Phil donovan

Phil holds an MFA from Tyler School of Art and a BFA from the Michigan Stamps School of Art.

“My work, whether two or three dimensional, has always involved the interplay of form, material and language. It is a space where considered choice meets spontaneous gesture and with an economy of means, renders the recognizable inexplicable by dislocating the inter-relationships and rearranging the fragments into a new whole.

I am most interested in creating work that speaks for itself with concrete specificity. It’s why I’ve begun to favor frontality for my sculptures and nouns for titles. It saves time to just get to the point, and it frees the work to insist on its existence without apology. However, if a viewer picks up on the allusion to Heaney in the title “Scaffolding” and knows the poem, that allows for something deeper still.

Finally, as I’ve grown older, I’ve come to regard my studio practice as a dialectic between my modernist certainties from another time and the infirm contemporary hypocrisies with which we live today. It is, at last, a form of praxis that celebrates contradiction, embodies  process and exclaims the utility of uselessness. A détournement, if you will. Pragmatic. Materialist. Situational.”

Jack elliott

Jack is originally from central Alberta in western Canada where he grew up close to nature, enjoying canoeing, skiing and hiking. His sculptural endeavors began in undergraduate years as a minor field of study, working under Peter Hide and Neil Fiertel at the University of Alberta and apprenticing with Gary Jones, a contemporary sculptor working in Edmonton. Jack earned a Bachelor’s Degree in Physics with a minor in sculpture at the University of Alberta (1978), as well as two Master’s degrees, one in architecture (1991) and one in product design (1993) from the University of Calgary.

Jack worked in professional practice for a number of years in Calgary and Atlanta, Georgia, before he began his academic career at Georgia Tech as an assistant professor in the Industrial Design department of the College of Architecture. It was there that he was able to integrate his passion for design and concern for the environment into his curriculum, developing some of the earliest sustainable design courses in the country. This led to a position at Cornell University in the Department of Design and Environmental Analysis in the College of Human Ecology, where he has been developing programs of research in sustainable structures (Triakonta System), carbon-neutral concrete (Charcrete) and rusticity in studio furniture (Arborworks). Recently, Jack’s work became less functional and more abstract. Sculpture has returned to his practice.

This work has been widely exhibited in the Northeast, from Cleveland, to Philadelphia to New York City. It has garnered significant recognition, including a 2019 Trustees Award from the Memorial Art Gallery, Rochester, NY, a 2018 Visiting Artist in Residence at the American Academy in Rome, a 2017 New York Foundation of the Arts Fellowship, 2015 Atkinson Center for Sustainable Futures Residency Fellowship at Cornell, the 2014 Leon Andrus Award for Best in Show from the Adkins Arboretum, and the 2013 Award of Excellence, also from the Memorial Art Gallery, Rochester, NY.

Jude Lewis

Jude is an object maker and former long-time professor in Syracuse University's School of Art. She has worked exclusively with wood since she was eighteen, first as a furniture maker then as a sculptor. While furniture making demanded a focus on the human body and its daily interactions with functional objects, as a sculptor, Lewis focuses her attention on the myriad aspects of “simply” being human.

“This work is part of an ongoing series about living with the unknown. I’m fascinated, and humbled, by what we’re “not permitted” to know. Despite plans, no one truly knows what will occur in a day - whether mundane, charmed, or tragic - let alone the ultimate what-if-anything becomes of us and those we love after death. We, too, are often not fully known, either to ourselves or to others. We (think we) choose what to disclose, though our bodies, faces, and actions may speak otherwise. 

At times, living with the unknown can create anxiety or the overt need to control (what we can). I hope to encourage an acceptance, if not an embrace, of the unknown - toward the future, ourselves, and all kinds of others - with curiosity, openness, and wonder.” 

ann reichlin

Ann Reichlin has been exhibiting her work in museums, galleries and artist residency programs throughout the United States including group shows at the Haber Space at Central Booking, Trestle Gallery and Westbeth Gallery in New York City and the Johnson Museum of Art in Ithaca, New York. Solo exhibitions and projects include Ann Reichlin: Counterpoint at the Munson-Williams-Proctor Arts Institute Museum of Art and her twenty-year long series of site-specific interventions on Sculpture Space grounds in Utica, NY that includes Insert, Solitary View, Translucent Home, Trace, and Utica Tracings. Reichlin’s installation, Schism, was exhibited as part of New Installations: Artists in Residence at the Mattress Factory in Pittsburgh. Her installation, Transient Room is currently on view at Eastern State Penitentiary Historic Site in Philadelphia.

