Fine Art

STATEMENT
This work is a study of how nature and power rhyme. These are snapshots of what is under the surface: seductive gardens, playgrounds, sensual and scary things…. some frightening. Are they microscopic or large enough to climb inside?  You are invited in to explore and play.
Process Remarks:
This work is digital.... I use CAD [computer-aided-design] software, fractal software, painting software and digital photography to show you what we don't pay attention to. Some of the work is printed on aluminum via photographic process, some printed on metallic film and bonded to the reverse side of clear Plexiglas. Some pieces are printed at high resolution on smooth paper and teased with acrylic. Craftsmanship counts. 

BIOGRAPHY
Education:
BFA Painting, University of Illinois, Highest Honors 1973
Listed:
Who's Who in American Art (Cattell Press) 1976-
Instructor/Lecturer:
Rock Valley College, Rockford Il 1975-1978
Rockford College, Rockford Il 1976
University of Miami (Visiting Lecturer) Miami Fl 1977
Awards:
1989 Air Brush Digest Annual
1984 Art Institute Juried Biennial Spires, Chicago 
1982,1975 Illinois Professional Exhibition, Springfield, Illinois 
1981 Illinois Arts Council Purchase Award, Chicago
1980 Rock Island Juried, Rock Island, Illinois 
1980 Beloit Juried, Beloit, Wisconsin
1976 1st Prize, Union League Juried, Chicago
1975 39th Butler National, Ohio
1975 Mainstreams 75, Marietta, Ohio
Selected Corporate and Public Collections:
Container Corporation of America
Borg Warner, Chicago, Illinois
Bank of Wisconsin, Janesville, Wisconsin
Illinois State Museum, Springfield, Illinois
Butler Institute of American Art, Youngstown, Ohio
Digital Equipment Corporation, Maynard, Massachusetts
Hope College, Holland, Michigan

STATEMENT
Art in it's truest form shows the person making it their beauty and relation to the moment. Art lets us be aware in the creation. When we share art with others it becomes electric. Art promotes our basic instinctual element to be playful and become one with our surroundings.
I approach my art with a vigorous free flow. I work on several at a time. I am interested in how physical objects, poetic abstract forms and emotion spaces communicate making visual corridors. My inspiration comes from the process. In all my art: painting, sculpture, drawing and assemblage, I hope to convey a sincere and instinctive sight.
I like to make colorful oil painting abstractions. Images of people and landscapes present themselves, become characters and starting reference points to complex narratives and visual questions. I am interested in creating a visual language, answering the notion of what is and what is not. The themes of my paintings range from beauty, music, catharsis, social injustice, community, dreams, nature and time. I hope you enjoy.

BIOGRAPHY
Daithi was born in the United States (1972). He was awarded at a young age for his artistic talent. He has studied at The University of Wisconsin, The Art Students League of New York City and, through The Pratt Institute of Art, in Lucca, Italy. While in Lucca, his studio was located in the Cathedral Santa Maria Bianca.
He has exhibited in museums, galleries, universities and city centers across North America, Ireland, Italy and Argentina. Daithi has taught art in many surrounding; such as The McColl Center for the Visual Arts in Charlotte, NC. Save the World Project in Kathmandu, Nepal. Nimbus Arts in Napa Valley, California and most recently as Artist in Residence at The Goodman Community Center in Madison, Wisconsin. His art can be found in many private, public and corporate collections.

STATEMENT
The longer the viewer takes to concentrate and “study” any form of fine art the greater the possibility they have to enjoy it, or decide why they don’t. The average viewing time is fifteen seconds. I am challenging that notion to allow submission to the emotional experience.

My work is an accomplished effort of juggling composition and improvisation. The construction of these two elements take shape in a semi-trance. After this absorption, three-quarters of the way through this process, the critical phase occurs when I must make the whole piece come together. Of course it’s not a “process” in the corporate sense of the word – it is everything that has stayed with me from being a student with Elaine de Kooning to thirty years of working and exhibiting in NYC.

