As a self-taught artist, I have the ability to think freely about color usage and abstract techniques.  This freedom allows me to create meaningful artwork which speaks to one’s soul.

I use acrylic paints on hardboard or canvas to achieve rich contrast and vivid color within each abstract piece.

Mark Lewanski started making  functional glass boxes in the spring of 2000. thousands of boxes and many art shows later, he’s still creating these truly unique pieces and earning a reputation for always having something different. In 2002, Mary and he started using left over glass from the boxes to create unique contemporary mosaic mirrors. Today, these mirrors have grown to be an important part of our body of work and are sought after by avid collectors of “funky” art.

As a woodturning artist I strive to bring out natures unique beauty in every piece I make. I enjoy  sharing my love of nature, through my work. i use  recyled North American wood to make artistic and functional  works of art. Bowls,Platters,Goblets,Vases, Vessels,Oil Lamps, Candles Holders, Ornamental Turnings and Christmas ornaments.

Dubbed the  “Front Man” by the Detroit Free Press, Paul has made a name for himself photographing classic automobiles. His attraction to vintage cars lies in what he calls the “automobile’s character or face of the car.” Paul’s most recent body of work often focuses on pre-1960’s vehicles expressive grills and sculptural chrome work in order to emphasize the attention to detail that gives vintage cars distinctive personalities.
Statement: My work is photographed  both digitally & traditionally at outdoor locations in Michigan. Each image is digitally manipulated through a series of subtle changes that serve both to isolate sculptural components of a classic car from its original context as well as enhance the brilliant colors that define the character of each vehicle. The effect produces iconographic images of both rare and familiar cars of the past and present. In my home studio the images are then printed on linen coated paper using archival methods.

For 2011 we are adding stone, resin, and gems into our mix of fused glass and silver.  In addition to these adding to the overall design, at times they will be integrated into the fused glass itself.  For instance, in one piece we will create a cavity in which I will laminate in rough agate.  This will then be ground down and polished with the glass until it is smooth to create a very unique stone.

For the glass itself we start with art glass and dichroic glass sheets.  Numerous elements are added to the glass  which is then fired numerous times.   The glass created is cut into shapes that will bring out the most interest in each piece of jewelry.  Those shapes are then ground and polished.  Once the stone is finished, then Sterling silver, copper, or brass is hand formed to accentuate the stone that was made. In some cases we also acid etch, sandblast, roll print, and distress the silver to give it character.  We do not use any PMC.

Mixed media paintings on archival panels. My digital photos of architecture, both interiors and exteriors, are manipulated in PS, frequently eliminating objects or distorting the context of the original image. I piece portions of different architectural elements that are unrelated to each other to construct new, intriguing, familiar, yet unfamiliar architectural forms in my paintings. My application of paints suggest fresco walls. Linear detail with graphite and pencils or by scratching into the surface provides a visual pathway throughout the painting and implies elements of an architectural drawing.

Jewelry, as an art form, has the power to create moods and produce reactions. I am always inspired by the endless influences nature provides.
Although I use precious metals like 18k and 24k gold, as well as sterling silver and precious stones, the design is of much greater importance to me than the intrinsic value of the materials that I work with.

Wilbat creates his colorful art works in a series of steps. He first produces a palette to choose from by blowing large thin plates of individual colors consisting of a layer of colored glass, a layer of white glass, and two surrounding layers of clear glass. These plates must be cooled overnight before they can become part of the actual piece he is making. He next prepares the details for his pieces, which may include hollow cane, thin lines of colored glass and his signature twisty shapes, formed by fusing and twisting two strands of hot colored glass.