Looking back, 2020 never started off on a sturdy foot. This year began with the noises of war, the horrific death of a retired NBA player and his young daughter, and a pandemic that has taken the world by storm. And now a second pandemic that has been an ongoing issue for centuries, racism. “A Lover” Bobby is my best friend. He happens to be my lover. I have never known a love like his; unconditional and honest. “Someone I never met” Roberta is my grandmother. The strongest woman I know yet a woman I never met. Although she died before I was born, my love for her remains. She had 10 children, my dad being the only boy and the youngest, and I see her face in every single one of my aunts. “My Dad” Leo is my father. He was always hard on me growing up and continues to be. How rare it would be to ask him how he’s doing and not get, “Kicking but not high” as a response. -Maya N. Bellamy

All paintings are oil on canvas with acrylic on background.

2019, Interdisciplinary Studies Major w/ Minor in Art Studio

2016, Art Studio

Enxhi was a portrait study I did of a friend. This piece was an exploratory piece for me as I experimented with different color techniques, applications, and textures. Exposed is a self portrait I did during my recovery period with an autoimmune disease. This piece embodies the emotional trauma of dealing with unrelenting symptoms as well as mental strife that comes with dealing with an autoimmune illness. Bore is a self portrait that deals with the mental, physical, and emotional strife that comes with dealing and living with a chronic illness.

(Eye) Don’t Know, When lockdown in NYC started, there were more questions than answers. I coped by being honest and embracing “not knowing” – I didn’t know what was going to happen, I didn’t know how feel, and I didn’t know what to draw. Sonho na Areia, I found a photo of my mother & friend in 1970s Rio de Janeiro during quarantine cleaning, and was transported. The process of creating this collage took me on a ‘spring break of the mind’. Since we can’t go anywhere, I leaned into the impossible vacation: a technicolor Rio of the 70s with my young mom.

2011, Graphic Design

2018, Art Studio

This body of work analyzes the system of memories and its evolution from childhood into adulthood, including nostalgia. During this time of quarantine, we have been separated physically, but before the responsibilities of a job or providing for our families, we were able to find contentment in the simplest of acts. Fortunately, through social media, these connections are reestablished and I am able to connect and share these stories much father and gather information on our shared perspectives. –Devann Donovan Gardner

I. A Disregard: Oil on Canvas 24”x 36”, $700

II. Look What I Can Do: Oil on Canvas 30” x 40”, $800

III. Party Favors: Oil on Canvas 24” x 30”, $750

(No) Vacancy relates to both my family’s immigration to Myrtle Beach and the city’s reliance upon the migrancy that tourism involves. It’s flashing “NO” represents the past and present state of that industry—the steady decay of Myrtle Beach’s once-bustling vacation destination—and simultaneously expresses two opposing views concerning immigration, an issue that’s extremely personal to my family and I. Space Mud supplements leftover detergent, a material whose pre-used state represents decay, with borax, a compound that my grandmother and I used to make homemade silly putty, or, as we called it, “space mud.” Due to it’s powder-like consistency, Space Mud is extremely fragile. As gallery visitors interact with the piece, it slowly disintegrates. That degradation stands as a metaphor for loss; ultimately, the piece’s gradual disappearance represents the manner in which my grandmother and our relationship, a construct with disintegrated in conjunction with Yia Yia’s memory, slowly slipped away. How They Linger is one of the pieces that I made for my Studio Capstone, a selection from “Grey Baby,” a body of work about my late grandmother. -Grey Eckert

I. (NO) VACANCY, Neon, 24 x 4”

II. SPACE MUD, Borax and Used Detergent, 8 x 8’

III. HOW THEY LINGER, Drier Sheets, Thread, 6 x 0.5″

2020, Art Studio & Graphic Design

2013, Art Studio

I create miniature places to engage viewers and invoke a sense of imagination and whimsy. I feel that as an artist, especially during this time, my creativity is my greatest strength. This time has been strange and new for all of us, but as an artist I have felt an incredible amount of support and it has encouraged me to create more than I have in a long time. I hope that viewers will see my miniature worlds as a sense of escapism and find happiness in them. –Julie Hamer

Miniature Kilin: $85

Miniature Pottery: $15+ Email: Busydaydreams@gmail.com for inquires

Model Home is an installation of staged domestic space using heavyweight drawing paper to create everything from furniture and light switches to plants, lamps and pillows. Model Home is a reference and a metaphor for the American ideal, the perfect domestic space, marketed specifically for status, an unattainable goal for many. Quarantine has allowed a more equally balanced teaching career and studio practice that has given me more time in the studio to prepare for upcoming exhibitions. -Sara E. Farrington

Medium: Paper, cardboard and adhesive

2009, Art Studio

2016, Art Studio

The first in a series of five flower arrangements all sitting in white vases, each containing different types of flowers. The dramatic, vibrant colors are used to stress movement across the entire canvas. As a makeup lover and artist, I decided to combine my two worlds by starting to use myself as my canvas. Bright colors, dramatic lines, everywhere you look from the top of my head to my chest. A hummingbird’s wings flap as quickly as life flashes by; so take the time to slow down, sniff the flowers, and appreciate the little things. During quarantine I have been able to continue to work as an interior designer and organizer. My business partner and I buy run down houses, renovate them, and sell.  Luckily, we have not had to slow down too much because of how 2020 has been. As a side business I sell hand painted jackets. -Katheryn Farrelly