I must use whatever facility comes to play during this circumspect analyses in an attempt to finish with a positive ending. This final personal satisfaction is achieved with a certain amount of luck along with my  years of experience towards completion.

My approach to the current work relies on critical analysis and a reservoir of acquired techniques and subject matter. The new element to my work shown here is collage. A palette of appropriated images from vintage periodicals and posters. I use the cut line of the X-acto blade much like a pencil or paintbrush. Choosing the collage pieces, placing them, shaping; gluing and burnishing. This process is very intuitive while simultaneously reflecting on the compositional direction allowing for changes. I paint over the cut pieces with a variety of techniques.  The stipple dry brush application of paint is based on a technique I have used previously in my work to suggest the painterly approach.

The titles are conceptually cryptic leaving the final response and analysis up to the viewer. “Competition for the largest” and  “Butterfly” are examples of my earlier stylistic approach. They are graphic, with high contrast. “Christian Harley Riders in favor of Gay and Lesbian Marriage” might be transitional – busy but  composed.

What I am striving for in “Surf City is the Place to be”  is a combination of seamless blending of the figurative and abstract.  “Rolanda and the Kitchen Sink in Hawaii” is dedicated to a good friend who  immigrated to Hawaii. It  expresses a more painterly tone with a sense of color, bright light and the  thrill of being in a new place. “Butterfly” is an expression of life  on  over load with a geometric abstraction, and   kinetic movement. Delicate creatures that can travel  hundreds of miles every year to be where  they need to be, and return every year to another place called home.

BIOGRAPHY
Rande Barke remembers the sweet acrid smell of beer “factories” when riding in his father's truck toward downtown Milwaukee in the 1960’s. A prosaic industry set in a humble and sturdy landscape next to lake Michigan. 

Barke, who spent the last 20 years in New York City, exhibiting his art, is now back in Milwaukee. The culture and urbanity of “The City” provided a context that fostered five single person shows and several reviews in  Art Forum and Art in America, as well as awards including The National Endowment for the Arts Scholarship and the New York Foundations for the Arts Fellowship in drawing.
Before working full time as an artist in New York, Rande taught art for 6 years.  First at the University of Southern Mississippi, then as an assistant professor in the Art department of Syracuse University.  His formal education was at the University of Georgia with an MFA in drawing and painting.  There, he worked for two years with Elaine de Kooning who enabled him to meet such masters of 1950’s American abstraction as Willem de Kooning and Philip  Guston.  Willem de Kooning reminded Rande of his German speaking grandfather, Sam Barke, who left Europe to start a cedar post business in Gillett, Wisconsin in the 1930’s.
Rande left New York City in 2002, changed forever, after watching the Trade Center towers burn from his  Greenpoint Brooklyn studio. He and wife moved to Westchester County setting up a studio in downtown Yonkers, 2 blocks from the Hudson River and the Palisades.  The river and surrounding imagery was reflected in his abstract paintings and semi representational drawings.The great recession would take Rande and his wife  to the midwest. Rande now lives and works in Milwaukee - the city he left at age 16.

STATEMENT
The longer the viewer takes to concentrate and “study” any form of fine art the greater the possibility they have to enjoy it, or decide why they don’t. The average viewing time is fifteen seconds. I am challenging that notion to allow submission to the emotional experience.

My work is an accomplished effort of juggling composition and improvisation. The construction of these two elements take shape in a semi-trance. After this absorption, three-quarters of the way through this process, the critical phase occurs when I must make the whole piece come together. Of course it’s not a “process” in the corporate sense of the word – it is everything that has stayed with me from being a student with Elaine de Kooning to thirty years of working and exhibiting in NYC.

I must use whatever facility comes to play during this circumspect analyses in an attempt to finish with a positive ending. This final personal satisfaction is achieved with a certain amount of luck along with my  years of experience towards completion.

My approach to the current work relies on critical analysis and a reservoir of acquired techniques and subject matter. The new element to my work shown here is collage. A palette of appropriated images from vintage periodicals and posters. I use the cut line of the X-acto blade much like a pencil or paintbrush. Choosing the collage pieces, placing them, shaping; gluing and burnishing. This process is very intuitive while simultaneously reflecting on the compositional direction allowing for changes. I paint over the cut pieces with a variety of techniques.  The stipple dry brush application of paint is based on a technique I have used previously in my work to suggest the painterly approach.

