I create hand built and wheel thrown functional ceramic ware. Porcelain is used for wheel thrown pieces and stoneware for hand built pieces. Some forms are altered after thrown, creating unique interactive shapes. All of the glazes used, I personally formulate and fire to cone 10 which is 2350 degrees F. Some glazes and clay include materials I personally source locally from Utah. I seek to incorporate materials I use in multiple ways. I create hand formed and fitted copper lids that give each piece its own unique feeling. I also use copper carbonate as a colorant in my glaze. The furniture I made for my booth is wood and multiple of my glazes incorporate wood ash as a material. In these ways I can connect the seen and unseen. I incorporate copper lids not only for function but as a contrast in materials. The copper ages with the piece and continues to interact with the environment it is in while the clay surface remains the same.

3D sculptured by artist, seamless and reversible unique wearable art is born in a fusion of modern design and ancient hand felting technology, using only hand-selected sustainable natural fibers.

Over 26 square yards of fabric in the largest Throw and Cocoon creates a "naturally weighted" feeling. The elastic thread stitching patterns create a unique puckering stretchable fabric which "hugs" the user, traps air for warmth, and results in an extremely warm, soft, soothing, luxurious throw or cocoon with a beautiful rich texture for your home decor. One of the goals of the artists is achieved by helping the user decrease stress and anxiety by calming themselves in a simple and natural way. 10-12 square yards of this same soft fabric with elastic thread stitched throughout is sewn into an elegant, warm stole/wrap that actually gives you a bit of a hug while wearing. We also make infinity scarves from this same one-of-a-kind fabric that we sew. Both our puckering stretchable fabric and our cocoons are patent pending. All of our works are handmade (though we do use sewing machines, not needle and thread) and are designed and created by a mother-daughter team.

Illustration has always been an important basis in my work. I love using paint markers in my work, because it allows me to "draw" with paint. I use spray paint for large areas, backgrounds, and to create movement and energy. I also love to paint on strange surfaces, including reclaimed wood.

I have been a landscape photographer for 20 years. But recently I have turned my passion for orchids into the creation of stunning orchid photographs. By taking numerous pictures at different focal lengths with a macro lens, then stacking them together, I have created images which have incredible detail. Having a greenhouse with over 400 orchids, I have an abundance of subjects waiting to be eternalized in print. I print on matte paper but I specialize in producing gallery wrapped canvas prints. They range in size from 12x18 inch gallery wrap canvas, 20x30 inch gallery wrap canvas and even a 25x40 inch gallery wrap triptych canvas.

Batik is an ancient and unique art form. It can be both primitive and modern, bold and detailed. It has a flexibility and a brilliance that few other media can claim. The technique is a difficult one and takes many years to master. The picture, with its various colors, must be planned in its entirety before the process is begun. Unlike other media, any mistakes made in batik cannot be corrected, thus the need for a very skilled hand and eye. Particular care must also be taken in the choice of fabric, wax and dye. There are several steps in the creation of a batik. Each color achieved requires a double process—waxing and dying. The artist works from light to dark, with the wax and dye process repeated until the batik is completed. The challenge for the artist is to create fine and clean details.

This Texas-based artist paints the stunning beauty of the natural world using romantic realism in direct plein air and studio landscapes. Harmonic jewel tone oil colors on canvas and panel allow patrons to appreciate pristine outdoor locations indoors. Favorite subject themes include the Colorado Rockies, the Gulf Coast, and the National Parks. The landscapes are available in a wide range of sizes to accommodate varied tastes and budgets with prices ranging from $400 to $4000. This landscape art evangelist is a member of the Oil Painters of America, a Fulbright Fellow, and an outreach artist for Winsor & Newton and Liquitex artists' materials.

The artist tells stories in multiple layers; starting by preparing the canvas with an intricate collage. Vintage show posters, sheet music, maps and book pages are used. The collage is white-washed, tea-stained and sealed before the painting can begin. At this point, the artist starts the sketching process, using soft-lead pencils and watercolor pastels. When the line work is complete, the artist begins to choose the perfect line from his sketch work, by outlining it in a heavy-body ink using pen quills and Chinese lettering brushes. When the line work is complete, the extraneous sketch lines are erased and rubbed into the surface of the painting to create a shadow. The depth and shading of the work is created, using loose graphite and an ink wash. If a piece benefits from color, the artist will finish the painting with pigments, oils or acrylics, depending on the impact needed.

Our company creates truly unique, one of a kind, pieces that make a statement. We draw inspiration from our natural surroundings, and the clean, sleek lines of modern architecture and translate those concepts into simple, yet intriguing pieces of wearable art. Combining several types of woods from light, airy maple, to dark, dense ebony with various metals such as matte finished aluminum and classic sterling silver, the pieces are lightweight and eye catching. Each block of wood is carved before being combined with metal and slowly sanded together to produce one flawless piece.

Each ridge meets the sky in a grounding mysticism, Each jagged imperfect line connecting to the mysteries of beyond, Every shadow and dance of light are almost reached, Here in my mountain home But for now, a brush stroke and some Prussian blue. . Thank you for considering my work. I work in acrylic and watercolor mediums. What quickly became my signature works of 2019 are my acrylic mountainscapes. Deep blue skies - heavy white textured peaks. It is that everlasting blue/white combo so many of us love. Always take time to gaze at the horizon.

Photographs taken in natural lighting and adverse conditions in an effort to isolate my subjects and create a peacefulness that the viewer can instantly feel. Most recently focusing on shooting in the snow, fog, or overcast conditions to achieve the end vision.

