Category Archives: Uncategorized

Dallas College -Richland Campus, Faculty Show 2020

Marian Ichaso de Lefeld Untitled (from the Gran Caracas Series) 2020 Tempera and oil on canvas 68 x 72 inches



Arienne Lepretre Spring 2020 Graphite on paper, 38 x 50 inches, Drawing `1316,1317,2300



Joel Murray Affordable Pets in the Night (Thermal Fur Baby 1), 2020 22 x 16 inches



Joel Murray Oil on panel Before and After Millet, 2020 14 x 12 inches



Murmuration in White Jennifer Rose, Morean Center for Clay in St Petersburg, FL Media: Porcelain and Stainless Steel 2019



Jennifer Rose, Flight of the Polychromatic Zooids Media: Colored Porcelain, Stainless Steel, Original music composition by David Thompson video of artwork and music: 2019-2020 “My 15-year exploration of biology began with an interest in the human form and has evolved into studies of invasive environments and underwater creatures. The ocean is fascinating because it is still vastly unexplored. I associate underwater worlds with the subconscious. The zooids are organisms ripe with metaphor because of their colonial animal status. The fact that they are individual clones operating as one animal make them one and many at the same time and prompt philosophical questions about the collective subconscious, hive mind, and cognitive dissonance


Brenda McKinney, Deep Below 20 x 18 inches Alcohol Ink on Yupo Paper 2020


Vicki Mayhan Bird Map 4 x 6 inches


Vicki Mayhan Bird Map 4 x 6 inches


Jim Stover, Kiss, Wood, 18 x 18 inches.



Charles Coldewey, Simplify, Paper Clay, 12 x 12 inches


Charles Coldewey, Urban Street, Paper Clay, 12 x 12 inches


Melba Northum, Metaphysical Image Sequence 23, Blessing


Melba Northum, Metaphysical Image, Sequence 27, Rabbits




PolkaDot Reverie by DizzyOrbit

Droll Blooms
Cotton Yarn, Acrylic Yarn, Plastic, Polyester Fill


Charming Atoms
Cotton Yarn, Acrylic Yarn


Coltish Cleo
Cotton Yarn, Acrylic Yarn, Rug Grip Sheet


Pedal Dame
Cotton Yarn, Acrylic Yarn, Polyester Fabric, Plastic


Humble Hox
Polymer Clay, Acrylic Yarn, Rug Grip Sheet

Modest Mote
Polymer Clay, Acrylic Yarn, Metal Rings


Meek Mite
Plastic, Cotton Yarn, Acrylic Yarn, Polyester Fill


Cotton Yarn, Acrylic Yarn


Cotton Yarn, Acrylic Yarn


Gallant Girl
Acrylic Yarn, Cotton Yarn


Nimble Biddy
Polyester Yarn, Acrylic Yarn


Ord One
Cotton Yarn, Acrylic Paint, Plastic



Monarch Meddler
Cotton Yarn, Polyester Fill


Jester Judy
Cotton Yarn, Acrylic Yarn


PolkaDot Dictator
Cotton Yarn, Plastic, Acrylic Yarn, Silk Fabric


Tact Tripper
Acrylic Yarn, Cotton Yarn, Rug Grip Sheet


Wild Waif
Cotton Yarn, Acrylic Yarn, Polyester Fill


Rookie Parasite
Acrylic Yarn, Cotton Yarn


Sunshine Miles
Cotton Yarn, Acrylic Yarn, Rug Grip Sheet


Poppy Polyester Yarn, Cotton Yarn

From What I Remember by Lisa Cunningham

Black Sky
Oil on Canvas
48″ x 48″


Acrylic on Canvas
36″ x 48″


Big Sky,
Acrylic on Canvas,
48″ x 48″


285 North,
Acrylic on Canvas
30″ x 40″


Old Woman, Grey Rocks,
Cold Wax, Oil, Paper on Wood Panels,
54″ x 36″


Cold Wax, Oil, Paper on Wood Panel
20″ x 24″


Santa Fe Winter,
Acrylic on Canvas,
24″ x 48″


Cold Wax, Oil, Paper on Wood Panel,
20″ x 24″


Cold Wax, Oil, Paper on Wood Panel
20″ x 24″


White Sands
Acrylic on Canvas
36″ x 48″


Acrylic on Canvas,
36″ x 48″




Social Distancing, Richland Art Faculty Online Show

Richland Art faculty are keeping busy doing what we do—making art. But during this time of social distancing and self-isolating it doesn’t matter if our work is a response to the whole virus thing or what each of us was already exploring; and it doesn’t matter if the work is finished, complete or in a state of progress. In fact, more instructional to our students is how we are coping and creating, showing them the whole process as we go. We just need to make Art.