The titles are conceptually cryptic leaving the final response and analysis up to the viewer. “Competition for the largest” and  “Butterfly” are examples of my earlier stylistic approach. They are graphic, with high contrast. “Christian Harley Riders in favor of Gay and Lesbian Marriage” might be transitional – busy but  composed.

What I am striving for in “Surf City is the Place to be”  is a combination of seamless blending of the figurative and abstract.  “Rolanda and the Kitchen Sink in Hawaii” is dedicated to a good friend who  immigrated to Hawaii. It  expresses a more painterly tone with a sense of color, bright light and the  thrill of being in a new place. “Butterfly” is an expression of life  on  over load with a geometric abstraction, and   kinetic movement. Delicate creatures that can travel  hundreds of miles every year to be where  they need to be, and return every year to another place called home.

BIOGRAPHY
Rande Barke remembers the sweet acrid smell of beer “factories” when riding in his father's truck toward downtown Milwaukee in the 1960’s. A prosaic industry set in a humble and sturdy landscape next to lake Michigan. 

Barke, who spent the last 20 years in New York City, exhibiting his art, is now back in Milwaukee. The culture and urbanity of “The City” provided a context that fostered five single person shows and several reviews in  Art Forum and Art in America, as well as awards including The National Endowment for the Arts Scholarship and the New York Foundations for the Arts Fellowship in drawing.
Before working full time as an artist in New York, Rande taught art for 6 years.  First at the University of Southern Mississippi, then as an assistant professor in the Art department of Syracuse University.  His formal education was at the University of Georgia with an MFA in drawing and painting.  There, he worked for two years with Elaine de Kooning who enabled him to meet such masters of 1950’s American abstraction as Willem de Kooning and Philip  Guston.  Willem de Kooning reminded Rande of his German speaking grandfather, Sam Barke, who left Europe to start a cedar post business in Gillett, Wisconsin in the 1930’s.
Rande left New York City in 2002, changed forever, after watching the Trade Center towers burn from his  Greenpoint Brooklyn studio. He and wife moved to Westchester County setting up a studio in downtown Yonkers, 2 blocks from the Hudson River and the Palisades.  The river and surrounding imagery was reflected in his abstract paintings and semi representational drawings.The great recession would take Rande and his wife  to the midwest. Rande now lives and works in Milwaukee - the city he left at age 16.

STATEMENT
The longer the viewer takes to concentrate and “study” any form of fine art the greater the possibility they have to enjoy it, or decide why they don’t. The average viewing time is fifteen seconds. I am challenging that notion to allow submission to the emotional experience.

My work is an accomplished effort of juggling composition and improvisation. The construction of these two elements take shape in a semi-trance. After this absorption, three-quarters of the way through this process, the critical phase occurs when I must make the whole piece come together. Of course it’s not a “process” in the corporate sense of the word – it is everything that has stayed with me from being a student with Elaine de Kooning to thirty years of working and exhibiting in NYC.

I must use whatever facility comes to play during this circumspect analyses in an attempt to finish with a positive ending. This final personal satisfaction is achieved with a certain amount of luck along with my  years of experience towards completion.

My approach to the current work relies on critical analysis and a reservoir of acquired techniques and subject matter. The new element to my work shown here is collage. A palette of appropriated images from vintage periodicals and posters. I use the cut line of the X-acto blade much like a pencil or paintbrush. Choosing the collage pieces, placing them, shaping; gluing and burnishing. This process is very intuitive while simultaneously reflecting on the compositional direction allowing for changes. I paint over the cut pieces with a variety of techniques.  The stipple dry brush application of paint is based on a technique I have used previously in my work to suggest the painterly approach.

The titles are conceptually cryptic leaving the final response and analysis up to the viewer. “Competition for the largest” and  “Butterfly” are examples of my earlier stylistic approach. They are graphic, with high contrast. “Christian Harley Riders in favor of Gay and Lesbian Marriage” might be transitional – busy but  composed.

