Artists

BLOOMING IN PINK, BLUE & GREEN

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22″ H x 13″ W x 8″ 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.

06202025 (above/below)

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5.5″ x 5.5″ x 20″ acrylic, aluminum, plywood & hardware $1600

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.

WILD GRACES IN PINK, BLUE, AND RED

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

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 ORANGE, GRAY AND GOLD

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

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.

GLOSS, MAT AND TEXTURE

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6.5″ L x 6″ W x 7″ H porcelain $1300

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).

LEAKS (PAIR)

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Smaller vessel 4.5″ l x 3.5″ w x 3″ h larger vessel 7″ l x 5″ w x 4.5″h porcelain $2000

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).

PAVED PARADISE

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21.5″ x 27″ framed 17.5″ x 23″ watercolor on paper $4500 date unknown

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.

SERVICE STATION

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43.5″ x 61.5″ framed 42″ x 60.5″ oil on canvas $30,000 date unknown

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.