I am a metalsmith from Salt Lake City and create handmade jewelry to celebrate life and the world around us. I work primarily in sterling silver and take inspiration in everything from nature to literature to pop culture. Each piece is hand made using precious metal/stones and metalsmithing techniques: stamping, soldering, hammering, sawing, wire wrapping, precious metal clay, etching, etc. Products range from everyday earrings to bolo ties to statement piece necklaces.

These are zero-waste, ethically made garments with an equal emphasis on design, comfort and utility. I source most of my fabrics from design house ends, past season high quality fabrics that are discarded and deemed unusable. Obtaining fabrics in this way results in limited quantities and one of a kind garments. The challenge of designing within these restraints really pushes the creative process and supports my personal philosophy of sustainable and ethical practices. At a time when fast fashion, wasteful consumption and short-term trends are the norm, I am a proponent of Slow Fashion, a sustainable movement that values well-made garments with a timeless design. These environmentally conscious principles guide my production, where the end result is an intentional, utilitarian and sophisticated garment with a minimal and modern aesthetic.

We design and make handbags of stainless steel mesh. It is most beautiful material, highly industrial and rarely seen, always hidden deep down in the filtering systems or inside of all kind of machinery. We are very proud to bring it to daylight so everyone can see and appreciate it.

Wildlife bronze sculptures created by a wood and wire armature covered in clay and finished with a multi-colored, stone-looking patina. Some sculptures are mounted on granite bases while others have a bronze base or are free-standing without a base. Sculptures intentionally have smooth surfaces for pleasantly feeling the curves and lines of the sculpture. The compositions help create a story for the viewer.

4x5" and 4x10" large format film, and Ultra HD digital, waiting days for the right light. An award winning, prominent landscape photographer of the American West. After my BA I became a master printer for a National Geographic photographer and his two galleries. I now and for the past 10 years, print all of my own work. I create custom printer to paper profiles for my limited edition, archival pigment prints, on Hahnemühle Photo Rag Satin Fine Art Paper. Museum grade acrylic, face-mounted metallic prints are also available, utilizing archival pigment inks. I typically display the Hahnemühle Photo Rag Satin at outdoor art shows. While the acrylic prints look spectacular with controlled overhead lighting indoors, I find them too reflective outdoors and distract the viewer from observing the art. I owe much of my printmaking and show success to knowing what sheen will accentuate my images best for their intended viewing location. Editions range: 10 to 250 dependent on image profoundness.

"The medium I work with is found wood. It is wood I find on the forest floor, river beds, lakes and coastlines. I sculpt in an interpretive style, relying more on my and the viewer's imagination instead of the exact replication of the details of the subject. My most sculpted subjects are stringed instruments, (in an interpretive non-playing style), wildlife, and stationary objects that promote flow and graceful , soft lines. I try to leave a place for the viewer to get involved, whether it be by the simple sight and enjoyment of the beauty and movement of the grain, or emotionally by relating to, or creating a story of their own. Each piece of wood is first meticulously studied for shape and graceful lines of moving grain. I use a combination of hand tools and power tools such as grinders and cutters. Most of my work is completed in a natural finish to enhance the beauty and movement of the wood."

I am a landscape and wildlife photographer. My images are printed either on archival paper, aluminum or canvas, depending upon which fits the image best. In my wildlife photography I try to capture an emotional connection with the animals. In my landscape photography, I try to use light and angles to add magical or mystical perspectives to my images.

Sculptural jewelry fabricated using micro-tig welded stainless steel with layers of fired resin enamel. A propriety enamel patina technique utilizes distressed and manipulated layers to express and interpret the effects of time on metal. Price range $50-$850.

Multilayered abstract artwork. Oils, powders, turpentine, resin and lacquers over aluminum panel. Oil and charcoal marks are being created and then wiped out again with a rag drenched in solvent to give a new picture in which a generated grid have to stand their own against smeared surfaces. Resin is applied in-between each layer of paint. Buffing between layers. Fired-over with the use of a torch. A high velocity-low pressure spray gun is used to apply latest layer of automotive lacquer. Then polished.

I am a Utah native. I am photographer that lives in Heber City, Utah. I do landscape photography and print my work on Metal, Canvas and Acrylic. My photography is all original images taken by by me. My work hangs in businesses throughout Wasatch County and in many hospitals owned by Intermountain Healthcare, including the clinics in Park City. Much of my photography is taken locally along the Wasatch Back, but I do like to travel all over. I participate as a vendor in local activities and festivals, but have not been in an actual art show yet. I don't know many women locally who are landscape photographers. I would love to be able to show my work at the Park City Arts Festival.

Hand built slabs with texture pressed into the clay using hand made stamps. Underglaze and glaze are applied to pieces along with wire and beads added to some pieces.

oil on canvas, western landscape

Sculptural and stacking rings fabricated and cast from sterling silver, gold, precious and semi-precious stones.

Starting with two sheets of copper, I texture and buff the metal. Heat is applied to bring out the beautiful vibrant colors in the copper. Gentle curves are cut, and the weft and warp are carefully woven together. A special coating seals and protects the colors from further oxidation. Then the piece is framed or backed with a hand sanded aluminum sheet.

My process begins with cedar wood that we cut and then age with a handmade solution. I then paint each piece. I then use laser engraving machines to etch into the wood one of my designs.

Found objects,scrap metal,car parts,and military surplus is welded into whimsical metal sculptures.