What I am striving for in “Surf City is the Place to be”  is a combination of seamless blending of the figurative and abstract.  “Rolanda and the Kitchen Sink in Hawaii” is dedicated to a good friend who  immigrated to Hawaii. It  expresses a more painterly tone with a sense of color, bright light and the  thrill of being in a new place. “Butterfly” is an expression of life  on  over load with a geometric abstraction, and   kinetic movement. Delicate creatures that can travel  hundreds of miles every year to be where  they need to be, and return every year to another place called home.

BIOGRAPHY
Rande Barke remembers the sweet acrid smell of beer “factories” when riding in his father's truck toward downtown Milwaukee in the 1960’s. A prosaic industry set in a humble and sturdy landscape next to lake Michigan. 

Barke, who spent the last 20 years in New York City, exhibiting his art, is now back in Milwaukee. The culture and urbanity of “The City” provided a context that fostered five single person shows and several reviews in  Art Forum and Art in America, as well as awards including The National Endowment for the Arts Scholarship and the New York Foundations for the Arts Fellowship in drawing.
Before working full time as an artist in New York, Rande taught art for 6 years.  First at the University of Southern Mississippi, then as an assistant professor in the Art department of Syracuse University.  His formal education was at the University of Georgia with an MFA in drawing and painting.  There, he worked for two years with Elaine de Kooning who enabled him to meet such masters of 1950’s American abstraction as Willem de Kooning and Philip  Guston.  Willem de Kooning reminded Rande of his German speaking grandfather, Sam Barke, who left Europe to start a cedar post business in Gillett, Wisconsin in the 1930’s.
Rande left New York City in 2002, changed forever, after watching the Trade Center towers burn from his  Greenpoint Brooklyn studio. He and wife moved to Westchester County setting up a studio in downtown Yonkers, 2 blocks from the Hudson River and the Palisades.  The river and surrounding imagery was reflected in his abstract paintings and semi representational drawings.The great recession would take Rande and his wife  to the midwest. Rande now lives and works in Milwaukee - the city he left at age 16.

STATEMENT
Art in it's truest form shows the person making it their beauty and relation to the moment. Art lets us be aware in the creation. When we share art with others it becomes electric. Art promotes our basic instinctual element to be playful and become one with our surroundings.
I approach my art with a vigorous free flow. I work on several at a time. I am interested in how physical objects, poetic abstract forms and emotion spaces communicate making visual corridors. My inspiration comes from the process. In all my art: painting, sculpture, drawing and assemblage, I hope to convey a sincere and instinctive sight.
I like to make colorful oil painting abstractions. Images of people and landscapes present themselves, become characters and starting reference points to complex narratives and visual questions. I am interested in creating a visual language, answering the notion of what is and what is not. The themes of my paintings range from beauty, music, catharsis, social injustice, community, dreams, nature and time. I hope you enjoy.

BIOGRAPHY
Daithi was born in the United States (1972). He was awarded at a young age for his artistic talent. He has studied at The University of Wisconsin, The Art Students League of New York City and, through The Pratt Institute of Art, in Lucca, Italy. While in Lucca, his studio was located in the Cathedral Santa Maria Bianca.
He has exhibited in museums, galleries, universities and city centers across North America, Ireland, Italy and Argentina. Daithi has taught art in many surrounding; such as The McColl Center for the Visual Arts in Charlotte, NC. Save the World Project in Kathmandu, Nepal. Nimbus Arts in Napa Valley, California and most recently as Artist in Residence at The Goodman Community Center in Madison, Wisconsin. His art can be found in many private, public and corporate collections.

