Upstream People Gallery

10th Annual All Media Juried Online International Art Exhibition

Juror's Statement | Return to Exhibition

This “10th Annual All Media International Juried Online International Exhibition” marks an anniversary point in time and the gallery is so very appreciative of the many talented artists who have joined our efforts to spread excellent visuality in the form of art throughout the world. It is estimated that over several million have viewed these shows.

This all media show is quite interesting to see the variety that is possible when the show is open to several mediums, from sculptures of stone, bronze and plaster to richly painted oils and acrylics as well as several mixed media works. Here are some comments on some of them.

DAVID ARBUS of Carmel Valley, California has some exquisite watercolors in the show, expounding the virtues of the transparency technique. “Antique Shop” in its array of many objects throughout is nice held together by the warm tonality given a few accents of a red, green and yellow triangularly spaced compositionally. “Bath Abbey” is awesome in terms of the subject matter majestic structure, but by his fine observance of detailing. “Carmel Oak” fills the frame with the meandering movement of a wonderfully moving oak tree. Another ecclesial theme is “Choir” in which he shows the massive interior of a church with the choir pews laterally positioned on both sides. “House in the Trees” is a delightful play of light and dark rhythmically played in an orchestration of the geometric and organic contrast. And “St. Maclou, Rouen” nicely shows the everyday outdoor scene back dropped with the elegance of the church structure.

LANA CARTER of Vallejo, California has a wonderful acrylic painting of a part of “Manhattan” where she captures the light and cool blue sunlight shining upon a section of the buildings while the opposite side appears in a darker and warmer tone.

MINDY Z. COLTON of Orlando, Florida creates an interesting interpretation of the idea of change in her bronze sculpture “Renewal 1” whereby the left side is dramatically active with linear indentions while the opposite and right side is simpler with a curving upwards. The abstraction of the horse image for this message is intriguing. Her bronze “Tempest” is another horse imagery with a strong textural character that shows movement in one direction with the head and neck in a nice contrasting position. And in her third bronze “The Long Walk” the delicate three horses are given long elegant legs to help express the walking.

MARIE DONZE of Ft. Lauderdale, Florida is recognized for her outstanding sensibilities with glass and paint pigment textural richness. “Coral Reef” is one of her works that typify this magnificent structuring harmoniously developed with the linear glass crevasses and the varied textural movement. “Flamboyant” is another wonderful work showing the trio development of a rich violet-brown area at the top, a more light and dark interplay in the center and a striking geometric patterning at the base. Also, nicely created piece is the work “Sacred Forest” which shows another unusual form with rich green and gold enhancement with its central ovoid area.

BRYON DRAPER of Springville, Utah is one of the gallery’s favorite sculptors. His signature style has an arresting presence in his combination of materials in the context of the human figure. “Lucy” is one of those dealing with this kind of fractional representation. One of the striking visual strengths is the kind of zigzag dynamic movement (from the viewer’s vantage point) in the positioning of the turned-to-the-right head profile, then the left elbow, then the hand turned in, then the foot at the bottom. Another marvelous work is “”Principle Guide” which also has the regular cadence in the positioning of the body parts and with the solidity of the more rectilinear stone the essence of a strong character is portrayed.

M. M. DUPAY of Bowling Green, Ohio graces the show with her richly developed collages with colored pencil. In “Darling Genuine Temple Doll” a kind of nobility is given in the verticality and the symmetry of the temple structure. Quite fascinating is the rather liquid movement at the bottom where the doll image is standing. “Hitchcock Had It Easy (The Birds Had It Hard)” is a wonderful accomplishment in terms of collage detailing large and small imagery. This one is rather delightful and humorous and perhaps Alfred Hitchcock would be amused. “How Can I Forget the Frames I Share with You?” brings into play the idea and/or question of art and framing. The complementary colors and light and dark compositioning is quite nice. Another marvelous vertical piece is “I Must Be One of the Wonders” deals with the idea of the magnificent in a beautiful asymmetrically symmetrical staging with the child given centrality as a kind of wonder.

PATRICIA EARNHARDT of Nashville, Tennessee is a master painter in oil. One of the fine paintings is “Chrysalis” in which she captures the strength of youth in the rich warm and cool coloration in the context of a sleeping. This dichotomy is extra engaging as an art statement. Her work “Siphonophorae” shows her creative abilities in the use of various imagery and media. And “Spitting Image” is so very nice not only in the warm and cool colors but the subject of spitting out from a pool and calling it such a title is just great!