I enjoy photographing using a Canon 5D MARK III camera. After a photo-shoot, I download the photos and select the works that appeal to my artist eye. While editing, I do few alternations to the photo. I use a high quality Canon printer and professional paper. I also order photos to be printed on canvas-wrap with a shadow frame from a print shop.

original acrylic paintings on canvas ... they are all rendered with brushwork ... there are no photographic, digital or projection techniques used at all ... the paintings are all done in the studio using my own sketches and from my own reference material.

I seamlessly unite antique frames and unique branches or roots to create a single piece of distinct art. Each project involves woodworking, painting or staining, and sculpting. Each piece carries its own history, both with scars and embellishments.

Photographic images captured by medium format and 35mm digital cameras. Enchanced in photoshop. Printed on metal as well as framed prints on archival papers.

I begin with new panels of Baltic Birch wood upon which I carve, gouge and rivet objects that I have collected in my travels. I then saturate the surfaces with pure pigments & waxes, heating with a torch & engraving with hand made tools. At times I embed found objects such as old machine plaques or antique cigar boxes. These objects have transcended from mere things into storied artifacts, each imbued with the imprint of human intention. Some are clearly autobiographical, while others echo broader human concerns, such as the cast brass plaques and weathered steel signs, lasting testament to man’s industry and achievement, but also to inevitable change and impermanence. In essence, I strive to reveal human commonalities, exposing layers of texture as experience and traces of colors and scrawls to remind the viewer of the inescapable pull of our shared human history.

Panels of wood & steel are carved& gouged to prepare for pigments & mixed media. Historical objects are embedded in the layers in between and are saturated w pigments, waxes.

I hand fabricate using traditional jewelry techniques. I tell a story in texture and form, of the beauty, struggle and resilience of the human experience and the natural world. Crafted in high karat gold, sterling silver and adorned with natural hand selected stones. Jewelry for men and women.

I begin with a 2-part epoxy resin, and add color to bring the adhesive to life. I pour and manipulate the mixture on a custom-made surface, apply heat using a blowtorch (to eliminate bubbles and enhance oil-based effects), and then leave it to cure. To bring structure and interest, I’ll sometimes add a layer of alcohol ink, acrylic, or metal leafing before applying a final clear coat. My book work adds assemblage in between layers to create works of art celebrating the strength of literature.

All pieces are hand-fabricated from sterling silver or gold. I often texture and oxidize my work to bring out its delicate details and sculptural dimensionality. Some pieces have riveted joints or moving parts, and many can be layered together to create a wearable narrative. Drawing inspiration from the unexpected beauty and sense of impending loss that can be encountered in the collision of the industrial and natural worlds, I often explores images of a fading American mythology. My work, which can stir unique individual associations, also tends to point to our essential connectedness and a certain shared experience of the world.

Artworks carved from aspen collected in the mountains combined with found materials. Love for the natural world and concern for the environment become meditations on man and nature in the modern age.

Although perceived as painting at first glance, I am using torn pieces of magazine paper as the palette for the color, pattern, words or imagery within each piece. The pieces are adhered using an acid free glue, sealed with an ultraviolet protectant coat, enhanced with oil paint, and then varnished.

Large-scale dimensional collages constructed from paper, metal, & mixed media. Each piece often contains hundreds of hand-cut pieces of vintage paper or salvaged tin.

medium to large-scale sculptures featuring hand-cut metal and found materials over carved wood forms

This medium is called Resin. I specialize in aerial ocean scenes that look like a drone shot of the ocean. The Resin is mixed with alcohol inks or acrylic paint and used to create the ocean scene or abstract pieces. Then a blowtorch is used to pop bubbles and get a glasslike finish. I use 3-5 layers in each piece, and it gives such depth! You can look down into the art and see rich color, ocean floor, fish and white lacy ocean foam. Resin is a fresh, new and very popular medium right now. Most people have a deep connection to the ocean and often buy several pieces for their homes. I also create usable art at very affordable prices. Coasters and trays are a huge hit, starting at $50. Cheese boards and domes are wonderful collectable items. Small pieces (5"x7") are framed and a favorite of teens and twenty-somethings. Paintings from very small to very large, with all kinds of usable art. There something for everyone.

Handmade ceramic stones by me, sterling silver, gold and gemstones. All work is hand fabricated.

I employ a flat but layered approach that explores the optical push and pull of color and shape. I seek to depict the quickly changing and complicated nature of the subject using multiple visual textures, levels of transparency and shapes with varying degrees of angularity. There are thematic advantages to this approach as well—sharp edges can be obscured by smooth surfaces and skies don't always feel heavenly. For this purpose, I find acrylic paints and wood panels are ideal. Acrylic paint dries quickly and layers well, and wood panels are sturdy enough for extensive sanding. The mountains themselves are virtually everlasting, but their appearance is only for this moment. My work is my perception of this dynamic symbol of home.

Original, limited edition, custom photography artwork from the artist is printed with museum quality archival inks. Each limited edition print is signed by the artist with the edition number on the back of the print. A signed certificate of authenticity is attached to the back of each frame. All photography prints are made from the artist’s original digital images. Each image is printed and displayed using the best medium to present the artist’s fine art photography.

Handmade, paper thin sheets of polymer clay in a plethora of patterns and colors are collaged to create the subject matter in each painting. Textured acrylics are used as a compliment in the negative space in such a way that requires the viewer to closely engage the work to make the distinction.

Oils on linen with vibrant, abstract underpainting created by a collaborative artist duo inspired by vintage found photographs from the mid century.

