At The Edge, A Shifting


Opening Artist Reception Thursday, September 13th from 4:00-8:00 pm. On exhibit September 13th – October 8th 2018.

Featuring an intimate group of thirteen artists who concentrate on translating the(ir) world(s) through the freedoms of abstraction. Karen Rand Anderson, Margie Butler, Steven Cabral, SW Dinge, David Gonville, Amy Goodwin, Michele Poirier-Mozzone, Barabara Owen, Jessica Rosner, Christian Rubeck, Masha Ryskin, On-Kyeong Seong, Kenneth Steinkamp.


This month’s show also celebrates our first successful summer in Newport, as we shift into a new season.

Karen Rand Anderson

The Fragility of Any Given Moment   Acrylic on Canvas 36” x 36” 


"Energetic, intuitive mark-making and an emotional, process-driven approach to painting characterize my recent work. In the studio I concentrate on working in a “consciously-unconscious” manner, allowing transformation to happen. On a good day, my work is a creative visual reflection of my daily meditation practice, and that is what I aim to bring to the viewer." 

Steven Cabral

Ukiyo 12  Oil and Encaustic on Board 24" x 24"


My body of work focuses on shifting perspectives and depths: a journey of ethereal interactions filled with forms and lines that drift above and glide through atmospheric planes while evoking a sense of energetic playfulness and movement.  Ukiyo as (n) literally "the floating world" - living in the moment, detached from the bothers of life.  I resonate with the term because that is how I felt when I made the series and my work has a sense of floating worlds.  Most importantly, my process helped me detach from the bother of life and put me at peace, with a sense of stillness. 

Margie Butler

Fair Skinned  Mixed Media Collage on Flattened Box 11” x 14"


The surface is a flattened SPF 30 sunscreen box. Thoughts on protection and sun damage probably gave rise to fleshy tones and rough textured patches. The sky blue and green zones allude to landscape. The embroidered text notes the sensitive times we inhabit. Abe on a painted penny is our witness


Terrarium came out of a week at Penland in North Carolina where I studied with Yolanda Sanchez. The experience focused on meditation and painting from one's interior landscape. The result was a more open composition of light, space, color and form. This was a turning point for my painting and mark making helping me arrive at a new way of working.

S.W. Dinge


Push & Resist   Gouache and Acrylic on Canvas 24" x 18"


While working on this painting, I begin to see the turquoise and black stripes as reminding me of a flag. Perhaps a flag of a revolution or a country in the throes of an uprising. I began to think of our current political climate and the urgent mindset of much of the population. Push & Resist


Billie Holiday's Orgasm. I was trying to find a way to depict the feelings of euforia and pleasure by the saddest of people. Who more than anyone is the antithesis of sadness? Billie Holiday. What is the most euforic sensation or emotion she could feel? Orgasm.

David Gonville
Amy Goodwin

Treasure 1881  Mixed Media on Canvas 78” x 66”


Treasure 1881 is a new large format work in oil and mixed media, including graphite, spray paint, and oil stick on canvas.  The colors and textures in the piece represent an abstraction of wave conditions at various surf spots along the Rhode Island coastline.

Hello Tan  Mixed Media on Canvas  30" x 30"


I am inspired by the primitive forms of Modernism and the notion that you can tell a story through shape, line, color, and juxtapositions. In this series a mélange of forms are born out of traditional and experimental applications of paint. Balancing planning with improvisational decision-making I was able to produce an eclectic visual vocabulary.

Michele Poirer-Mozzone
Barbara Owen

Realization  Pastel on Paper  12" x 12"


Realization is one of my Fractured Light series of paintings depicting the figure as it is distorted and bathed in turbulent water.  Shards of sunlight, bizarre distortions of form, skin tones of greens and blues and glistening bubbles are my inspiration. Water is the vehicle for transformation, cleansing, renewal and change as the figure is captured in this fleeting, altered state.   

Red Swirl  Acrylic and Ink on Paper  30" x 15" x 9"


I call myself a painter, my work comes from a painterly perspective. 


My early years making sculpture defined me as a formalist.  My work whether it is 2 or 3 dimensional plays with space and the relationship between shapes.  Painting has fine-tuned me a colorist, I am trying to create effective and emotional responses to the work through color.


Starting with hand-painted paper I cut out shapes, leaving them whole or retaining a simple boundary, before assembling them into painting-like compositions.   I work in the abstract and my process is revealed by the presence of my hand, a tremendous focus and a necessary attention to detail. 

Jessica Rosner
Christian Rubeck

Voluptuous Slinky  Ink and Pencil on Paper 11.25" x 8.25 "


In 1999 I began a series of abstract line drawings, moving away from what had been a narrative bent to my work. They are mostly small, self-contained ink drawings with patterns formed from dividing the page and filling contained areas with lines. Since I started there have been series within this series.


The drawing presented here is a Slinky Drawing. In the Slinky series, I wanted to show shapes made with a template, in this case a compass, next to shapes made free hand.


My drawings have always been about looking for perfection while enjoying the accidents and imperfections that have to occur as I draw. So, although they are neat, controlled and careful they also expose the humanity that we all share when we make marks on paper by hand.

Blown Back  CopperFoil,Aluminum,Yucca,Stainless Steel 12" x 58" x 27"  


Blown Back is the second piece from the balance series.  These works represent continued exploration of connection, tension and support. 

Masha Ryskin
On-Kyeong Seong

Yellow Fossil  Mixed Media on Clayboard  36" x 72"


My sense of place and belonging is increasingly important to me, especially since my immigration from the Soviet Union. As a result, my work explores landscape and its elements through direct experience of the environment around me. I take bits and pieces of my surroundings and assemble them into imaginary environments.  The work investigates the concepts of history, personal memories and everyday rituals, as well as identity and assimilation.


I am interested in the human interaction with nature evidenced by the traces of our presence left in the landscape. My work directs attention to footprints, stains, and other overlooked elements that speak of the temporal quality of the human experience. The fragmented quality of the work alludes to the constant shifts that occur in memory and history.


I have recently started to investigate the relationship between a tangible physical object and light, shadows, and projected imagery. My recent projects, both individual and collaborative, are explorations of the ambiguity and subtlety of layered imagery and shadows. My collaborative practice currently explores the translation of drawing installations to digital photography and video work.  

Premier No.3  Mixed Media on Canvas 3 parts size variable 32" x 26"


My imagery of abstraction arises not from the factualness of nature through the copying of illustration, but from the aspirations toward beauty that nature and art hold in common.


These ideas not only give rise to the transformation of the growth of each image but also affect the growth of each other to be idiosyncratic. On these realms of forms, I impose aesthetic unity: from them I wrest new decorative principles, such as the organic motif in modern ornament and apply design in different ways. All the elements consist of integrated each other by a form of organic from inorganic process.


In opposition to traditional stitching methods of embroidery, I have used the stitching to express abstract.

Ken Steinkamp

Tangled   Mixed Media   56.75" x 54.75"


"While living in Santa Monica, I was taken in by the intense, never ending movement of cars and the idea of windows as a reflective shield to one’s inner world, and the self-absorption dream scape that world entailed.


This concept has since evolved over there years. Most of my pieces today have an acrylic panel or “window” placed on them. It has been worked on both sides and in-turn placed over a vigorously expressed substrate, that is usually a wood panel. It allows for an intense use of power tools, attaching wire, and a variety of other materials.


This piece  is one of my foremost works in this regard. It is my intent to have the viewer see in and see out the through variety of windows placed on the surface, and to have them reflect on the lines, layers and shadows they have experienced on their textured pathway."