Heidi Lanino Bilezikian works on paper, canvas and ceramics. Her artwork is focused primarily on the horse, which allows her to explore her interest in movement. Conceptually she creates work that embodies the freedom and power of these beautiful animals, while focusing on the idea of transformation of spirit.
Using ceramics as an alternate canvas, Heidi uses line and subtle colorations to depict images of women, birds and other themes from nature in a decorative, calligraphic style. These pieces are influenced by various cultures and glazed in rich, earthy colors. Her work is imbued with a sensuous fluidity that evokes a lyrical and poetic quality.
She balances her studio time and gathers inspiration from teaching; she is drawn to collaborative projects with students and community, with the goal of inspiring creativity and love of the arts.
Heidi’s work has been exhibited in the United States and abroad and is represented in numerous private collections. She received her BFA from Pratt Institute and was the winner of the Pratt Annual Talent Search, receiving a full scholarship. She lived in New York City for 17 years, studied drawing and painting nationally and internationally, and was an art director for L’Oréal where she honed her aesthetic for beauty. After leaving New York City, she relocated to the Hudson Valley where she lives with her husband and two sons.
My work is the epicenter of my human experience. It is my witness to our current situation as a people at the precipice of self-destruction, on the verge of self-awareness, the eruption of emotion, an effusion of expression to convey my deepest fears and hopes. My paintings are reverence for, and anticipation of our possibilities.
Through a highly evolved technique of instinctual marks and gestures, combined with the manipulation of chemical reactions, I accelerate and embellish the oxidation of copper, aluminum and gold powders, embarking on a colorful, alchemical excavation of the ether. “Digging” with repeated application and removal of multiple layers of paint, metals, acids and salts, I am in essence evoking powerful, spiritual visions to express emotions and demonstrate energies beyond verbalization. ZL
Takeyce Walter is an artist and art instructor truly inspired by the landscape. This is ever apparent when standing before any of her paintings. Walter’s work in oil and pastel present the landscape of the Northeast in all its glory. There is a great sense of familiarity, calm, and stillness in each piece.
The paintings feature the rural landscape of upstate New York, the Adirondacks, Cape Cod, and Vermont. Walter is especially inspired by, and drawn to rivers, lakes, and the ocean. She is fortunate to live in close proximity to the beautiful Hudson, Mohawk, Au Sable Rivers and visits the beaches of Cape Cod during the summer.
Takeyce Walter is a painter whose return to painting in 2005 has been documented on her blog. She made a commitment to finishing at least one painting a week and started blogging to help track her progress. Many years later, Takeyce has maintained that commitment and is currently producing art on a prolific basis. In addition to exhibiting her paintings online, she also exhibits in local venues. Her art has found homes in many private collections across the country, and internationally.
George Van Hook
George Van Hook was raised in Pennsylvania, lived and worked as an artist in the Bay Area of California, then returned to the east coast to raise his family in Central New York and now resides northeast of Albany. He attended Oberlin College and earned his B.A. in Art at Humboldt State University. Van Hook was featured in a cover article for American Artist Magazine in March of 1989 and again in December 2001.
As a young artist, Van Hook was interested in the early 20th century California Impressionists, as well as with artists such as Thomas Eakins, John Singer Sargent, and Andrew Wyeth. An artist for nearly his entire life, George Van Hook follows in the traditions of J. Alden Weir and William Merritt Chase with his integration of form, light, and color, to create rich, textured landscapes. As a plein air painter, Van Hook always paints in nature, yet he intentionally chooses his locations based on the structures of the site. His paintings are thus deliberately balanced in forms and light, carefully plotted without altering the sovereignty of nature. Van Hook’s landscapes focus on the process of seeing, as one’s sight captures what a camera can miss—visions, sensations, and experiences. Depicting familiar northeast locations, Van Hook translates the impressionist style to a contemporary subject.
Mark Tougias is a self-taught artist who has been busy painting since childhood. His earliest surviving drawings and paintings date back to when he was eight years old. From an early age he learned by studying the masters and at age sixteen he began exhibiting. At the University of Massachusetts he studied education and art history. He began painting full time in 1990. He is particularly fond of American and European art from 1870 to 1940. Some of his favorite schools are the French Barbizon painters, American Tonalists, the Cape Ann, New Hope and the California painters from the early 1900’s. Most of Mark’s inspiration comes from his immediate surroundings in Vermont and upstate New York as well as from his annual trips abroad. He is most interested in the poetic and spiritual qualities of a place rather than exact renderings of specific locations.