For centuries, poets, musicians, and artists alike, have captured the beauty of the natural world around us. As a landscape artist, I look for ways to move beyond the static moment. I strive to show nature’s movement and transcendent qualities. Nature moves with the wind, is pushed and pulled by gravity, it decays, and is even reborn. I want to place the laws of nature on display. I want my paintings to show the scenes before us while also revealing the very movement and essence of the cosmos within and all around us.A Utah native, I am drawn to the natural beauty of the Wasatch Mountains, Uinta Mountains and the national parks of Southern Utah. Using soft pastel as my primary medium, I hold pure mineral pigment in my hand and directly paint on a surface, without a tool between my hand and the pigment. As a modern impressionist, I favor strong, bold marks and angular strokes.

For centuries, poets, musicians, and artists alike, have captured the beauty of the natural world around us. As a landscape artist, I look for ways to move beyond the static moment. I strive to show nature’s movement and transcendent qualities. Nature moves with the wind, is pushed and pulled by gravity, it decays, and is even reborn. I want to place the laws of nature on display. I want my paintings to show the scenes before us while also revealing the very movement and essence of the cosmos within and all around us.A Utah native, I am drawn to the natural beauty of the Wasatch Mountains, Uinta Mountains and the national parks of Southern Utah. Using soft pastel as my primary medium, I hold pure mineral pigment in my hand and directly paint on a surface, without a tool between my hand and the pigment. As a modern impressionist, I favor strong, bold marks and angular strokes.

Wheel thrown functional ceramic art with a sculptural aesthetic.

Encaustic painting (painting with pigmented, melted beeswax) creates a lusciousness an depth that is unique, allowing for depth, translucency and unlimited possibilities. A piece can be smooth and luscious, or rich with texture and depth. The process of layering, heating, mark-making and extracting allows me to discover the what lies within each piece. I respond to what is organically happening and evolving. I search for alluring combinations of color and texture that juxtapose calm and complexity.

There is more to handblown glass than just the end product. The beauty is in the process and creation. Each piece starts as sand and other chemicals and is heated to over 2000 degrees. The colors and accents are added to the pieces at this temperature. Every single piece is created one at a time through age-old Venetian techniques, precise marks, and brute strength. The pieces are then cooled slowly to room temperature to prevent shattering, carefully cut, and polished to perfection.

I make blown glass forms employing stretched and re-stretched glass rods to create patterns.

Original ink drawings by self-taught artist are created by hand with Micron pens on paper. Blending intricately detailed modern and folk styles with eclectic imagery and subject matter that range from nature and animals to music and humor, the intent is to create a stunning visual experience that is both whimsical and thought provoking. Delicately rendered with a unique language of extremely precise lines, shapes and patterns, some pieces take more than 100 hours to complete.

Mixed media paints on canvas or panel. Mainly oil paints with some other less conventional including microscopic reflective glass beads, mica powders, metal flakes and shavings and roofing tar; used for specific effects. Intense-colored under-paintings progressing through successive translucent layers to a more characteristic limited color palette. this layers as they are devolved and reworked selectively retain and expose hints of the veiled reminiscences of the early vibrancy. Often the narrowing contracts of apparent colors intensifies the "bleed through" effect of tar from which most of the darker areas are constructed.

In a 17 step process I draw, paint & cut out realistic looking insects which are then shaped into 3-dimensional sculptures. I use archival grade paper, film, canvas, ink & acrylic paint. The "insects" are then mounted in handmade shadowboxes for display. People often think my bugs are real & are surprised to find they're made entirely of paper.

Every piece of glass is hand made from a unique crystal recipe. The glass is sculpted and manipulated using a variety of steal tools and cork paddles. I sandblast the surface of the glass with a very fine sand which gives it a soft satin finish.

Computer keys are upcycled into beautiful murals. Keys are popped off keyboards, color sorted, washed, and some dyed. Each key has its own personality by shape, color, depth, etc. Placing these keys together gives a pixelated beauty from the front and a mesmerizing texture up close and on the side. With the characters visible on the keys, messages are created and placed throughout the artwork.

Hand hammered and forged sterling silver with cold connected basalt beach stones, some with polished surfaces, but most left in their mostly natural shape and finish. Tube set gemstones and freshwater pearls are added as accents to finish the pieces

This work is a retro abstraction of house plants, and with the addition of the background shapes to bring a bit more whimsy, allowing us to not take the paintings too seriously. The paintings are intended to evoke a sense of creative space with an emotional response resulting from the boldness of color. These remind me of the plant paintings my uncle did in the 1960s, with a modern twist. It is oil on canvas, applied with a heavy, textural palette knife technique. A focus on bold color; bright reds, turquoises, greens, and browns catches the eye and appeals to the viewer's sense of adventure in color. Definitely not for the timid. I've moved from landscape painting to these whimsical houseplants in order to allow my creative aesthetic to flow more freely and create something simple yet incredibly beautiful; something we can all connect and relate to.

All of my art is created from inspiration of the memories and experiences growing up. Each one of my peaces are hand carved from Bass wood and painted. I also replicate some of my work by hand as well. I make my own casts and have created my own unique recipe for the resin that I use for those casts. Each cast is a limited edition and once a peace of art has reached its max number the cast is destroyed. My love of art and humor have become a perfect marriage in my inspiration to create peaces that people can relate to.

