Kaitlin Bellune

WHITE LIGHT

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12″ x 16″ acrylic on linen $3400

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Linda Fantuzzo spent her childhood in Endicott, NY, where she created images from an early age. In 1968 she went to Philadelphia to study at The Pennsylvania Academy of Fine Arts and graduated in 1973. She then moved to Charleston, SC, and continues to work full time in her studio near the harbor. The quality of light and the beauty of the architecture first attracted Linda to the region, where she continues to enjoy its vital arts community.

Linda worked non-objectively in various media for over ten years and then chose to return to painting representationally. She has been represented by galleries in the Charleston area since the 1970s, and has enjoyed five solo museum exhibitions in SC and GA. Linda is active in the arts community, having served on panels for the SC State Arts Commission Acquisitions Committee, the Halsey Institute of Contemporary Art, Redux, and the Trident Region Arts & Culture Plan. She has served as a juror for several public galleries and was the project director for “Larger Than Life: A Second Story Show”, sponsored by the Charleston Office of Cultural Affairs during the Piccolo Spoleto Festival.

Linda’s paintings are represented in the collections of the Greenville County Museum of Art, Greenville, SC; Gibbes Museum of Art, Charleston, SC; South Carolina State Arts Commission Collection, Columbia,SC; The Burroughs-Chapin Museum, Myrtle Beach, SC; the River Course and Cassique Clubs of Kiawah, SC; the Doonbeg Club of County Clare, Ireland; several other public collections; and numerous private collections throughout the country.

PALMS (Romance)

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24″ x 24″ oil on canvas $3500

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James Durkin

James Durkin (b. 1983) is an Anglo-American painter based in Charleston, SC. Born in New Haven, Connecticut, and raised in the United Kingdom, Durkin studied Art History at the University of Nottingham before refining his skills in drawing at the Royal Drawing School in London. His artistic journey has been deeply influenced by his extensive experience in both the art market and the realm of creative expression. After more than a decade as an auctioneer at Sotheby’s in London and New York, Durkin has returned to his roots as a painter, unveiling his first significant body of work in a decade.

Before stepping into the auction house world, Durkin was an active presence in the London art scene, working alongside contemporary artists and exhibiting his work in a range of exhibitions, including the iconic Royal Academy Summer Exhibition.

Throughout his career, his paintings have drawn on his experiences with both the natural world and the contemporary art dialogue, combining influences from his travels, the landscapes of his youth, and his understanding of art history.
His recent return to painting marks a new chapter in his career, with a fresh series of abstract landscapes that reflect both his personal evolution and his deeper connection to the world around him.

These new works, characterized by bold brushstrokes, layered textures, and a nuanced palette, explore the emotional and psychological resonance of the landscape, focusing less on representational imagery and more on evoking a sense of space, time, and movement. His approach to abstraction is grounded in an intimate relationship with the environment, capturing its raw beauty while exploring the tensions between natural forms and the spaces they occupy.

This new body of work invites viewers to experience a landscape not as a fixed object, but as a dynamic and ever-shifting force, as seen through the artist’s unique lens. With a renewed sense of purpose, he embraces the challenge of creating art that resonates on a deeply emotional level, offering fresh insights into both the external world and the inner landscapes we navigate.

ANYIKA

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20″ x 16.5″ framed 13″ x 8.75″ unframed glass beads and rhinestones on canvas $12,500

Anyika is a portrait of a Gullah Geechee woman, depicted as an emblem of sovereignty drawn from the unbroken thread of Gullah Geechee lineage. Reimagined as a queen of her time, she stands as an honored vessel of ancestral knowledge, shaped by salt, air, oral histories, and the quiet power of survival. Radiating dignity and quiet majesty, her presence transcends portraiture. This work speaks to a broader mission within Big Chief Demond Melancon’s practice to reposition African diasporic identity by reframing memory and cultural legacy, especially of those historically overlooked in dominant narratives. In Anyika, history is not just remembered, it is rewritten into permanence, where Gullah Geechee women are seen with the reverence they have always deserved.