STACY ELKO of Bloomington, Indiana has three rather large works using woodcut and pastel combined. In “AsCrowMe Railyard” there seems to be depicted a human-like figure within a grid like structure. The textural strength adds to the striking and mysterious shadow image. In strong tonal contrast and linear structuring she creates “AsCrowMe Treasure” with its skeleton-like depiction with the outlining of a heart shape centrally located. And in her piece “Damage Control” there are three areas arranged in a “C” formation with a cup-like motif being held together by a kind of tape. The brushwork, line work, warm and cool, light and dark, drips and “X” marks, roughness and smoothness, all makes this one also very attractive.

JOAN FITZGERALD of Athol Springs, New York has a signature approach to a kind of color field painting. In this show she distinguishes her work with incorporating collage. One of the strong pieces is “Memories” in which significant photographs are in rows. Her use of the color red seems important, especially in the painting “Ravens” in which the rectilinear photographs of the bird is contrasted with the action painting surrounding the groupings. The addition of a feather adds extra character.

NIKOLAY KOEV of Veliko Tarnovo, Bulgaria has two very interesting structures made of plaster. “Structure 1” and “Structure 3” are unexpected not only in the style but in the supposed placement within the context of other smaller city-like buildings. The contrast of scale is awesome.

ALYSE LAVERNE of Arcata, California has two large oil paintings are are interesting to contemplate. A nicely painted long-haired, redheaded young woman stands in “Partitioned Persona 1” with an antique phone as a counterpoint. In the “Partitioned Persona 2” the same woman is bend down with an oriental bowl with several dice inside. Both are staged with a dark background to add to the drama.

JOHN LEBEN of Saugatuck, Michigan has a definite unique style mastering the use of digital painting. In his “Long Way Down” a small girl with a red outfit, stands atop a hill with a stairwell going down intricately detailed foliage. In “Moon Stairs” the stairway theme continues within the elongated vertical framing. “Safe House” develops a tree house high above with a long ladder down. The bright sunlight hitting the house is nicely contrasted with the darker ground with blue accents. And consistently using the ladder motif, he creates a wonder “Tire Swing” handing down from a lush green tree. Also, the stairway goes uphill to met a red house atop the hill amidst tall linear trees.

PAUL MARQUARDT of Kalamazoo, Michigan has a keen sense of play with words and images. One very original concept is his limited edition print “Body of Water”. To levitate the shape of a body that is made of water is quite clever and rather brilliant. Others of his works take on this wonderful sense, especially reflective is dealing with money in his “Oasis” piece, considering the play as to whether wealth is a place to find oneself. His work “Transition” presents an interesting situation in that the body is present in material form, yet gradually transitions to a more spiritual quality.

ANTHONY McAVOY of Adelaide, South Australia has an interesting timely image in his print "Happy New Year" showing a man running out of the December 31, 2007 calendar. The diagonal arrangement activates the message about time and its passing.

DAVID L. SMITH of Stevens Point, Wisconsin is like the King of fine point ball point pen. His works are a marvel to behold with the rich meandering of linear and shapely passages with delightful coloration. His piece “Delight In The Light; The Flickering Shapes Snap and Crackle In The Shade of The Jewels" swirls and flickers with fancy undulations. Another truly fine work is “The Metal Man’s Mask Masks the Merriment of Marvelous Moments 1”. Number one in the series is stunning in the use of the light and dark blues with the red and violet sparkles. All his works are something to see in terms of the range of possibilities he presents.

RALPH WHITE of Redondo Beach, California handles acrylic paint with a rich fluidity, especially in his red and silver painting “Ignition”. The force created by the large area of red seems electric with energy.

PHILLIP A. WINDELL of Pittsburgh, Pennsylvania seems to capture the delight in partaking of “Strawberry Shortcake” in this digital photograph. His treatment of rich yellows and reds with window reflections adds to the visual taste senses.

And REBECCA ZEISS of Midland, Michigan uses the technique of liquid light to speak about differences. In her square format “Dissonance” she shows two divergent outfits; one a kind of biker’s jacket of leather and the other a more traditional formal suit jacket. These opposites seem even more opposite when situated in opposite proximity.

Perhaps one of our smallest exhibitions it is indeed one of the mightiest in quality. Thanks to all who were able to submit to and be selected for this year’s show.


Larry Bradshaw
Curator, Professor of Art