STATEMENT
Growing up, flowers bloomed wild and untamed in the pastures at my family’s farm and in my mother’s garden. Eighteen years later, at my father’s funeral, flowers became a symbol of love and memorial. Flowers represent nature’s beauty, memory, and love.
Nature is a source of solace and a reminder of individual strength. My drawings present nature in the form of abundant flower blooms, rendered exclusively in Prismacolor colored pencils and spread across large sheets of paper. Each drawing depicts only one kind of flower. The flowers are repeated in varying sizes and from differing vantage points until the myriad flowers begin to exist together.
The drawings are built-up and discovered over time, somewhat unpredictably. They are composed of small crosshatched areas that begin in a localized region on the paper and are replicated, expanding in all directions from the point of origin. Size and direction of the crosshatches influences which way the composition will grow. In a sense, each drawing is an endurance project of marks advancing across the paper. The more time spent on the drawing the more realized and exposed the composition becomes. These drawings motivate the creation of themselves. My drawings embody how family and nature have impacted my life.

BIOGRAPHY
Zoe Linn Jarvis was born in 1993 in Seoul, Korea. As a Korean adoptee raised in the United States, Jarvis fully identifies as both American and Korean. She holds a BFA in Painting from the Maryland Institute College of Art, and   continues her pursuit of fifteen-plus years as a classical pianist. As a passionate and driven artist and musician, Zoe emphasizes the importance of a strong work ethic to fuel progress in her various professional and personal practices.

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984 
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989         

STATEMENT
Growing up, flowers bloomed wild and untamed in the pastures at my family’s farm and in my mother’s garden. Eighteen years later, at my father’s funeral, flowers became a symbol of love and memorial. Flowers represent nature’s beauty, memory, and love.
Nature is a source of solace and a reminder of individual strength. My drawings present nature in the form of abundant flower blooms, rendered exclusively in Prismacolor colored pencils and spread across large sheets of paper. Each drawing depicts only one kind of flower. The flowers are repeated in varying sizes and from differing vantage points until the myriad flowers begin to exist together.
The drawings are built-up and discovered over time, somewhat unpredictably. They are composed of small crosshatched areas that begin in a localized region on the paper and are replicated, expanding in all directions from the point of origin. Size and direction of the crosshatches influences which way the composition will grow. In a sense, each drawing is an endurance project of marks advancing across the paper. The more time spent on the drawing the more realized and exposed the composition becomes. These drawings motivate the creation of themselves. My drawings embody how family and nature have impacted my life.

BIOGRAPHY
Zoe Linn Jarvis was born in 1993 in Seoul, Korea. As a Korean adoptee raised in the United States, Jarvis fully identifies as both American and Korean. She holds a BFA in Painting from the Maryland Institute College of Art, and   continues her pursuit of fifteen-plus years as a classical pianist. As a passionate and driven artist and musician, Zoe emphasizes the importance of a strong work ethic to fuel progress in her various professional and personal practices.

STATEMENT
Growing up, flowers bloomed wild and untamed in the pastures at my family’s farm and in my mother’s garden. Eighteen years later, at my father’s funeral, flowers became a symbol of love and memorial. Flowers represent nature’s beauty, memory, and love.
Nature is a source of solace and a reminder of individual strength. My drawings present nature in the form of abundant flower blooms, rendered exclusively in Prismacolor colored pencils and spread across large sheets of paper. Each drawing depicts only one kind of flower. The flowers are repeated in varying sizes and from differing vantage points until the myriad flowers begin to exist together.
The drawings are built-up and discovered over time, somewhat unpredictably. They are composed of small crosshatched areas that begin in a localized region on the paper and are replicated, expanding in all directions from the point of origin. Size and direction of the crosshatches influences which way the composition will grow. In a sense, each drawing is an endurance project of marks advancing across the paper. The more time spent on the drawing the more realized and exposed the composition becomes. These drawings motivate the creation of themselves. My drawings embody how family and nature have impacted my life.

BIOGRAPHY
Zoe Linn Jarvis was born in 1993 in Seoul, Korea. As a Korean adoptee raised in the United States, Jarvis fully identifies as both American and Korean. She holds a BFA in Painting from the Maryland Institute College of Art, and   continues her pursuit of fifteen-plus years as a classical pianist. As a passionate and driven artist and musician, Zoe emphasizes the importance of a strong work ethic to fuel progress in her various professional and personal practices.

