For me, art is about life and the processing of experiences and interconnectedness with others and our environment. Henry Moore said, “Being an artist is celebrating life.” I am constantly drawing inspiration from my daily interactions with the people in my life and my natural surroundings. My passion is fueled by my love for animals, gardening, family and friends. Creating art is an endlessly fascinating and continually developing process of discovery, intuition, and improvisation. Throughout all of my work, I seek visual expressions of my daily experiences.
My collage works are created with layers of found, reclaimed, and new materials. An individual piece may contain several layers of what I see as poetic materials.
book and album covers,
wasp nests, reclaimed antiques,
rusty metal, paint tubes,
plastic lids, wood, and glass,
shells, and pottery shards;
wool, alpaca, and dog hair
ribbon, plastic bags, and old paint scraped from my palette,
salvaged wood, vintage-print material, and other stuff.
*Anything is game as long as it enhances content and aesthetics*
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.
Wedding Flowers, Jack is in Heaven and Learning to Fly, 30"x60" Mixed Media on Canvas
Moscow Moose, Many Mice and a Few Feline Friends
Night Garden, 10"x8" Mixed Media on Birch Panel
Peter's Moondance, 30"x30" Graphite on Acrylic Base
Hip, Hip, Hop 49"x 17" Oil on Canvas mounted Three Birch Panels
I was born in Nurnberg, Germany in 1981 to a black, southern Army Sergeant from Cairo GA and a blonde Bavarian beauty. Just before the fall of the Berlin Wall we left to start our new lives in Savannah and it was here that I found my path to an artist’s life.
Achieving a solid foundation at The Savannah Arts Academy, I continued my education at the Atlanta College of Art and earned a Bachelor of Fine Arts degree in Painting. Practicing and showing in Savannah my work has become part of the permanent collection at the Jepson Center for the Arts and numerous private collections throughout the Southeastern United States. I also have pieces currently on display in Germany and in private collections in Portugal.
As an artist I’m looking for a way to interpret and explain what I see. During a landscape painting class at ACA, I began to discover the language in which to translate the world around me. Utilizing the structure of a horizon in space, the paintings get poured one layer at a time until the work is complete. The encaustics are an extension of this layering process. I use the colored wax to create a platform for images that have been appropriated, in order to re-contextualize them in a new universe. The colors and textures in the Savannah are an ever constant muse. The sky meeting the ground, the stained cement after a morning rain, peeling blue paint on an old pay-phone, are all the objects of her artistic affection.
The language I seek is one of structure, color, light, and surface.
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.
Marta resides in Savannah, Georgia and produces her artwork locally, as well as in the mountains around Boone, North Carolina, where she grew up and returns to each summer. She is heavily influenced by her rustic upbringing and this is evident in her mixed media assemblage works, both through the subject matter and material usage. Marta is a young mother and this, too, is referenced in the work, seen as candy wrappers and discarded toys, as well as drawings of toys. Marta also works as a theatrical lighting designer, and production coordinator for events and concerts throughout the low-country area.
The materials are important to the work and therefore are worth referencing separately. As far as the supports and/or construction of the works there is a mix of wood and paper in most of the pieces. The wood, where possible, is reclaimed and repurposed. Most of the wood used in the 2009-early 2011 series’ of works is from various barns and the door and window frames from a farm house in the Boone area. Marta does all of her own framing and construction. The paper comes from discarded library books on art, as well as food and candy wrappers salvaged from her household. There are also many found object including paper price tags, toy fragments, leaves and plant materials, bones and egg shells, sticks, etc. These materials help the artist to weave a conversation between the work and the viewer.