Jewelry pieces hand-fabricated in silver and/or gold, both with and without gemstones. Pieces predominantly feature milled or hand-forged rough-hewn textures, wide hammer set bezels, bold clean forms, and pierced images of animals, symbols and runes reminiscent of petroglyphs and artifacts.

Technically complex yet visually fluid our one-of-a-kind pieces are born from a collective endeavor where each piece is designed and crafted by both of us.We begin with a concept, then a series of sketches, that go back and forth, until the functional drawing emerges.The sculptural elements are hand carved and the creative connections are hand fabricated in gold, using varied metal-smithing approaches in combination with joining techniques like swallowtail and ball pivots. We set our stones using pave, prong, hammered and burnished. Every piece is touched by both artists using their specialization by combining diverse skill sets we create multifarious works. While the pieces are meticulously crafted, it is the story that drives the creation: an adventure in history, discovery and transformation, from the Bronze Age to the present and onward to the unknown.

Hand forged, acid etched and silver soldered nickel silver boxes.

All my work is handmade high fired porcelain and white stoneware. I have functional and nonfunctional pieces. the fluidity of my glazes trademark my work. I do wheelthrown, extruded and slab work.

I recycle paint swatches to create pixilated artwork of familiar images. Each viewer sees the work differently depending on distance, eye sight and previous knowledge of the image. You can alter your focal depth by viewing my artwork through a cell phone. This changes your focal distance without taking the steps back and shocks the viewer with the clarity. This then adds the layer of how viewers consume artwork thus a social commentary. Eye sight plays a role considering people with blurry vision from nearsightedness see my work more clearly than others! Lastly experience plays a role via Gestalt psychology. The brain fills in what it is familiar with, adds details that aren't provided and blends the color pixels together.

I use imagination, paper, pencils and hopefully no erasers to create my graphite pencil drawings.

Each one of a kind piece combines hand cut and polished semi-precious and other stones from around the world with exotic woods in designs intended to highlight the characteristics of both the stone and to emphasize the harmonious natural colors and patterns in the wood. The pieces are inspired by ancient Indian petroglyphs and pictographs. The wood is finished with tung oil to bring out its natural color and texture

I use beeswax, resin and fire to create contemporary abstract encaustic mixed media paintings. The work has a heavy sculptural aspect, features uneven surfaces, cuts, cracks and chips, +/- recycled material. It is neutral in palette, architectural in style and organic in process and texture.

Exotic & domestic woods are laminated to create unique objects of functional artwork. All artwork is made to withstand the different climates found throughout the world.

Intricate, vibrant and seemingly impossible(!) hand woven, kiln-formed glass wall sculptures.

Traditional Black and White photographs personally printed on 100% cotton paper. Mounted on primed birch wood panel then hand waxed for archival protection and polished to a desired sheen.

Paintings created by artist digitally using iPad Pro & Procreate software. Pushing the boundaries of digital to mimic the feel of traditional painting is something I've had to learn the past few years due to health sensitivities to paints.No computer generated images or photos are used in the creation of my art. I paint with a stylus just as I would a paintbrush. Once the image is completed it is then printed on canvas, signed and numbered in the edition size of 250.

I use rare and exotic woods to create one of a kind objects that challenge the viewers perceptions of wood as a medium. I employ a lathe,carving tools and sandpaper. I use various finishes to complete the work, I sprinkle with attitude and whimsy

I paint with water media on paper. I focus on texture, pattern, movement and rich color in my paintings. To create texture and movement, I often cut and weave two paintings together to make one unique outcome.

I’m primarily a polymer clay artist that uses ceramic clay as well to create art with interesting color palettes, tiny details, and repeating patterns. I use a variety of surface techniques, including millifiori, tactile textures, pastels, pigments, and metal powders. “Art Makes Me Happy” is what my booth sign proudly proclaims, and its really true. My hope is that the joy I feel in the creation process comes through in my art pieces!

color block the painting surface then apply the silkscreen on the top of the blocking

I use iconic images and Americana to inform my paintings with acrylic paint and ink in a bold pop art style to convey strength and endurance

All of my pieces are free hand carved from one solid piece of wood. I work alone through the entire process, beginning with patiently selecting logs from fallen hardwood trees in the region surrounding my studio in rural Minnesota through hand buffing the final coat of wax. To be successful my work must connect with its audience at a visceral level, it should make one feel good, or calm, or peaceful. This is achieved in many subtle ways. My triptychs flow into one another by sharing profiles on adjacent edges; the organic patina I’ve developed for the wall sculpture’s steel backs complements the natural warmth of the wood; likewise the dyed underside of my vessels and trays create contrast and reinforce the rhythm of the shape; the hand-wrought staples in my element series introduce a human touch to a natural form. The whole is greater than its parts. I carve the wood while is still green/wet with no glue-ups, joinery or lathe work.

The nature of my work varies day to day, but almost always involves lines. What I mean by that is how things are connected. How do objects relate to each other. Can chaos be tamed. My background and major portion of my career is photography. That discipline demanded understanding of light and it's relationship to lines that create shapes. My metal smithing seems to require the same attention but in a different medium. The work is hand fabricated using sterling, gold, bronze, copper brass and hand made Sibuichi. Most pieces are one of kind and the art is constantly evolving. I'm a Utah native living in Park City with my wife and our two dogs Billy and Bingo.

My work is a combination of delicate preserved nature collected locally and industrial hardware pieces encased in resin. I love design and combining glossy and matte, smooth and textured and creating unique pieces using uncommon materials.

My work is a combination of delicate nature and industrial hardware pieces encased in resin and complimented with hand cut leather using experimental dye techniques. I love combining soft and hard, smooth and textured and creating unique pieces using uncommon materials.