STATEMENT
Growing up, flowers bloomed wild and untamed in the pastures at my family’s farm and in my mother’s garden. Eighteen years later, at my father’s funeral, flowers became a symbol of love and memorial. Flowers represent nature’s beauty, memory, and love.
Nature is a source of solace and a reminder of individual strength. My drawings present nature in the form of abundant flower blooms, rendered exclusively in Prismacolor colored pencils and spread across large sheets of paper. Each drawing depicts only one kind of flower. The flowers are repeated in varying sizes and from differing vantage points until the myriad flowers begin to exist together.
The drawings are built-up and discovered over time, somewhat unpredictably. They are composed of small crosshatched areas that begin in a localized region on the paper and are replicated, expanding in all directions from the point of origin. Size and direction of the crosshatches influences which way the composition will grow. In a sense, each drawing is an endurance project of marks advancing across the paper. The more time spent on the drawing the more realized and exposed the composition becomes. These drawings motivate the creation of themselves. My drawings embody how family and nature have impacted my life.

BIOGRAPHY
Zoe Linn Jarvis was born in 1993 in Seoul, Korea. As a Korean adoptee raised in the United States, Jarvis fully identifies as both American and Korean. She holds a BFA in Painting from the Maryland Institute College of Art, and   continues her pursuit of fifteen-plus years as a classical pianist. As a passionate and driven artist and musician, Zoe emphasizes the importance of a strong work ethic to fuel progress in her various professional and personal practices.

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984 
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989         

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984 
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989         

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984 
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989         

STATEMENT
I grew up in a house of optical phenomena. My father was a physicist with a specialty in optics (although neighbors claimed he worked at the Optical Department at Sears). Lasers, lenses, prisms, and holographs were plentiful; as were lessons on the natural world. In our house, a solar eclipse became a graduate level seminar. On long car trips, we passed the time with questions to stump Dad: Why was the sky orange, what caused hail, and how were tunnels built under the bay? (Incidentally, we refer to these questions now as "Tunnel Talk" questions).

BIOGRAPHY
I begin my paintings with questions like those of "Tunnel Talk" times. What is the color of amber, iron-ore, pollen? How can wind and water be suggested? The paintings gradually grow in layers. In the strata of paint, the shape of a microscopic protein hovers beneath a planet's elliptical orbit and decorative ironwork cancels out dense foliage. It is these strange alliances between the common and uncommon, natural and synthetic that I find compelling to paint. The compressions, connections, and contradictions of the layers shape the personality of the painting.
This knotted, painted combination forces a continual shift of attention among the many levels. I compare this to a single moment in landscape and the competing levels of activity. When I stand on Devonian limestone on the levee of the Mississippi, the barges and riverboats pass, herons fly, behind, a train noisily rumbles and streetlights flicker on, the smell of diesel fuel drifts in while rain clouds build. It's the density of experience that continues to raise questions and excite me as a painter.

Education
INDIANA UNIVERSITY, Bloomington, IN., M.F.A. - Painting, 1988
TYLER SCHOOL OF ART, Temple University, Philadelphia, PA., B.F.A, Painting,1984 
Professional Experience
ST. AMBROSE UNIVERSITY, Davenport, Iowa, Professor, 1989-present UNIVERSITY OF TEXAS, El Paso, Texas, Visiting Professor, 1988-1989         

STATEMENT
My paintings are often called abstractions, they are not. They are the non-objective landscapes of my inner being, my attempt to move into a greater reality. Bodidharma, the bringer of Zen to China from India said, "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation."

