The object of art is not to reproduce reality, but to create a reality of the same intensity.
- Alberto Giacometti
Current Hours of Operation
Friday 11 am - 7 pm
Saturday 11 am - 7 pm
Sunday 12 pm - 4 pm
Monday 11 am - 5 pm
June 19, 2020
We are open Fridays, Saturdays, Sundays, and Mondays. If the the weather is nice on Tuesdays, Wednesdays, or Thursdays, we may be here. If the lights are on, come on in!
Your safety is important to us. We have hand sanitizer throughout the gallery and will maintain a 6 foot distance during your shopping experience. We ask that you also wear a mask when visiting.
Bruno Baran was born in Baltimore Maryland August 28, 1954, Graduated from Maryland Institute College of Art (Cum Laude) in 1976, Studied with Raoul Middleman, Leonard Bahr, Joseph Sheppard, Paul Mascott, Dan Dudrow, Phil Koch, Barry Nemett, Michael Economos, Abbie Sangiamo as well as with Wolf Kahn in Bennington Vermont in the early 90's. Bruno is a traditional landscape, portrait painter who’s work has been compared to John Sloan and other Ashcan painters of the early 20th century. Recent work has taken on a new urgency with color and light, in quick painting sketches of the lands’ atmosphere and ever changing light patterns, becoming even more aware of edges and how they help manipulate the viewer.
“I’m starting to simplify a few things in my work, from actual brush strokes to color usage to continue my pursuit of capturing the atmosphere of the land.” said Bruno about his recent work and challenges.
“ Being retired from teaching after 42 years has given me a sense of urgency to complete as many paintings as possible.”
“ Working in the open air and then having time for drawing in my new studio has reenergized my work.” Besides painting full time now, Baran was elected to Chairman of the Board of MAPAPA (Mid-Atlantic Plein Air Painters Association) in 2014, a 501c
foundation dedicated to the preservation and education of Plein Air Painting.
In the past few years Baran has been recognized for a few awards and was elevated to Signature member of MAPAPA.
"Supper Being Served"
Karen O’Lone-Hahn is a painter and potter who has tirelessly created since she was first able to conceive of the word “art,” in childhood. With minimal formal training, Karen is primarily a self-taught artist. Her first series included numerous black and white portraits done in oil paint from old family photos. Her next series, “People on the Couch,” was based on photographs of friends and family members, all of whom relaxed on couches. In later life, she shifted gears entirely and created hundreds of paintings in acrylic, each featuring brightly colored cows which existed in peculiar and dreamlike landscapes. This body of work got her dubbed “The Cow Lady,” within both her artistic and local communities. This twenty-year effort became Karen’s imagistic manifesto, “folk art meets surrealism.” Her paintings are built from her raw and unfettered imagination, as evidenced by bold colors, fantastical representative mashups, and a rootedness of inspiration from daily life.
Once Karen created paintings of cows numbering in the hundreds, she took up the potter’s wheel. While
learning from potters around her, she focused on the craft’s formal and architectural elements. Now in control of her medium, her focus has returned to the whimsy found in her paintings. Through unique shapes, color choices, and painting with glaze, she has morphed her painterly work into a three-dimensional realm. Inspiration for her current works often is derived from the farms, gardens, cats, and other creatures which surround her rural home.
Karen has been the recipient of numerous awards and accolades, with her works held in many private and corporate collections across the globe. She is featured in the book “Self-Taught, Outsider, and Folk Artists,” by Betty Carol Sellen. Karen is also the author and illustrator of her debut children’s book, “Millicent and the Far Away Moon,” a book which
features her brightly colored cow Millicent overcoming bullying and self-doubt by vaulting herself through the sky. Karen’s work in numerous disciplines converse with one another, becoming abody of work which shows unity, progression, and a singular voice.
Iris Grundler earned a BSAT degree in Architecture in 1984 at the Catholic University of America in Washington D.C. and immediately began her career in the industry. However, she found that her artistic side was unfulfilled and thus she started painting for leisure and, and in 2005, pursued pottery classes in her local community centers. The daughter of Peruvian parents, Iris' expressive style, and boldness attributed to her origins, with her Spanish and Incan heritage combining with American influences, resulting in an interesting international amalgam.
Iris uses four different clays, porcelain, black clay, brown speckle, and white stoneware, and Each clay have its property; therefore it calls for different techniques; Porcelain show the best of each glaze, She does not use underglazes, all the colors and homemade glazes. The black clay is as tricky as porcelain, when unfinished it shows its beautiful texture, this clay only take very few glazes. Brown earth has minerals that show through the enamel and has a lovely feel too, white stone shows very well all matte glazes as well as celadons.
Every piece is hand thrown or hand built. Sgraffito is the technique that all the pots have in common. It is produced by scratching through the surface and applying black, red or blue slip. Iris’ designs are dictated by the clay as well as each type of clay has its limits.
Sage glazed pottery
My work encompasses two primary genres - "Plein Air" landscapes and figures; using two primary mediums - oils and watercolors. The paintings are surely representational and indeed narrative at times, but the imagery is not about the pictorial. I use the subject matter (whether it be a farmhouse, tree, cloud, wave or figure) as elements of design in order to capture specific natural phenomena, moment in space and time and mood of "event." Painting is not just the celebration of vision but, rather a quest for experience. In this sense, my painting is not a recording of facts seen. It is the process of interpreting a fleeting muse. This process is, as a result, in a constant state of emergency. Like dance, painting
must change anew to the beat of the muse. After conceiving a painting in the field, establishing value relationships, coordinating color fields and bringing forth some detail resolution, I bring the painting home to its studio and let it "cook" for a while. Removed from the subjective space, the painting requires a life of its own. I hold suspicious a painting that is resolved easily. "Pushing and Pulling" an image, adding and subtracting values, adjusting color is what brings a painting together. I generally try to stretch my own canvases. I use four coats of gesso, each layer less thinned that the previous one and I sand between coats. More often than not, I will tone the canvas with Acrylic. This allows me to "Push and Pull" from the middle of the tonal value scale. It also presents a homogeneous color field, enriching the overall body of color. My palette is quite limited consisting of; Yellow Ochre, Cadmium Yellow, Alizarin Crimson, Cadmium Red, Cobalt Blue, Ultramarine Blue, Cerulean Blue, Viridian, Burnt Umber and Titanium White. I may occasionally add another color or two depending on mood and subject. I rarely draw on the canvas, preferring to immediately paint—allowing the "drawing" to sculpt itself. I rely heavily on good "drawing" skills and expressive painterly techniques. I may be seen on many highways and byways painting directly from nature.
My paintings have won numerous awards and have been accepted in many juried exhibitions both regionally and nationally.