A husband and wife team that create traditional serigraph images without any use of digital technology or manipulation. Compelled to create work that is inspired by their own experiences with nature, they visually explore the vast and diverse American Landscape. As a collaborative team, they are invested in creating work that explores how we, as humans, interact with the natural environment. They create images that revel in the natural world. Within their artistic process, they create hand-cut rubylith stencils as the basis for shapes and forms. They also produce traditional lithographic style tonal textures by using tusche washes, Stabilo pencils, grease crayons, spray paint, and India ink. Using a wide variety of media allows the artists to push and explore the potentials of traditional serigraphy printmaking. Artist influences include the great masters of American Modernism such as Georgia O'Keeffe, Marsden Hartley, and Aaron Douglas.

I use pencil, inks, charcoal, chalk, pastels & oil pastels on infused papers and birch panel. I apply my work with brush, pen, lead pencil and by hand.

Up-cycled leather and archival papers join in a non-adhesive book with classic and self-designed stitching methods. Re-purposed antique icebox hinges, door hinges, and other architectural elements are fashioned to be used as closure mechanisms. They are attached with hand-hammered copper rivets. They are meant to be heirlooms.

"I am both a photographer and a manufacturer of a unique form of art, Sound Art. I offer my personal photos, graphic art, and customization as requested by the customer. My product is a combination of both music and visual artwork. The products are flat panel, Bluetooth speakers that are also concealed by works of art. I have a young company, with a unique product, that most people don't even know about. I hope you will give me the opportunity to offer my products at this event."

Ink drawings of natural history subjects and organic abstract representations. Drawings are executed with technical drafting pens, crow quill pens, watercolor brushes, and handmade marking tools. Subjects are drawn from life, from the artist's field sketches, and from the artist's photographs. Drawings are rendered on 4-ply archival Bristol board and range in size from 3" x 3" to 40" x 32".

Woodcut prints of natural history subjects and organic abstract representations. Images are cut in maple blocks with a variety of traditional chisels, gouges, and small powered woodcarving tools. Prints are individually hand-pulled on a 1913 letterpress in small editions. Prints are signed and numbered, and editions are limited.

My work is a blend of hand-fabricated & altered, recycled componentry. I utilize many jewelry bench techniques including: soldering, sawing, piercing, filing, sanding, engraving, etching, lost wax casting, riveting, various cold connections, chain-making, as well as several types of patinas & hand-finishing techniques in my creative process. I also like to build my own tube settings for 5mm stones and repurposed watch crowns. I use 12 to 18-gauge brass & silver plates, which I engrave into. After engraving, I saw the designs out with a jewelry piercing saw. This is the basis for a lot of the component building that I am doing. I also use the process of lost wax casting. Instead of starting with a wax original, I hand-fabricate my originals out of metal first and then mold/cast them from there. Most of the pieces I am creating are put together with cold connections such as riveting and micro-screws that are riveted, etc. I hope this gives you a better understanding of my process.

The first time I saw the mountains of the American West, I knew I’d found my muse for life. Born in the soft hills of Pennsylvania, I never knew a landscape could be so dynamic, alluring and frightening at the same time. I began my art career in watercolor, but have found oils and acrylics to better capture the harshness of mountains. I use thin layers of medium to build a world intensified by vivid colors and bold horizons. My process beings in wild places. Often, hiking up a steep slopes or climbing a rock faces to discover a new perspective of the landscape. As an avid outdoors woman, I prefer to paint places that I’ve experienced first hand. Nothing makes me happier than memorizing a ridge line with my feet, and immortalizing that experience in paint.

"When out capturing images I am overcome with a sense of calm and serenity. The quiet stillness of the world around me is something I relish. When someone views my photographs, this is the mood that I hope is conveyed to them. To achieve this I often employ long shutter speeds that capture the movement of the world around and transfer it to stillness. After capturing an image, sometimes with shutter speeds several minutes long, I process the image digitally with the feeling I had while taking the image in mind. Once an image is ready for display I print, mat, sign, and number the image by hand up to sizes of 16x20. Larger prints on metal are done via a local photo lab with my direct supervision, with in person proofs and oversight to make sure my vision is transfered to the final piece exactly as I saw it. Limited edition prints come in editions ranging from 10 to 250."

I am a small batch ceramics studio recently relocated to Park City, Utah. My work is primarily wheel-thrown functional stoneware. I work in all clay bodies from porcelain to gritty, dark brown clay. I use both high-fire reduction techniques as well as electric oxidation for my work. My work references my appreciation for the natural world - I focus on evoking the bright joy and beauty we find in nature and so my glazes are primarily hues found in the natural world.

Constructions of titanium, precious metals, & vitreous enamels. Everything fabricated by hand from scratch, no found objects. Basic aesthetic: Royal Dystopian. I create artifacts. Obscure purpose, lost history. Finding part of an ancient machine on a deserted beach is my kind of spiritual moment. While I don’t use actual “found objects” within my work, I emulate that sense of the almost familiar, but unknown. I picture my creations similarly being found by an yet-unknown culture in an uncertain future. I strive to create the artifacts that will be found and re-purposed; objects having their own evolution, including dead-ends, mistakes and miscalculations. The pieces may be functional in a Rube Goldberg-esque fashion… or purely dys-functional. A bit of fiction within the function, and function within the fiction.

