Artists

SMALL SUN 2

by

18″ diameter dye sublimation print on aluminum, edition 1 of 5 $2500

Stephanie Dowda DeMer (she/her) Bio

Stephanie Dowda DeMer (she/her) is an American photographer and experimental media artist. Her work excavates invisibility and creates space for reflection through phenomena, communion, and kinship. Dowda DeMer uses the materiality of photography to address grief, climate catastrophe, and power. In 2019, Dowda DeMer was named the inaugural Iowa Idea Fellow in Photography at The University of Iowa. She has taught photography at ASU and VCU. DeMer holds an MFA in Photo + Film from Virginia Commonwealth University. She is a Hambidge Fellow, Idea Capital grantee, and her work has been published in Dialogue, Bad at Sports, MuseA, ArtsATL, BurnAway, among others. She has shown at White Space Gallery-Atlanta, SITE Goat Farm, curator of Open Air Media Festival, Grizzly Grizzly-Philadelphia, MART-Dublin, and others. She was formerly an Assistant Professor of Photo + Video at Wesleyan College. Her work is part of the Bunnen Collection, Microsoft Collection, and the Center of Books, among others. Currently, Dowda DeMer is the Emory Visual Arts Fellow in Lens-based Media. Her forthcoming exhibition will be across two galleries in Atlanta in March 2026. In 2027, Stephanie will be part of an exhibition curated by Heather Bird Harris at Swan Gallery, Atlanta. She is based in Atlanta, GA.

SMALL SUN 1

by

40″ diameter dye sublimation print on aluminum, edition 1 of 5 $4600

Stephanie Dowda DeMer (she/her) Bio

Stephanie Dowda DeMer (she/her) is an American photographer and experimental media artist. Her work excavates invisibility and creates space for reflection through phenomena, communion, and kinship. Dowda DeMer uses the materiality of photography to address grief, climate catastrophe, and power. In 2019, Dowda DeMer was named the inaugural Iowa Idea Fellow in Photography at The University of Iowa. She has taught photography at ASU and VCU. DeMer holds an MFA in Photo + Film from Virginia Commonwealth University. She is a Hambidge Fellow, Idea Capital grantee, and her work has been published in Dialogue, Bad at Sports, MuseA, ArtsATL, BurnAway, among others. She has shown at White Space Gallery-Atlanta, SITE Goat Farm, curator of Open Air Media Festival, Grizzly Grizzly-Philadelphia, MART-Dublin, and others. She was formerly an Assistant Professor of Photo + Video at Wesleyan College. Her work is part of the Bunnen Collection, Microsoft Collection, and the Center of Books, among others. Currently, Dowda DeMer is the Emory Visual Arts Fellow in Lens-based Media. Her forthcoming exhibition will be across two galleries in Atlanta in March 2026. In 2027, Stephanie will be part of an exhibition curated by Heather Bird Harris at Swan Gallery, Atlanta. She is based in Atlanta, GA.

AMONG THE MEADOWS

by

6″ x 6″ x 6″ porcelain $1200

Christina Brinkman

Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.

In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.

Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.

After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.

Brinkman writes:

I am a maker

Guided by touch,

engagement with the material.

Nature, memory and organic form

bring direction and orientation

a celebration of process and rythm.

It tries to be sympathetic with the natural world.

It is usually white,

the absence of color

the sum of all colors.

White reflects

simplicity,

purity,

nakedness,

lightness,

death,

calm

or stillness.

the simple pleasure of makiing

it is spare…

Without the distraction of color,

one considers the outline,

the interior and exterior space,

the proportions and relationships of the form.

The shadows and space around

become an integral part of the work,

the light reflecting surfaces and edges,

the energy of what is and isn’t there.

Making is connecting

the telling of slow stories.

I am never certain of its destination

but

it is often within

the boundaries of the vessel form.

Sculpture

tries to sneak in.

(and it wants to take over).

RUFFLED BOWL WHITE ROSES

by

10.5″ H x 16″ D porcelain $3000

Christina Brinkman

Christina Brinkman has been an artist her entire life. She earned her degree from the Rochester Institute of Technology and pursued further studies at the University of Rochester’s Creative Workshop, among other institutions. She began her career as a painter and printmaker, specializing in etchings and mixed media prints. Widely exhibited both nationally and regionally, she has participated in numerous solo and juried group shows, earning many awards. Her work is part of public, private, corporate, and museum collections.

In 1984, she published a series of die-cut cards, which quickly gained popularity. Under the name Parrett Paper, these unique designs were sold and distributed worldwide in galleries, museums, and high-end stationery stores.

Her work has been recognized by the Museum of Modern Art, which selected two of her card designs and commissioned her to create an umbrella and a mobile. In addition to her contributions to MoMA, she has designed works in both fine and graphic arts for museums, businesses, book jackets, and institutions.

After selling her card company, she returned her focus to fine art, concentrating on porcelain ceramic sculpture and large porcelain vessels. She has worked in this medium for over 20 years, earning recognition in national exhibitions and winning multiple awards. Her ceramic pieces are part of prestigious museum collections, including the Mint Museum in Charlotte, NC, and the Memorial Art Gallery in Rochester, NY.

Brinkman writes:

I am a maker

Guided by touch,

engagement with the material.

Nature, memory and organic form

bring direction and orientation

a celebration of process and rythm.

It tries to be sympathetic with the natural world.

It is usually white,

the absence of color

the sum of all colors.

White reflects

simplicity,

purity,

nakedness,

lightness,

death,

calm

or stillness.

the simple pleasure of makiing

it is spare…

Without the distraction of color,

one considers the outline,

the interior and exterior space,

the proportions and relationships of the form.

The shadows and space around

become an integral part of the work,

the light reflecting surfaces and edges,

the energy of what is and isn’t there.

Making is connecting

the telling of slow stories.

I am never certain of its destination

but

it is often within

the boundaries of the vessel form.

Sculpture

tries to sneak in.

(and it wants to take over).

06192025 (Family Tree)

by

12″ x 12″ x 12″ acrylic, aluminum, and hardware $1000

Jonathan Rypkema is a sculptor based in Philadelphia, PA whose work explores the unique characteristics of various materials. Drawing inspiration from industrial architecture and handcrafted machinery, he embraces the visible presence of fasteners, rivets, and screws in his creations. His compositions are often shaped by the materials at hand, with many pieces beginning as scraps that he gradually refines and builds upon. While his finished works may appear meticulously planned, his creative process is organic and spontaneous, evolving as he responds to the materials before him.

“I find that my inspiration isn’t always rooted in the arts. It can come from a variety of sources—such as a car manufacturer, lighting design, architecture, or bridge design.”

Rypkema studied studio art at the College of Charleston. In the fall of 2022, he was an artist-in-residence at the Gibbes Museum of Art. His work has been exhibited at the Halsey Institute of Contemporary Art, Redux Contemporary Art Center, and the Gibbes Museum of Art.

BLOOMING IN DEEP PURPLE

by

19″ H x 16″ W x 4″ D acrylic paint on dyed canvas $2200

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.

BLOOMING IN HOT PINK, ROSE & GREEN

by

15″ H x 13″ W x 5″ D acrylic paint on dyed canvas $2000

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.

BLOOMING IN ROSE, PINK AND GREEN

by

15″ H x 16″ W x 6″ D acrylic paint on dyed canvas $2000

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.