Although I hold both a Bachelors and Masters in Music, it is in the field of the visual arts where I found my passion. I spent many years in the arts & antiques business, working in Texas, Massachusetts, NewYork, and spanning both coasts from SanFrancisco to Nantucket.
During the past few years, I've been studying metal smithing and recently opened my studio in Savannah. My personal aesthetic has been shaped by my love for antiquities. I strive to create pieces that are timeless yet in some way rooted in history. I'm not interested in copying a particular style or period, but instead, playing with a fresh vision that combines my passion for the past and my chosen material.
Citrine melon cut Beads, Sterling with 10K gold embellishment
Angela Burson is a visual artist working in a variety of media including painting, drawing and needlework. She is an alumna of the Savannah College of Art and Design where she received her B.F.A. in Painting. A native of Liberty, Missouri, the Savannah Georgia-based artist has exhibited her work across the U.S. and abroad, including at the Leedy-Voulkos Art Center, Kansas City, Missouri, the SCAD Museum of Art, Savannah; and Gallery Most, Podgorica Montenegro.
Throughout my career, I have been influenced by anachronistic images of fashion and personal objects. My paintings and needlepoint works recontextualize outmoded styles and give them new meanings. I paint images of often headless people and their personal objects and interior spaces which signify complex psychological and social relationships with one another. Without the head, the viewer sees the clothed body not as a portrait, but as a collection of gendered objects and patterns. I am interested in the surreal connection between realistic subject matter and flat repetitive pattern. Often these images are culled from existing photographs but are transformed into contemplative, oddly positioned personages or fragments of a body. Shirts as conjoined twins, empty suits, bandaged arms, headless torsos, a suitcase, a toy boat - all are employed as signifiers, providing glimpses into the complexities of identity and the possibilities that exist in relationships between objects. The subtlely of the closely rendered detail is intended to provide the viewer insights into layers of meaning.
French Vacation 30"x 30" acrylic on panel, 2017
Charmed 20"x 20" acrylic on panel, 2017
Canoe Crisis 8"x8" acrylic on panel, 2017
Wednesday 30"x 30" acrylic on panel, 2017
Yellow Dress with Muff 8"x8" silk thread on linen, 2016
Floral Chair Interior 20"x20" acrylic on panel, 2017
Jan Clayton was born in Miami Florida. She received an MFA from The George Washington University in Washington D.C. and a BA from The University of Maryland. She currently lives and works in Savannah Georgia. She has participated in numerous National Exhibitions and was chosen by the American Ambassador to Greece to participate in the “Art in Embassies” program in Athens Greece. Her work can be found in numerous private & public collections throughout the United States and Europe.
Cropped Carolina Wrens
Rachel's Silent Spring
Peter's Moondance, 30"x30" Graphite on Acrylic Base
Music in the Forest, Graphite and Acrylic on Canvas, 36" x 48"
Night Garden, 10"x8" Mixed Media on Birch Panel
Endangered, The Ivory Billed Woodpecker, 20"x 16" Acrylic on Canvas
Dancing in my Ruby Hooves with the Nut Brown Hare, Acrylic, Luminance Permanent Color and Swarovski Crystals on Fabric Mounted on Birch Panel
A lifetime of love for fibers & beads, in addition to two decades of collecting them on travels, is allowing me now to create scarves and accessories for a worldly taste.
Growing up in Switzerland, I was taught to knit and sew at an early age. It was one of the few classes in which I always excelled. At 21 a bend in life’s road brought me to the States and for many years fiber art stayed dormant. In the nineties I started quilting. With queen-sized ambitions I made a bedspread with over 1600 pieces, all hand sewn and quilted! Only perseverance got me through this four-year project!
Appliquéd wall hangings gave me much more opportunity to be creative. Over the next years three of my works were accepted in international shows.
In Europe, the nineties revolutionized threads & fibers. Specialty yarn shops popped up like mushrooms. The beauty of the variety of texture and colors took my breath away! As business took me all over the world, I started collecting yarns and fibers for the joy of owning them and relished the possibilities of future projects.
Once retired, there was no stopping the “fiber seeds” I had planted over a decade of collecting. I discovered a unique way of creating scarves and accessories using my stash. Embellishing them with beads opened another world of creativity. All the childhood years of loving and dreaming to work with fibers and crafting have now become a reality…
My work is involved with instinct and accident. Though I rather react to a subject, I do keep in mind and in hand principles of movement and economy, speed and light, and appreciate interplay between illusory and non-illusory space and form. Rhythm matters a great deal, formally, as do contrasts between areas of quiet and of activity. I'm glad for the materials to indicate for themselves what should happen, what is effective, what isn't, and value the surprise of each when ground and water and gravity impact it -- as well as choices I then must make. I work with vine and compressed charcoal, pastel, and acrylic wash with large brushes on heavy hot pressed watercolor paper, canvas and panel. I appreciate still life and other subject matter that have meaning for me, either formally or historically or both, and am encouraged when subjects are able to achieve their own light, which is, I'm finding, helped by preservation of collateral negative space, when it's able to read 'light' to partner with the subject.