Color, movement and energy define me as an artist. Their healing vibrations inspire me. I began painting the colors of the chakras—7 primary energy centers that distribute, assimilate and transform energy—while healing from childhood abuse. These colors literally catapulted me from darkness to light. Inventing my own tools to create contemporary strokes anywhere from 6”-12’ or more, I organically glide acrylic paint across acrylic, metal, wood, granite, canvas and other surfaces. Usually in one stroke. My large colorscapes grace the walls of high-end residential, commercial and hospitality spaces including The Mira Hotel Hong Kong, SF Hilton Union Square, Doubletree Hotel by Hilton San Bernardino, One Turnberry Place Las Vegas, Jones Waldo Building SLC. My unique color combinations exude spontaneous and energetic emotions, adding life, energy and joy to any space. And my dream as an artist is that my pieces will heal others as they have me.

Wheel thrown and hand built earthenware with 3 dimensional lichen/crawl glazes.

Sculpted by fire on a torch, pure gold and silver are suspended in glass creating unique, wearable glass jewelry. I make all of the leaves, millifiore flowers and sea coral murrine as well as my exclusive signature cane. Slices of these murrine canes are inlaid into the molten glass to create an imaginary nature scene. I hand cut and inlay the glass into my own hand fabricated sterling silver jewelry component pieces. My exclusive and innovative sterling silver and magnetic bracelet clasp is a patent pending design. My inspiration for colors & designs come from nature and the special challenge of my medium. When we first look at glass, we see a solid; static, with no movement. My work strives to show the true liquid nature of glass for it is truly a liquid at high temperatures. I create silver components using both lost wax casting and hand fabrication to present my glass visions in unique, wearable art.

We have a beautiful product and of the highest quality. All work is original. We start with select hardwoods and assemble by hand, emphasizing distinct grain and species combinations. We apply a furniture finish to each game board to ensure beauty and lifetime enjoyment. We use classic, old fashioned designer marbles for playing pieces and shrink wrap each game board. We demonstrate how to play the games at the shows and have extra marbles to sell for the boards. We also sell beautifully unique handmade ceramic marbles and game bags. Our purpose is to bring back the nostalgia of good family entertainment. Besides being fun to play, the games require concentration, and actual thinking in making your plays and moves.

Extreme wide-angle photographs composed at ground level in Subway Stations around the world. These mundane & utilitarian places are focused upon to help us appreciate & even be inspired by the everyday spaces we pass through. Symmetrical balance, converging perspective lines, bold pure colors & motion blur of subway cars through long exposures create movement & energy which culminates in a dynamic & immersive viewing experience. Each photograph is made by the artist to museum standards and part of an edition of 250 or less.

Metal baskets are woven from reclaimed steel straps & metal quilts are made from rusted sheet metal. The raw steel strapping is wildly unmanageable and taming this sharp, spring-loaded material makes the creation of each woven basket unique as form meets function in a colorful and structural way. Each metal quilt journey begins with scrap metal rescued from junkyards, cut from abandoned signs, or leftover banding from the baskets as varying shapes are cut to size and rearranged before being riveted and framed.

I use charcoal on a medium texture paper to create my artwork. I like to push my values and allow the texture to show through while building details and contrast. I like to use backlighting or a strong light source in my art to create visual interest and draw the eye. I mainly sketch local wildlife and landscapes.

I create my paintings by using oil on canvas or linen. I use brush and knife to create studio and plien air paintings.

My approach to any form of art is subject matter and design. Choosing things that move me and move those that view my work. Hopefully to visually convey my spirit/feelings on canvas. Design for me requires much thought. It's difficult for me to improve on the whole of what I see, but I find that if you want to make a feature in a composition pop, it's best to isolate it. My pallet is made of primary colors which I blend to make my pallet, avoiding black and earth-tones. There are times when unusual colors require synthetic pigments, such as a sunlit wild flower. Colors are pushed matching the light I experience in nature and sometimes pushing it a notch or two bolder. Soft brushes and a smooth canvas best works for the realistic style of choice. I love texture when it works with the illusion that I'm trying to convey. My mediam is made of three part oil , one part spirits and one part varnish in order to capture the light in my paintings.

I design and build original furniture and lighting pieces out of wood, steel, and various other materials.

My studio work involves a mixed media process that includes acrylic, aerosol, ink and oil paint applied to canvasses using various processes. I utilized projection, stencils, masking, collage, drips, scratching, and various subtractive methods. Inspired by personal experiences and the dreams that followed, this work explores the residue left on the psyche by close encounters with wild animals in wild places.

The photography I enjoy requires a considerable amount of research before I go into the field. Most of my work in the field is done in what I call the "Terra Incognita" of the Colorado Plateau. These can be places of stillness, peace and beauty which can provide unique opportunities for creative photography. In the field I am looking for compositions that have a strong center of interest or unusual design and tell a story or invoke an emotional response. I strive for simplicity and clean backgrounds. Proper exposure and precise focus in the field are critical to be able to print large, sharp images. In the digital darkroom I am concerned with cleanliness, appropriate contrast, and color balance. I strive also to orchestrate the light to guide the viewer around the image. Prints made in my studio are done on the finest luster and canvas papers with archival inks on Epson printers. I carefully supervise any metal prints.

Slab built, wheel thrown or altered porcelain chemically altered, stained and sanded, high fired.