Joel Murray, Pettibon Voyage Watercolor and Gouache on Paper, 5″ x 7″

Jen Rose, Untitled, Porcelain, Installation

Jen Rose, Untitled, Porcelain, Installation

Penny Bisbee, Art Park Overlook, Watercolor


Penny Bisbee, Highway Sunrise Olney, Watercolor


Penny Bisbee, Birds Over Mesquites, Watercolor


Penny Bisbee, Storm Clouds, Watercolor

Melba Northum, Face Mask, Porcelain and Elastic, 2020

Melba Northum, Whale, Porcelain

Melba Northum, Iceberg, Porcelain

Melba Northum, Sogetsu Ikebana, Porcelain

Marian Lefeld, Untitled, Oil on Canvas

Keith Williams, Green Swan, Oil on Canvas, 24″ x 36″

Juan Negroni Vazquez, El Colmo, Collage

Jim Stover, Jeremia, Wood, 6″ x 18″

Jim Stover, Jeremia 2, Wood, 6″ x 18″

Jim Stover, Jeremia 3, Wood, 6″ x 14″

Jim Stover, Jeremia, Wood, 6″ x 12″

Jim Stover, Jeremia 5, Wood, 6″ x 18″

Brenda McKinney, Under The Sea, Alcohol Ink on Paper, 11″ x 14″

Brenda McKinney, Blue River, Alcohol Ink on Paper, 11″ x 8″

Arienne Lepretre, Armchair Stories, Drawing on Chalkboard Paint with Collage, 12″ x 12″

Arienne Lepretre, Armchair Stories, Drawing on Chalkboard Paint Collage, 12″ x 12″

Arienne Lepretre, Social Distancing, Collage on Canvas, 9″ x 12″

Arienne Lepretre, Social Distance, Mixed Media on Paper, 12″ x 12″

Arienne Lepretre, Stories In The Time of Corona, Work on Paper, 12″ x 12″

Charles Coldewey, Sunny Bunny, Ceramic, 19″ x 6″ x 6″

Trayc Claybrook, Here If You Need Me, Mixed Media, 48″ x 36″

Emily LaCour, All Kinds of Sideways, Powdered Graphite and Ultramarine Blue Acrylic, (Mixed with Matte Medium) on Panel, 18″ x 24″












You, Them, They, We! by Rob J Phillips

A visual commentary examining
American Culture in the context
of a variety of contemporary
sociopolitical questions.

Where will we be tomorrow considering the irrepressible tumult stifling the voices of
peace? Is social accord an experience that will remain only as fiction, destined to be
banned in some totalitarian future America as discordant political rhetoric promotes
ideals of exclusion…is this is the State of the Union? Status quo defect is ad nostrum
verum est; the status quo failures are ours to correct. Abject insularity is a keystone
ideal facilitating deeper divides in the experiment we call America.

– Rob J Phillips


Brazos Gallery Crockett Hall C140. February 17 – March 06, 2020

Reception March 03, 11- 12

Presented by Richland College, DCCCD



Artist Statement

My work begins with the individual. I’ve always been an observer of people and run into individuals who inspire me through their fashion, personality, or conversation. I am for creating pieces that are rich in storytelling, free from constraints, and true to the person I’m painting. This is accomplished by letting the individual’s narrative drive my work. I use traditional drawing and oil painting techniques to communicate the qualities of each individual.

Circuit Breakers

Brazos Gallery and Art Faculty of Richland College present CIRCUIT BREAKERS,

November 4 – December 6

Reception: November 7, 11:00 – 1:00 Brazos Gallery C140

Gallery Hours: 10:00 – 4:00, Monday – Friday


SQUARES and STRIPES by Lane Banks




 Artist Statement 2019

This show comprises works from two series that developed more or less simultaneously.  One group is Concentric Squares, which has been ongoing for several years, and paintings from this set have been shown numerous times in various venues recently.  The other group, Horizontal Stripes, is smaller, with just six altogether.  They have not previously been shown.  Both groups use only a range of grays and metallic hues, what I have been calling an industrial palette, to distinguish the colors from spectrum or natural hues.  They all are hard edged using straight lines and multiple layers of paint to give the surface an opaque effect that keeps the eye of the viewer on the surface instead of penetrating into an illusionist depth.

The squares are classical in their symmetry, and are made up of a series of mathematical relationships and proportions that are determined before the painting is begun.  The paintings are conceived as a series of concentric forces compressing toward the center, or conversely, radiating outward from it.

The stripes use a vertical rectangular format that consists of stripes or bands of color of differing widths.  The canvas is divided down the center vertically from top to bottom, which contrasts with the horizontal bands in order to reconcile the opposing forces of the two directions.  The central divide is conceived as an upward or downward shift in the horizontal movement of the bands, so that the band is broken and disrupted at the midpoint, continuing as a different color and width on the other side of the divide.

These works are abstract rather than abstractions, the difference being that an abstraction is rooted in perception, what the eye can see, and the resulting work is a distillation, reduction or essence of what was observed, regardless of how far removed from its source the work appears to be.  An abstraction is therefore dependent upon a subject outside itself for its existence.  My abstract works are entirely conceptual, in that they are invented with no reference to anything outside themselves.  They are a physical, visual embodiment of an idea that consists of proportions and colors of areas relative to each other and to the framing edge of the painting.