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Demond Melancon

Demond Melancon (b. 1978) works solely with a needle and thread to sew glass beads onto canvas. He began this practice in 1992 when he first became part of the Black Masking Culture of New Orleans, a culture whose roots are woven through more than two centuries of history. Big Chief Demond Melancon is well known for creating massive Suits as a Black Masker. His Suits are sculptural forms based on the size of his body which are composed of intricate, hand-sewn beadwork revealing a collective visual narrative. In 2017, Melancon pioneered an emerging contemporary art practice using the same beading techniques he’s been refining over the past 30 years in the Black Masking Culture.

Melancon’s work has been included in exhibitions at the Victoria & Albert Museum, London; Museum of Contemporary African Diasporan Art, Brooklyn, NY; Halsey Institute of Contemporary Art, Charleston, SC; Kalamazoo Institute of Arts, Kalamazoo, MI; Haus der Welt der Kulturen, Berlin; Art Gallery of New South Wales, Sydney; and the Arthur Roger Gallery, New Orleans, LA. His work is included in the collections of the International African American Museum, Toledo Museum of Art, Birmingham Museum of Art, and the LSU Museum of Art. In a span of two years, Demond Melancon was honored with the Joan Mitchell Foundation Fellowship in 2023 and the Gibbes Museum and Society 1858’s Prize for Contemporary Southern Art in 2024.

As a self-taught artist, Melancon has been heavily influenced by the teachings of Kerry James Marshall. Often reflecting untold stories from bygone pasts, many of his works honor Black subjects historically excluded from the artistic canon while confronting stereotypical representations of Black identity. The potency of Melancon’s work is reinforced by his deep interest in exploring the possibilities of visual storytelling and redefining the traditions of portraiture. Demond Melancon is one of the few artists to pioneer the use of glass beads as an accepted medium in the larger contemporary arts sector. By reconsidering predominant narratives, Melancon deliberately repositions historically overlooked subjects and reimagines institutional portrayal of the Black subject.

BINGO LONG ALL-STARS

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19.5″ x 17″ framed 12.5” x 9.75” unframed glass beads and rhinestones on canvas $13,300

Bingo Long All-Stars is a beaded portrait of James Earl Jones in his role from the film The Bingo Long Traveling All-Stars & Motor Kings, a tribute that merges personal memory with a broader historical lens. This film holds deep emotional meaning for Big Chief Demond Melancon because it first opened his child eyes to the unjust realities faced by Black baseball players navigating the Negro Leagues in Jim Crow America. As a young boy who played baseball and idolized legends like Jackie Robinson, Josh Gibson, and Satchel Paige, Melancon found in this film a reflection of both joy and injustice. In honoring James Earl Jones as a symbol of that era, Melancon pays homage not only to the struggles overcome by Black athletes, but also to the quiet resilience of childhood dreams shaped by history, memory, and resistance.

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Demond Melancon

Demond Melancon (b. 1978) works solely with a needle and thread to sew glass beads onto canvas. He began this practice in 1992 when he first became part of the Black Masking Culture of New Orleans, a culture whose roots are woven through more than two centuries of history. Big Chief Demond Melancon is well known for creating massive Suits as a Black Masker. His Suits are sculptural forms based on the size of his body which are composed of intricate, hand-sewn beadwork revealing a collective visual narrative. In 2017, Melancon pioneered an emerging contemporary art practice using the same beading techniques he’s been refining over the past 30 years in the Black Masking Culture.

Melancon’s work has been included in exhibitions at the Victoria & Albert Museum, London; Museum of Contemporary African Diasporan Art, Brooklyn, NY; Halsey Institute of Contemporary Art, Charleston, SC; Kalamazoo Institute of Arts, Kalamazoo, MI; Haus der Welt der Kulturen, Berlin; Art Gallery of New South Wales, Sydney; and the Arthur Roger Gallery, New Orleans, LA. His work is included in the collections of the International African American Museum, Toledo Museum of Art, Birmingham Museum of Art, and the LSU Museum of Art. In a span of two years, Demond Melancon was honored with the Joan Mitchell Foundation Fellowship in 2023 and the Gibbes Museum and Society 1858’s Prize for Contemporary Southern Art in 2024.