Finding the perfect leather, or hide and then letting it speak for itself is what I feel is the most gratifying part of my creative process. Seeing a brand mark or scar as a highlight in a bag, or clutch gives each creation individual distinction and rustic charm. Leather-work has been the most purposeful vehicle to bringing my creative voice to reality. It fills me with pride and integrity to see a piece finished. I work with a plan, but also an open vision. My patterns have changed based on the natural lines of the individual hides to bring out as much natural beauty as possible. The repetitive nature of leather-work allows my imagination to run wild and include happy accidents and creative surprises in my pieces. My most recent work is a combination of structured lines inspired by modern construction, and organic elements such as jagged edges and hair-on-hide.

Traditional oil on canvas.

My creative process engages me with the uniqueness of each stone, providing an opportune beginning to become progressively intimate with the material. This approach allows my imagination and the stone to merge in the crucible of time and contemplation. Through this collaboration, the sculpture emerges. My work arises both from inspiration and intention as I seek the sublime, engaging emotion and stone with conceptual interpretation. Each creative solution follows an exploration of each stone through direct sculptural techniques with native western U.S. stone for both esthetic and physical qualities for both visual and tactile attraction. As is my way, I finish each sculpture to a fine surface to please the eye while seeking to engage the hand for tactile response to extend the viewer’s interaction and enjoyment. To this end I also engineer my signature kinetic mount into every sculpture, allowing the viewer to easily select the viewing position, whether table or pedestal mounted.

I express my artistic self through the medium of metal, sterling silver and gold, by creating one of a kind statement jewelry. I employ historical techniques of lost wax carving/casting and fabrication; bending, hammering, shaping, sanding and adding contrasting stones for a timeless experience of wearable art. I seek not perfection in a piece but a sense of establishing a relationship with the elements.

Color-shifting large scale lenticular abstract and photo-based pattern and movement. The image moves and changes based on the viewing angle of the observer. This cannot be seen in still images....see video links one of a kind and Unique Limited editions

I am constantly looking to simplify my life. Not in the declutter or clean up the knickknacks way, rather I am looking to simplify what I see and translate this need for simplicity in a visual manner. As a human with a lot of emotions, living in a world with nonstop stimuli and noise, I feel a need to create images that calm in their simplicity. I base my paintings on both photos I take while traveling in Wyoming, driving through Utah and Arizona, walking through Los Angeles or New York and from memory. Not all the places I paint exist but they all mimic places I love to be. My goal is to quiet the eyes with simplicity.

In all our efforts, our goal is to create art where form follows function. We begin each design by experimenting with mirrors that can be cut and configured to create an infinite number of unique kaleidoscopic illusions...all variations of triangles and squares. Then, we design a wood "delivery system". In each case, the wood on the outside reflects the mirror assembly inside. To make our scope interactive, we build oil-filled viewing chambers that contain our flame-worked glass, dichroic glass (for pizzazz), shells, and anything that helps to make a mesmerizing image. Success, for us, is when folks are attracted to our wood sculptures and then are amazed when they look inside

It is clear that there are distinct styles and mediums that I am using. My work is divided into two rather distinct categories: one is abstract, modern, mixed media. These utilize mainly acrylic, alcohol ink, gold leaf, and resin on canvas or acm panel. The other set of artwork is much less abstract, focusing on wildlife and nature. These are mainly acrylic on canvas, but have elements of mixed media with accents of gold leaf or resin. I would like to note that I recognize that to express multiple artistic identities is unconventional. Conventional wisdom dictates that an artist must adhere to one distinct style and brand. By producing and showing distinct styles and subject matter I am actively protesting this convention while simultaneously feeding two sides of my creative and personal expression: controlled, literal, and accessible versus abstract, flowing, free, and expressive. The common denominators are color and attention to detail.

My process is intuitively driven, creating textiles with several slow-cloth techniques to sculpt natural fibers into one of a kind clothing. Many different natural textiles meld within each garment, which is then simmered with leaves into cloth for a trans-formative process. I use the alchemy of plants such as indigo, eucalyptus, various roots, and minerals to naturally dye the vintage silk, linen, cotton, and/or cashmere. I also travel to far off exotic places as part of my creative process, collecting and finding inspirational objects to put in future designs. Embellishments on my garments include hand embroidery, antler horn buttons, beading, boro, hand spinning, and traditional Indian block printing. I often take my work on desert or woodland outings to do my handwork while meditating in nature. The language of cloth unfolds into even deeper layers, that make for a nostalgic feel, even evoking a story, and reflecting nature within these soul-filled, designs.

For my wire wraps I use precious metals such as silver and gold along with precious and semi-precious gemstones. When I go to make a piece I have first meditated on the design with its purpose, function, creative flow, colors, qualities etc. When I really get into the wire wrapping process, as crazy as it sounds I feel the stones energy and wrap my curves around it. If I find myself outside the flow of energy the wire becomes hard to work with and and starts bending in awkward positions. So each piece I create has heavy intentions behind it and follows the flow of nature, trying to really capture the essence of the stones and energy flow that they give off. All of my pieces are inspired by my fascination with the world, I create all my pieces to resemble or be a part of what I understand about energy and different cultures with their philosophy of energy in the healing and ceremonial arts of ancient cultures.

Using the Sun, two chemicals and leaves to create something simple, yet elegant I have captured a study of nature called a Cyanotype. A process of combining two chemicals to make them sensitive to UV light. This process, founded in 1842, is achieved without the use of cameras. By using leaves I have curated from my travels as stencils I create my art. The result is a one of a kind image. I aspire to instill feelings of peace through the imagery of floating leaves upon the deep indigo blue.

Original paintings on birch wood panels with bright acrylic under painting and rich colorful oils on top.