Mark has exhibited in over forty galleries and has had over twenty-five one man shows. Among his numerous awards are the Juror’s Choice Award from the Southern Vermont Art Center’s 2008 National Fall Exhibition, the first Alden Bryan Gold Medal for best in show awarded in 2007 by the Bryan Memorial Gallery in Jeffersonville, Vermont, the Roger Curtis Award for excellence awarded at the North Shore Arts Association in Gloucester, Massachusetts in 1998 and the Harold Knight Award for best in oils from the Northern Vermont Art Association in 2000. Mark is a member of Gloucester’s North Shore Arts Association and a former member of Boston’s Copley Society.
Throughout his professional career, thoroughbred racing has been the primary subject of Tom Myott’s paintings, which are vibrant in color, and painted in dots, dashes, and loose strokes. Myott works predominantly with acrylic paint in a contemporary style, characterized by unique brush strokes and intense color. His large racing images have become the coveted artwork of numerous private collections including a commission of the 2011 Belmont Stakes winner, “Ruler On Ice”. Tom was also featured on the cover of the “Saratoga Spirit” magazine and was voted Saratoga’s favorite artist. Tom resides in his hometown of South Glens Falls, NY.
Heather Kranz found both her love of creating art and this area while she pursued her B.A. of Science in Studio Art at Skidmore College. There, she developed skills in Ceramics, Painting, and Printmaking. She completed her M.A. in Art Education from Columbia University and has been teaching at Fox Lane Middle High School in Bedford, NY ever since. In 1999 she returned to Skidmore for a summer to work on ceramic sculpture where she met her husband, a ceramicist and educator who grew up in the area. Since that time, they have spent every free moment in Bolton Landing, NY, compelled buy the beauty of Lake George and the warmth of the people.
Artist’s Statement: I am constantly inspired by the natural world;the sunrises and sunsets, the ordinary uptate NY landsape that I see on a daily basis. Of course, I also am deeply moved by the majestic: the rivers and streams and mountains that are part of this landscape. I could go on and on about light and shadow, the underlying abstract and spiritual components of any subject matter (other locales, interiors, still lifes or some combination) but I create art because I have a need to make visual the excitement I felt when I first looked at (or thought about) the subject at hand, searching for the unseen, not just the surface reality.
For my landscapes, I usually work from small studies and quickly taken digital photos. Rarely do I start and finish a piece plein air, but I have a strong desire to work outside. It recharges me. In the studio, I gather all my material and filter the subject matter through my own lens of experience and artistic sensibilities so the work will be a personal interpretation.
I like Paul Klee’s creative credo, “Art does not replicate what we see; rather it makes us see.”
Scott Thomas Balfe was born February 1, 1958, in Cornwall, NY. His work, shown in many galleries, has a following of collectors who purchase his paintings both for their intrinsic beauty and as investments in their future value as works of growing importance in the World of Art.
He speaks about his process:
“I studied Church, Durand, Cropsey, Gifford, Bricher, as well as Cole.
For me 75% to 90% of a painting is the under-painting. Because red and green are at opposite ends of the color wheel they compliment each other. And when I get close and have the painting just about orchestrated, I go in and add thin glazes to add a classic touch to the piece. There is something about glazing that finishes a piece.
It was the the same for many of the early painters, who used anything from coffee grounds to tobacco juice glazes to give warm tones. Today we have materials that simulate the warm tones. I like to keep my values close, and my colors clean. If you stain a canvas in red, then any time after you use red or green you have harmony, and you can get some beautiful subtle grays, in the same color keys, and you can slightly shift towards another color key.
I very rarely use blue as it is too cool for me. I go to the black family over a red tone, which, by the very nature of the color being surrounded by another, looks blue next to red. Sometimes I allow some of the undertones to come through the whole canvas from the sky to the landscape, giving unity throughout the piece so it hangs together as a whole; so that the land is not segmented from the sky and doesn’t look like the sky is in one key and the land in another. I will even use greens — it is hard for the novice to think to use greens — in a sky. It is almost imperceptible, but it is there. A part of trying to create a whole is you have to paint it — the unity. The glaze creates the tonal unity. It puts the entire painting under one veil, but it is not a means to an end. You can’t paint a bad painting and expect the glaze to fix all the problems.
What I would say about painting for me is that when I paint in the field, I try to create something that is partly what I see and partly what I would like to see, or where I would like to be, and for me in doing this I am creating my own handwriting in oil paint.”