There are beautiful objects around us. Everywhere we go the seemingly mundane things of our everyday lives surround us. These objects rarely get a second glance, but in reality they are begging for it. From the packages we buy our food in, to the houses and barns we tear down to make room for new construction, even sometimes, the books and newspapers we have read; they are all waste, detritus. To me these things sing of beauty. Their worn edges, the earthy tones; yes these things are beautiful. This beauty is one that speaks of age and wisdom, of collective harmony with life and living, of a life already lived, one that is ready to embark on another life. I am a steward of the mundane, of these objects left behind. I seek to let these things live again. To adorn them in thick and luscious paint, let my pen gracefully dance upon them, to juxtapose them with the idea that art is precious and beautiful. I see the art of objects, the time spent long ago to create these things and I want them to live again. I want people to look and to see. I want to awaken their senses in hopes that they, too, will recognize beauty in these everyday objects.
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.
Born in Springfield, Illinois, Christi’s passion for art arose after working eight years in a hospital setting. Continuing her education in the fine arts, she found her calling in metalsmithing. Her education continued in Florence, Italy in 2002 and gained her BFA from Savannah College of Art and Design in 2006.
Observing life in the present and from the past is what influences my work. I create objects relating to my experiences of working in a hospital leading to my current explorations. Presently, I am intrigued by biology from the very basic to the most complex. Many of my inspirations come from the beauty of life cycles at a cellular level. My aim is to combine these observations with unique metalsmithing techniques as well as incorporating ornament, dimension, design and color. I aspire to develop interesting, wearable pieces of jewelry while utilizing unique materials.
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.
Growing up in Asheville, NC, Danielle Hughes Rose was constantly surrounded by art, craft and nature. Her father, an architect, and her mother, a nature lover and crafter, encouraged her artistic endeavors. She came to Savannah in 1990 to attend the Savannah College of Art and Design, where she graduated in 1995 with a B.F.A. in Metals and Jewelry. She has since been involved in many group shows locally and internationally, and has won several awards, including Connect Savannah’s award for Best Local Jewelry Designer in 2012 thru 2015.
ARTIST STATEMENT I’ve always been inspired by modern design. The ability to see the structure, form and lines of an object are to me the beauty. Simplicity allows this understanding. My current works are inspired by architectural elements, mid-century hood ornaments, and other modern and organic forms. The clean lines of precious metals are tempered with the use of found beach glass and upcycled elements such as street sweeper bristles and scrap metal.
As an artist, I have been fortunate to have a rich and deep set of life experiences which contribute greatly to my work today. Every experience, from my early life in Brooklyn, New York , growing up in a very large family, and then through years of dedication to teaching as a member of a teaching order of monks, has provided me with vision and insight that is a framework for my art. With my community's support, I left the order to take a masters level in painting at Savannah College of Art and Design and became a full time artist in 1999. I have been fortunate studying China at the Central Academy of Art and Design in Beijing as well as during a painting sabbatical near Sienna, Italy. Presently, my work is in collections in Australia, Aruba, Antigua, Canada, China, England, Germany, Italy, Netherlands, Norway, Switzerland, and throughout the USA. My first museum show at The Telfair Museum of Art in Savannah, Georgia was in 2005 and 12 paintings from that show are included in the permanent collection. In 2011 the Jepson Center for Contemporary Arts accepted two abstract landscapes from my “In Plain View” series into their permanent collection
The love of color and form, a belief in the affect and effect of environment, and the excitement of communicating experience generate these paintings. A commitment to awareness allows these created environments to inform and change my understanding. The paintings you see are moments of such awareness, contemplated, and allowed to develop into statements of belief. Each expanse prompts the solitary nature of the effort to understand and experience. Each structure suggests the communal aspect of that struggle. Allusions to human-created, utilitarian spaces, and ordered glances of a natural world are my chosen vocabulary. The grammar is light and color. Painting decisions persist as thesis. The meaning is influenced by your entering the world I share with you.
Back River 18, 6"x6" Oil and Encaustic on canvas
Back River 19, 6"x6" Oil and Encaustic on canvas
Between Sea and Sky 04, 6"x6" Oil and Encaustic on Canvas
Between Sea and Sky 8, 6"x6" Oil and Encaustic on Canvas
Between Sea and Sky 23, 6"x6" Oil and Encaustic on Canvas
The View South, 36"x48" Oil and Encaustic on Linen
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.