Hartman holds a master of fine arts degree from Savannah College of Art and Design and a bachelor of arts in art history from Davidson College. She has worked as an artist in Savannah since 1997. In tandem with figure, animal, and still life exhibition, Hartman works as a commissioned portrait artist. She is a native of Charleston, West Virginia.
Tobia Makover’s work creates intrigue through the combination of timeless and emotive imagery that is captured through the lens of her Hasselblad. Each one-second exposure is then preserved in wax and resin through an encaustic process that dates back from the 1st Century BCE.
Internationally acclaimed, Tobia has exhibited at the National Portrait Gallery in London, Les Ateliers de L’Image in St. Remy, France, PH-Neutro in Verona, Italy, the Griffin Museum in Boston, AIPAD in New York, and SCAD Museum of Art in Savannah. She received her MFA in Photography from Savannah College of Art and Design and her BA in Sociology and Communication from the American University in Washington, D.C.
Tobia is a full-time artist who lives in Savannah, Georgia with her husband and two children.
A native of Sewanee, Tennessee, Richardson holds a B.F.A. and a M.A.T. from the Savannah College of Art and Design. She spent a year at the Marchutz School of Painting and Drawing in Aix-en-Provence France. The school studies perception and the theories of Cezanne, whose studio was a few meters from the school. She has also studied the landscape at the Art Student's League in NYC, the Pennsylvania Academy of Fine Arts, and the New York Studio School of Painting and Drawing. She lives and works in Savannah, Georgia.
Richardson’s love of the colors and architecture of Savannah have compelled her to continue this series of landscapes for four years. The paintings represent her walks through Savannah.
Daniel E. Smith is a painter (American, 1952) known for his abstracts, architectural abstracts, and landscapes. Through the use of light and color, his work deals with the affect and effect of environment and invites the viewer to experience the genesis of discovered spaces. Housed in distinguished private and museum collections throughout the world, Smith’s paintings reflect on the communal aspect of the struggle to deeply understand the ephemeral quality of existence.
Lazy River, Oil and Encaustic
Teal Pond, Oil and Encaustic
Out to Tybee, Oil and Encaustic
Wooded Mysteries, Oil and Encaustic
Waterway, Oil and Encaustic
Between Sea and Sky 8, 6"x6" Oil and Encaustic on Canvas
Heather grew up in Wilson, North Carolina discovering the sparkling delights contained in her mother’s jewelry box. Aspiring to create her own self adornment, Heather studied at East Carolina University receiving a Bachelor of Fine Arts degree in jewelry design in 1997. After college, Heather moved further south to enjoy the moss covered trees in Savannah, GA. where she has been an established local jewelry designer for over 15 years in the downtown area. After the birth of her first daughter, she transformed her Barnard Street gallery into an artists’ cooperative in May 2007. In the new gallery named Kobo, Heather still works on site and showcases her work along with 13 other talented artists. Heather’s creative style combines contemporary designs with natural elements. Her work in silver merges motifs of plum tree branches with clean lines and geometric shapes. Her medium includes sterling silver, semi precious stones and enamel. Heather’s work has been featured in National Geographic Traveler, Deep Magazine, Lucky Magazine, Elegant Bride and the Savannah Magazine.
Turning ideas into tactile pieces has always been a passion of mine, especially ideas of adornment. A lot of the influence in my work stems from my love of the Japanese culture. I enjoy the way the artists combine aspects of nature with clean architectural design. I use similar philosophy in my work. Using a handsaw, I can bring forth a delicate image like a cherry blossom or a plum tree branch and watch it transform the rigid sheet of metal. When I design each piece I want it to encompass a timeless meaning as well as a fashion forward presence. The motifs in my work range from trees and branches to ideas or concepts of motherhood and strength. Using influences from another culture as a base from where I start to design, my work radiates tranquility and craftsmanship.
Through most of my life wood has played a part in what I do even when I was doing other things. My wood working education is entirely experiential started by my paternal grandfather who taught me furniture repair when I was ten. More recently I started turning in 1997 and began my adventure with carving in 2006.
My work is in private collections across the Americas as well as Europe, Australia, and Asia.
All of the wood I use is indigenous to the United States; in most cases it is local. I do not use endangered, tropical hardwoods nor do I cut down a tree just to have the wood. Much of the wood I use is brought to me by friends. Because of the "local" nature of my raw material, I know something of the history of almost every piece of wood I work. In most cases I know where the tree lived, what human beings were or are connected to it, at least something of its life, often far too much about its death, and lastly how old it was when it died.
To me the process of working with the kinds of materials I use and creating something from them is spiritual. If I am successful in making something from this wood, then the tree lives on in another form, hopefully one of beauty. The story of the wood, the process of working it, and the end result are all equally important to me.