Ann has participated in several artist residencies, including, Cimelice Castle Residency in the Czech Republic, Sculpture Space in Utica, NY, and the Fine Arts Work Center in Provincetown, and has been the recipient of numerous grants and fellowships, including two fellowships from the New York Foundation for Arts in the category of Architecture/Environmental Structures.  Images of her work have been included in publications such as the Broad Street Review, Stone Canoe Number 4 and Number 6, NYFA Current, and Sculpture Magazine.

Ann received a BFA from the Rhode Island School of Design and an MFA from the University of Colorado, Boulder.  She was a Visiting Assistant Professor in Sculpture and Drawing at Hamilton College from 1997-2001 and an Artist-in-Residence at Brandeis University from 1990-1997. In 2016 and 2019, Ann taught Introduction to Sculpture as a Visiting Lecturer at Hobart and William Smith. Ann served as a 2019 panelist for the New York Foundation for the Arts in the Category of Architecture/Environmental Structures. .

NADIA STIEGLITZ

Nadia Stieglitz is a self-taught ceramic sculptor whose work explores the intersection of art and nature using the themes of femininity, topography, and spatial philosophy. Her forms are intuitive, providing emotional expression to the sensation of the organic: the human body, a fruiting mushroom, a river as it flows toward the sea. With a particular focus on vessels, Stieglitz works to redefine the boundaries of this object and our conception of space—how we shape, occupy, and consider its potential. Concurrently, these works engage the viewer’s tactile senses, often inciting the desire to touch in order to fully experience their forms, as well as their textures and patterning. This emphasis on external elements compliments her twin interest in internal structures, which carry their own meaning. Growing up in the Alps, Stieglitz was constantly engaged with the natural world through outdoor activities, which taught her to bring the outside in; to consider how she could convey its beneficial impact on her well-being into her interior spaces.

Stieglitz draws attention to presence—the energetic occupation of space. She questions the ways in which she was taught to inhabit the world, as a woman, as an artist, a daughter, and a mother. Just as readily as these roles attempt to structure our perspective and sense of value, her work criticizes exactly such expectations by providing an alternate language of expression, one in which she creates forms with as much consideration as one chooses their words.

In 2022, Stieglitz's dedication and talent were recognized when she was named the Emerging Artist of Artisphere, a highly-regarded art festival in Greenville, SC. She was also selected for Artfields, a respected art competition and festival in South Carolina created by financier and philanthropist Darla Moore, in both 2022 and 2023, further cementing her reputation as a rising artist. These accolades provided her with a broader audience and fostered her artistic growth. Additionally, her work was showcased by the high-end Vendue Hotel. A pivotal moment in her development came when she was chosen as one of eight artists in residence at the Gibbes Museum in Charleston, SC. This opportunity, arising just a year after her initial exhibit at The Dewberry, allowed her to immerse herself in a supportive and creative environment, encouraging further experimentation and exploration.

Stieglitz's work has garnered attention in publications such as Luxe Magazine, Charleston Magazine, Art Seen, and Canvas Rebel, highlighting her unique blend of abstract forms and organic aesthetics. In December 2022, she was a finalist in a pop-up gallery during Art Basel, Miami, further showcasing her work on a prestigious platform. In 2023, she began a prestigious three-year residency at Anderson Ranch Arts Center, studying under renowned artists Del Harrow and Ebitenyefa Baralaye. Her achievements also include participation in the online exhibition "Biosphere," the “South Carolina Festival of Flowers Juried Art Show” at The Arts Center of Greenwood, and various shows in Charleston, SC. Notably, she had her first solo art installation, “Oceanic Drifts: Sculptures from Ashore,” at the Gibbes Museum. Stieglitz's education and exposure were further enhanced when she was awarded a scholarship by the European Cultural Academy to work on an artistic project in Venice for two weeks. In early 2024, she participated in Southeast Contemporary, a distinguished annual group exhibition at The Museum of Arts and Sciences of Macon, Georgia, showcasing four influential contemporary artists from the Southeast.