BIOGRAPHY
Terrence Coffman has diverse artistic talents. Coffman is an accomplished artist, author, musician/songwriter, and an internationally recognized leader in art education. He studied at the Corcoran College of Art and Design, and the Skowhegan School of Painting and Sculpture. He was the recipient of two Ford Foundation grants that helped forge his studies at the two schools.
He has received citations from U.S. Senator Herbert Kohl and Former Wisconsin Governor Tommy Thompson for his dedication to the visual arts and education in Wisconsin. In 1995, President Clinton invited Coffman to the White House to attend the prestigious National Medal of Arts awards ceremony. That same year, he was awarded a fellowship at the Lacoste School of Art in France were he taught and conducted research for his novel on Vincent van Gogh. In 2001 Terrence Coffman received the Frank Kirkpatrick Award from the Greater Milwaukee Foundation and he is the 2008 recipient of the Laird Art Leadership Award from the Melvin Laird Foundation in Washington DC.
Coffman's work has received several awards and has been exhibited in numerous exhibitions.
As a singer/songwriter, he has performed at nightclubs and music venues in Wisconsin, Virginia, Maryland and Washington D.C. He has recorded three albums of traditional and contemporary acoustic songs. His most recent CD entitled Songs from Center Avenue Studio is a collection of original songs about family, outlaws, lovers and a dog named Blue.
Coffman is also the author of a fictional novel entitled, A Walk Through the Wheatfields, The Missing Journals of Vincent van Gogh, based on the life of the Post-Impressionist painter. Vantage Press published the novel in December of 2002. 

STATEMENT
My paintings are often called abstractions, they are not. They are the non-objective landscapes of my inner being, my attempt to move into a greater reality. Bodidharma, the bringer of Zen to China from India said, "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation."

BIOGRAPHY
Terrence Coffman has diverse artistic talents. Coffman is an accomplished artist, author, musician/songwriter, and an internationally recognized leader in art education. He studied at the Corcoran College of Art and Design, and the Skowhegan School of Painting and Sculpture. He was the recipient of two Ford Foundation grants that helped forge his studies at the two schools.
He has received citations from U.S. Senator Herbert Kohl and Former Wisconsin Governor Tommy Thompson for his dedication to the visual arts and education in Wisconsin. In 1995, President Clinton invited Coffman to the White House to attend the prestigious National Medal of Arts awards ceremony. That same year, he was awarded a fellowship at the Lacoste School of Art in France were he taught and conducted research for his novel on Vincent van Gogh. In 2001 Terrence Coffman received the Frank Kirkpatrick Award from the Greater Milwaukee Foundation and he is the 2008 recipient of the Laird Art Leadership Award from the Melvin Laird Foundation in Washington DC.
Coffman's work has received several awards and has been exhibited in numerous exhibitions.
As a singer/songwriter, he has performed at nightclubs and music venues in Wisconsin, Virginia, Maryland and Washington D.C. He has recorded three albums of traditional and contemporary acoustic songs. His most recent CD entitled Songs from Center Avenue Studio is a collection of original songs about family, outlaws, lovers and a dog named Blue.
Coffman is also the author of a fictional novel entitled, A Walk Through the Wheatfields, The Missing Journals of Vincent van Gogh, based on the life of the Post-Impressionist painter. Vantage Press published the novel in December of 2002. 

STATEMENT
My paintings are often called abstractions, they are not. They are the non-objective landscapes of my inner being, my attempt to move into a greater reality. Bodidharma, the bringer of Zen to China from India said, "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation."

BIOGRAPHY
Terrence Coffman has diverse artistic talents. Coffman is an accomplished artist, author, musician/songwriter, and an internationally recognized leader in art education. He studied at the Corcoran College of Art and Design, and the Skowhegan School of Painting and Sculpture. He was the recipient of two Ford Foundation grants that helped forge his studies at the two schools.
He has received citations from U.S. Senator Herbert Kohl and Former Wisconsin Governor Tommy Thompson for his dedication to the visual arts and education in Wisconsin. In 1995, President Clinton invited Coffman to the White House to attend the prestigious National Medal of Arts awards ceremony. That same year, he was awarded a fellowship at the Lacoste School of Art in France were he taught and conducted research for his novel on Vincent van Gogh. In 2001 Terrence Coffman received the Frank Kirkpatrick Award from the Greater Milwaukee Foundation and he is the 2008 recipient of the Laird Art Leadership Award from the Melvin Laird Foundation in Washington DC.
Coffman's work has received several awards and has been exhibited in numerous exhibitions.
As a singer/songwriter, he has performed at nightclubs and music venues in Wisconsin, Virginia, Maryland and Washington D.C. He has recorded three albums of traditional and contemporary acoustic songs. His most recent CD entitled Songs from Center Avenue Studio is a collection of original songs about family, outlaws, lovers and a dog named Blue.
Coffman is also the author of a fictional novel entitled, A Walk Through the Wheatfields, The Missing Journals of Vincent van Gogh, based on the life of the Post-Impressionist painter. Vantage Press published the novel in December of 2002. 