I. White Vase #1, Oil on Canvas, $250.00 Email: farrellyart@gmail.com

Hannah is a commissioned piece of a new born for a mother. This piece felt fitting to submit during this time as it shows new life and light in an awfully dark time. Still was a piece created at the beginning of the Covid outbreak to pay tribute to the active men and women on the front lines risking their lives and their families lives in an attempt to keep people safe. –Joshua Knight

I. Hannah, Watercolor on paper, Not for sale

II. Still, Watercolor on paper, $200

2014, Art Studio

2015, Art Studio

Best in Show is an exploration of the symbolism behind blue ribbon awards and the work put into earn this recognition. They both play off of this concept of effort, and how we often receive nothing in return. These are awards are made for me, by me, to recognize my own endeavors. Which beckons us to think, if awards aren’t received from others, are they even awards at all?

I am navigating these times by trying to come to terms with the world at large and my own brain. The voices in your head get really loud when there aren’t people around to talk over them. Sometimes doing anything seems impossible. I’ve spent a lot of time saying “Where’s my ribbon?” for doing such simple things as emptying the dishwasher. That’s what spurred this work. What do I really deserve a ribbon for? Where’s all my effort going? And what am I really getting in return for that? -Ariana Sellers

I. BEST IN SHOW: MISSING YOU, 100% Cotton, Batting, Cardboard, Thread, Hand Embroidery, Onion Skin Dye, 2019, $200

II.  BEST IN SHOW: TRY HARD, 100% Cotton, Batting, Cardboard, Thread, Hand Embroidery, Onion Skin Dye, 2019, $250

from Short Circuit, a series of images made during the COVID-19 Pandemic: Some days come easier during these unusual times, as I try to find inspiration for making images daily within my home. In the past few weeks, I’ve observed through my window the changing seasons more closely than ever before. Snow melted, returned, and within days clouds rapidly rolled in bringing with it the welcomed rare scent of spring showers in this high desert region; a place otherwise filled with an abundance of sun for most of the year. In these times of stillness, traces of memory linger like petrichor, the earthy scent when rain falls after a prolonged dry spell. Though these tumultuous moments have felt exactly that, a dry spell that I am trapped and confined to, I’ve slowed down to find brief moments of escape, seeking beauty in what is impermanent and incomplete. –Tracy Fish

I. Unframed, “Day Eight, 2020″, Archival Pigment Print, 17×22”, $600

II. Unframed, “Day Seventeen, 2020”, Archival Pigment Print, 17×22, $600

III. Unframed, “Day Thirty-Two, 2020″, Archival Pigment Print, 17×22”, $600

2012, Art Studio

2020, Graphic Design

The Great Debate Poster was created for my 2020 Capstone project as a parody of the 2020 election and the famous internet debate “does pineapple belong on pizza?” Originally intended to be made into a physical voting booth, this poster includes a QR code that, once scanned with a smartphone camera, will lead one to a digital voting space wherein they may cast their ballot. Miami Vice Playing Cards are face cards transformed into Miami mobsters and criminals, jokers resemble strip club neon signs, and the box itself passes for a pack of smokes. The typography and color palette simulates the Art Deco vibe of 80’s Miami. –Abby Inman

These works are about finding light in a time of darkness, and hope for the future. My way of navigating through these times are by focusing on what I love. Creating has always been my outlet and that has been especially true during this pandemic. I hope to spread that peace to others through my work. -Brittany Leonard

I. The Garden, 12×16, acrylic and stucco, $350

II. Faith 12×16, acrylic and stucco, $350

III. Moths, acrylic, $150

2016, Art Studio

2014, Interdisciplinary Studies with a concentration in Archaeology

Wolf Pack are earings that are part of a set commissioned by one of my students. She has always wanted a full set made but she’s never found the time to have it done. Handstand Walk is part of my first complete line of jewelry entitled the ‘Lifters Collection’. I have been working on handstand progressions since the stay at home order was put into effect in Maryland. This piece symbolizes the discipline it takes to master a new skill. Mojave Returns is a necklace inspired specifically by the Mojave Desert which is located in southeastern California, Nevada, Arizona, and Utah. The Mojave Desert is known for its Basin and Ridge Topography. I’ve found myself drawn back to visit the Mojave every summer since 2017. The landscape is absolutely breath taking and to see life flourish in such a harsh climate is remarkable. -Heather Schramm

I was fortunate enough to set-up an in-home studio before the stay at home order shutdown the studio that I work out of. Since then, I have been updating my website, building my inventory and releasing my latest collection the ‘Lifters’.

