.  Everything has the potential to become a painting.  I find inspiration from the ever-changing beauty and curiosities of nature, as well as the details, textures, and patterns I see in everyday life—the subtle beauty of a flower’s petal or the rusty patina of an old car.  Travel also provides painting inspiration, and I am very motivated to paint from photographs I have taken that capture a particular feeling inside of me, or a snippet of everyday life.

I am so very fortunate to be able to do what I love.  Every day that includes painting is a good day!

Kay Brathol-Hostvet

“Nature is always hinting at us. It hints over and over again. And suddenly we take the hint.” -Robert Frost

“For most of my career, my primary focus has been the Wisconsin landscape. My works are a synthesis of the American landscape tradition and self- expression. The artists George Inness, Martin Johnson Heade, and Wolf Kahn have had a profound impact on my interest in the emotive landscape. The open expanse of a landscape can personify sincerity; it can also represent personal freedom, or embody loneliness or isolation. Dynamism in nature is intimately linked to psychological states. The landscape with its constantly changing light and shadow, weather and seasons becomes a metaphor for our moods and emotions.

My work in soft pastel has been described as Contemporary Regionalism—a celebration of the land, but with a modern aesthetic. I am particularly interested in the concept of quiet anticipation—an expectant stillness that one feels at certain times of the day. I work from a combination of sources: my own photographs taken on photo journeys into the local countryside, notes that I take when on those journeys, and design and value studies. The photos act as a catalyst and reminder of form. While the paintings may look photorealistic, they are carefully designed with an intent to capture that transient moment.”

Kay Brathol-Hostvet works from her home studio in Eau Claire, Wisconsin. She also teaches art workshops in drawing, design, pastel and acrylic.

Greg Bracken

Largely self-taught, Greg Bracken loves to draw anything and everything although his particular talent lies in capturing the likeness and spirit of animals.

Born in 1958 in Elkhorn, Wisconsin, Greg spent his childhood in Walworth County. As a young man, Arizona, San Francisco, and Boulder became home for the next three decades. Today he lives near Appleton, Wisconsin.

“More than any other subject matter, my first choice in painting is always an animal. All animals. I love the challenge of both getting a likeness and making the viewer stop, look into their eyes, and feel a connection.”

His portraits and drawings share the homes of clients and friends from coast to coast.

Craig Blietz

My pulse quickens when I imagine the Barbizon School painters of the 19th century  trekking southeast from Paris to make paintings of the Forest of Fontainebleau. I picture the forest with an articulated perimeter. Like the ocean – another imposing natural wonder – you exist either within it, or outside of it. My point of view in the “Close to the Forest” paintings is from the outside.

Approaching a forest triggers moments of intense anxiety, much like the unease created by a storm on the horizon or the stressful suspense of a pending athletic contest. Anxiety and anticipation are at their peak just prior to experiencing the actual event. That is not to say that stepping foot into a forest does or should relieve the apprehension. Poet Todd Davis, Professor of Environmental Studies at Penn State University’s Altoona College, remarked to me during a recent hike that, “Nature doesn’t care if you live or die.” I believe we recognize this, albeit subconsciously. Nature is a place for thoughtful, cautious and careful reverie.

I continue to place farm animals in my work, as they are convincing emblems representing the place I live, work and dream. I find them to be remarkable non-verbal storytellers.

The formal elements of painting provide another vehicle to convey emotion, narrative and mood. Shape – both graphic and fully rendered – and color both help me express the mystery and anticipation of standing before an enormous forest. As I am passionately attendant to art history, I have made direct reference to paintings of the past, such as Jean-Francois Millet’s “The Gleaners” (1857) and Barnett Newman’s “Zip” paintings of the mid-20th century.

I see parallels in the reverence and concern the Barbizon painters had for the Forest of Fontainebleau, as well as our contemporary society’s interest in, and efforts to save, our own natural wonders. In the “Close to the Forest” paintings, I convey through sign, symbol and metaphor the awe I feel when I imagine standing outside the mighty Forest of Fontainebleau.

As I was producing the “Close to the Forest” paintings, I realized I must study the idea of confronting a forest from a distance. While I had hiked and sketched numerous times in nearby state parks to become more intimately acquainted with the forest interior, I felt this study needed to be different in intent. I ultimately chose to make paintings of small stands of trees near my studio. I did not want to simply make plein air transcriptions of what I saw. Rather, I strove to make tangible the character, feeling and mood inherent in a forest’s dense perimeter. What resulted was this intimate subset of my process – eight small paintings titled, “Copse Series.”

~Craig Blietz – January 2017

Sally Berner

I grew up in a small Wisconsin town on Lake Michigan and have been an active oil painter for over 25 years. I create realistic oil paintings that are inspired by my love for nature and all the creatures that share our planet. I love exploring the back roads of Door County in search of farms and animals while enjoying the peaceful tranquility and amazing variety of terrain the county has to offer.

No matter what the subject, it is the light that makes an ordinary subject extraordinary and creates that special magic that compels me to try to capture it on canvas.

I am a member of the Society of Animal Artists, Oil Painters of America and a signature member of Artists for Conservation and have had my work displayed in numerous national shows across the U.S. and Canada. I am honored to be included in several museum permanent collections including the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the AKC Museum of the Dog in St. Louis, Missouri.