STATEMENT
My paintings are often called abstractions, they are not. They are the non-objective landscapes of my inner being, my attempt to move into a greater reality. Bodidharma, the bringer of Zen to China from India said, "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation."

BIOGRAPHY
Terrence Coffman has diverse artistic talents. Coffman is an accomplished artist, author, musician/songwriter, and an internationally recognized leader in art education. He studied at the Corcoran College of Art and Design, and the Skowhegan School of Painting and Sculpture. He was the recipient of two Ford Foundation grants that helped forge his studies at the two schools.
He has received citations from U.S. Senator Herbert Kohl and Former Wisconsin Governor Tommy Thompson for his dedication to the visual arts and education in Wisconsin. In 1995, President Clinton invited Coffman to the White House to attend the prestigious National Medal of Arts awards ceremony. That same year, he was awarded a fellowship at the Lacoste School of Art in France were he taught and conducted research for his novel on Vincent van Gogh. In 2001 Terrence Coffman received the Frank Kirkpatrick Award from the Greater Milwaukee Foundation and he is the 2008 recipient of the Laird Art Leadership Award from the Melvin Laird Foundation in Washington DC.
Coffman's work has received several awards and has been exhibited in numerous exhibitions.
As a singer/songwriter, he has performed at nightclubs and music venues in Wisconsin, Virginia, Maryland and Washington D.C. He has recorded three albums of traditional and contemporary acoustic songs. His most recent CD entitled Songs from Center Avenue Studio is a collection of original songs about family, outlaws, lovers and a dog named Blue.
Coffman is also the author of a fictional novel entitled, A Walk Through the Wheatfields, The Missing Journals of Vincent van Gogh, based on the life of the Post-Impressionist painter. Vantage Press published the novel in December of 2002. 

STATEMENT
My paintings are often called abstractions, they are not. They are the non-objective landscapes of my inner being, my attempt to move into a greater reality. Bodidharma, the bringer of Zen to China from India said, "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. Freeing oneself from words is liberation."

BIOGRAPHY
Terrence Coffman has diverse artistic talents. Coffman is an accomplished artist, author, musician/songwriter, and an internationally recognized leader in art education. He studied at the Corcoran College of Art and Design, and the Skowhegan School of Painting and Sculpture. He was the recipient of two Ford Foundation grants that helped forge his studies at the two schools.
He has received citations from U.S. Senator Herbert Kohl and Former Wisconsin Governor Tommy Thompson for his dedication to the visual arts and education in Wisconsin. In 1995, President Clinton invited Coffman to the White House to attend the prestigious National Medal of Arts awards ceremony. That same year, he was awarded a fellowship at the Lacoste School of Art in France were he taught and conducted research for his novel on Vincent van Gogh. In 2001 Terrence Coffman received the Frank Kirkpatrick Award from the Greater Milwaukee Foundation and he is the 2008 recipient of the Laird Art Leadership Award from the Melvin Laird Foundation in Washington DC.
Coffman's work has received several awards and has been exhibited in numerous exhibitions.
As a singer/songwriter, he has performed at nightclubs and music venues in Wisconsin, Virginia, Maryland and Washington D.C. He has recorded three albums of traditional and contemporary acoustic songs. His most recent CD entitled Songs from Center Avenue Studio is a collection of original songs about family, outlaws, lovers and a dog named Blue.
Coffman is also the author of a fictional novel entitled, A Walk Through the Wheatfields, The Missing Journals of Vincent van Gogh, based on the life of the Post-Impressionist painter. Vantage Press published the novel in December of 2002.