I. Wolf Pack, Sterling Silver and Turquoise, Not For Sale

II. Mojave Returns, Sterling Silver and Deschutes Jasper, $500.00

III. Handstand Walk, Sterling Silver and Ruby, $85.00

Whether it be the literature I read, the media I view, the individuals I encounter, or the stories I am so graciously told. Each work of art is a direct representation of the conversations I witness. Rather than create a distinguishable image of an object or scene, I convey conversation through the combination of abstract expressional typography with the juxtaposition of linear and painterly aesthetics, while incorporating bold color schemes derived from current cultural trends. –Caleb Daniel Sarvis

I. Cezanne, Latex and acrylic on canvas, 60 x 48, $4000

II. Self-portrait #2, Acrylic on canvas, 20 x 16, $300

III. Resilient, Acrylic and spray paint on canvas, 36 x 48, $2000

2017, Art Studio | 2015, Graphic Design

2018, Art Studio w/Art History Minor

Residing in one of the most highly affected areas during the Pandemic, I have unfortunately seen this virus take many loved ones too soon. Don’t Let Go, signifies the final moments between the living and the dead, just as the life slowly drains from their body. The lilies surrounding the unidentified subjects represent the grief we go through here on earth, while the golden triangle represents the Holy Trinity welcoming the deceased into the afterlife. –Angelica D’Antonio

I. Don’t Let Go, Acrylic on Canvas with Gold Leafing, $650 Email: angelica.dantonio96@gmail.com

Jayceon, Age Four is in reference to a photo I took of my younger cousin on Easter Sunday. While I’ve been back and forth to work every day during this pandemic, Easter Sunday was the first day in months that he has been out of the house. This is the excitement of finding the money egg. Ride or Die is the first completed painting of a series I’ve started working on during the Covid-19 pandemic. I’m using this time to build my watercolor skill level. The goal currently is to challenge myself by trying new things. –Adrian Smith

2019, Graphic Design

2018, Art Studio and Graphic Design

Poppy flowers are often considered symbols of death and remembrance for lost loved ones. The Poppy Brooch is meant to be a both an adornment memorial but also a gesture towards the precious things in life. It is vital to cherish every moment of your life and the people within it. During this quarantine period, I have been trying to do just that. –Toni Smith

I. Poppy Brooch, Paper, Embroidery Thread, Fabric, Magnet

When you are quarantined in your home with no distractions where do you retreat to? Who are you when you don’t have your job, your friends, or any human contact? When everything from my daily life was gone I retreated into my mind and confronted my demons. A series based on self reflection and personal development. -Enxhi Qemalli

Prices vary based on print size.  Please email the Artist.

2016, Graphic Design

2018, Art Studio

My work during this time is focusing on the uncertainty and nagging discomfort associated with the Covid19 pandemic. Formerly comfortable spaces, personal interactions, and even the air we breathe are now layered with a subtle but very present threat. A lack of a national leadership further exacerbates this tension. However, amidst this uncertainty heroes emerge, and there is solace in knowing that throughout history we have been here before and found our way forward. –Joe Quinn

I. Untitled, Covid19, Acrylic and pastel on canvas, 48 x 60, gallery wrapped, $1,750.00

II. Plague Doctor, Acrylic and pastel on canvas, 36 x 24, gallery wrapped, $900.00

III. Breathe, Acrylic and ink on canvas panel, 11 x 14

My work acknowledges entropy as a means to move through it, taking decline head-on, instead of disregarding its reality. So many routine moments, like a vase of flowers rotting in the sunlight, float by during our lives, and the intent of my work is to give viewers the space to respect the inevitably of change. I’m currently sitting in my apartment in Brooklyn, as terrifying as everything is I’m extremely lucky to have my apartment, food, and my partner. Growing up in a rural part of South Carolina my greatest destresser, and the primary source of my inspiration, has always been to go outside. I try to take short walks every day and that’s no longer a responsible thing to do. My main source of income is branded documentary work, we’ve gone from the traditionally slow part of the year into this pandemic which has dried up all work. Even still I feel lucky, I have unemployment to pay for rent and food. To keep myself sane I’ve been photographing plants, small set-ups, and helping my partner with her projects. –Tim Hodge

2012, Art Studio

2017, Art Studio & Graphic Design

I was quarantined in Myrtle Beach for two months. Sightseeing is a video that illustrates the eerie solitude surrounding this performative-based tourist destination. I am filming the absence, the nonexisting, the uncanny, and documenting the impact of this time on beach culture. –Christina Teruel

This work is a continuing exploration of repurposing of images, logos and type from vintage advertising. The intention is to change the context of these elements to create a new dialogue. The 3 pieces included were created during the Pandemic. Personally I have not been quarantined. My employer has been open the entire time. My work is a way for me to process the daily anxiety of our “new normal”. –Craig Stevens

I. “All You Need Is… Hope” Oil, Alkyd Enamel on Recycled Galvanized Metal ,Billboard Panel, 60″x 29″ $1500

II. “Inspiration Needs to Find You Working” Oil and Alkyd Enamel on Recycled Pressed Hardwood, Workbench Top, 71″x 21″

III. “Is It Live Or Is It…” Oil on Canvas, 48″x 48″, $1200

2014, Art Studio