As a self-taught artist, Melancon has been heavily influenced by the teachings of Kerry James Marshall. Often reflecting untold stories from bygone pasts, many of his works honor Black subjects historically excluded from the artistic canon while confronting stereotypical representations of Black identity. The potency of Melancon’s work is reinforced by his deep interest in exploring the possibilities of visual storytelling and redefining the traditions of portraiture. Demond Melancon is one of the few artists to pioneer the use of glass beads as an accepted medium in the larger contemporary arts sector. By reconsidering predominant narratives, Melancon deliberately repositions historically overlooked subjects and reimagines institutional portrayal of the Black subject.

WILD GRACES IN GOLD GREEN AND PURPLE

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20″ x 16″ framed 14″ x 11″ unframed mixed media on paper $900

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Jamie Powell, a native of Fairmont, West Virginia, but now residing 35 miles outside of NYC in a small lakeside town, draws inspiration from her Appalachian heritage, which is rooted in the traditions of resourcefulness, patchwork, and repurposing. Growing up in a family of farmers and factory workers, she developed an early appreciation for the art of making do with what’s at hand. Powell’s art pushes conventional boundaries, pushing the limits of painting through her experimental techniques. She engages in a multifaceted process that involves dyeing, braiding, weaving, stitching, and painting raw canvas. What emerges are paintings that blur the line between art and craft.

Her canvases expand beyond their traditional confines, with oversized and unruly bows breaking free from the stretcher, and braided canvas cascading to the floor. These creations evolve into three-dimensional objects, referencing the human form in their scale—akin to the dimensions of a head, torso, or outstretched arms. In her most recent works, she is reflecting on her rural upbringing and the way in which nature shaped her. Influences range from Robert Rauschenberg to Jessica Stockholder, from Arte Povera to Pattern and Decoration movements, from Formalism to Feminism. Through her highly experimental approach, she invites viewers to explore the boundaries of what paintings can be, embracing the beauty of imperfection, transformation, and the enduring spirit of her Appalachian upbringing.

She has exhibited extensively over the seventeen years including: Soil Gallery in Seattle, David & Schweitzer and Fresh Window in Brooklyn, Freight + Volume and Morgan Lehman in New York. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. She is a faculty member at Pratt Institute and a Teaching Artist for the Studio in A School Foundation of New York. Jamie is represented by the Painting Center in New York City and Peter Anthony Fine Art in Charleston, South Carolina.

WILD GRACES IN BLUES

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20″ x 16″ framed 14″ x 11″ unframed mixed media on paper $900

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Jamie Powell, a native of Fairmont, West Virginia, but now residing 35 miles outside of NYC in a small lakeside town, draws inspiration from her Appalachian heritage, which is rooted in the traditions of resourcefulness, patchwork, and repurposing. Growing up in a family of farmers and factory workers, she developed an early appreciation for the art of making do with what’s at hand. Powell’s art pushes conventional boundaries, pushing the limits of painting through her experimental techniques. She engages in a multifaceted process that involves dyeing, braiding, weaving, stitching, and painting raw canvas. What emerges are paintings that blur the line between art and craft.

Her canvases expand beyond their traditional confines, with oversized and unruly bows breaking free from the stretcher, and braided canvas cascading to the floor. These creations evolve into three-dimensional objects, referencing the human form in their scale—akin to the dimensions of a head, torso, or outstretched arms. In her most recent works, she is reflecting on her rural upbringing and the way in which nature shaped her. Influences range from Robert Rauschenberg to Jessica Stockholder, from Arte Povera to Pattern and Decoration movements, from Formalism to Feminism. Through her highly experimental approach, she invites viewers to explore the boundaries of what paintings can be, embracing the beauty of imperfection, transformation, and the enduring spirit of her Appalachian upbringing.

She has exhibited extensively over the seventeen years including: Soil Gallery in Seattle, David & Schweitzer and Fresh Window in Brooklyn, Freight + Volume and Morgan Lehman in New York. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. She is a faculty member at Pratt Institute and a Teaching Artist for the Studio in A School Foundation of New York. Jamie is represented by the Painting Center in New York City and Peter Anthony Fine Art in Charleston, South Carolina.

WILD GRACES IN TEAL GREEN AND HOT PINK

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20″ x 16″ framed 14″ x 11″ unframed mixed media on paper $900

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Jamie Powell, a native of Fairmont, West Virginia, but now residing 35 miles outside of NYC in a small lakeside town, draws inspiration from her Appalachian heritage, which is rooted in the traditions of resourcefulness, patchwork, and repurposing. Growing up in a family of farmers and factory workers, she developed an early appreciation for the art of making do with what’s at hand. Powell’s art pushes conventional boundaries, pushing the limits of painting through her experimental techniques. She engages in a multifaceted process that involves dyeing, braiding, weaving, stitching, and painting raw canvas. What emerges are paintings that blur the line between art and craft.

Her canvases expand beyond their traditional confines, with oversized and unruly bows breaking free from the stretcher, and braided canvas cascading to the floor. These creations evolve into three-dimensional objects, referencing the human form in their scale—akin to the dimensions of a head, torso, or outstretched arms. In her most recent works, she is reflecting on her rural upbringing and the way in which nature shaped her. Influences range from Robert Rauschenberg to Jessica Stockholder, from Arte Povera to Pattern and Decoration movements, from Formalism to Feminism. Through her highly experimental approach, she invites viewers to explore the boundaries of what paintings can be, embracing the beauty of imperfection, transformation, and the enduring spirit of her Appalachian upbringing.

She has exhibited extensively over the seventeen years including: Soil Gallery in Seattle, David & Schweitzer and Fresh Window in Brooklyn, Freight + Volume and Morgan Lehman in New York. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. She is a faculty member at Pratt Institute and a Teaching Artist for the Studio in A School Foundation of New York. Jamie is represented by the Painting Center in New York City and Peter Anthony Fine Art in Charleston, South Carolina.

YIELD SIGN

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14″ x 16.5″ colored pencil on paper, date unknown $3700

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Manning Williams (1939–2012)

Manning Williams’s paintings are rooted in the history, traditions, and terrain of the South Carolina Lowcountry. A Charleston native and lifelong resident, he received his B.S. from the College of Charleston before pursuing graduate work at the Pennsylvania Academy of Fine Arts. After studying at the Academy, he returned to his hometown of Charleston. His highly personal approach to realist painting emphasized storytelling and was fueled by an interest in portraying subjects found on the periphery of the city and along the barrier islands. Williams embraced the common, the everyday, and the factual rather than picturesque beauty.

Western subjects also commanded Williams’s attention, and during the later years of his career, his concern with narrative was expressed in a more abstract style. Later in his career, Williams stated: “I consider myself a narrative painter. Yet times have changed the way we see the world. TV, movies, and the Internet pour out information faster than we could have imagined only a few years back. My work today is about finding a new way to narrate our times.”

Manning Williams’s work has been exhibited nationally and internationally, with solo shows in Charleston, New Orleans, Washington, at the University of Pennsylvania Museum of Archaeology and Art, and the Greenville Museum of Art. Group shows featuring his work included the “Second Story Show” at Piccolo Spoleto in 2002, “100 Years/100 Artists, Views From the 20th Century” at the South Carolina State Museum in 1999–2000, and “Old South, New South” at Winthrop College in 1995. In 2004, Williams and Linda Fantuzzo had a duo show at the Gibbes Museum of Art. In 2008, Williams had a solo show at the Florence Museum. Museum retrospectives were held in 2021 at the Gibbes Museum of Art and the Morris Museum.

Williams was named a 1991 Fellow by the South Carolina Arts Commission in recognition of his contributions to the visual arts in the state. His most well-known commissions were displayed at the Charleston Airport, East Cooper Hospital, and the Gaillard Auditorium. His work is included in public and corporate collections, among them the South Carolina Arts Commission, R.J. Reynolds Corporation, Citizens and Southern National Bank, Post & Courier Publishing Company, Kiawah Resort Association, Greenville County Museum, South Carolina State Museum, the Gibbes Museum of Art, and the Telfair Museum.