Bettcher Gallery

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	JOHN WESTMARK My subject matter is derived from collected experiences and memories. Each painting becomes a struggle to create a unique visual language - an abstraction of color and form - and not to adhere to a literal translation of a scene or object. This lack of dependency on the literal translation is usually a liberating aspect of the work. Click here for more information on the artist back to top
	DAVID BACA David Baca is a native of New Mexico, born in July 1961. In 1983 Baca decided to suspend his formal studies at the University of New Mexico in attempt to focus fully on painting. Initially, he worked heavily in pastels, utilizing his drawing skills as a foundation for his exploration in color. In 1986, Baca participated in a monotype workshop given by Dan Vigil in Taos, New Mexico. Learning the Monotype process, a value in its own, served as a transition into painting for Baca. Click here for more information on the artist back to top
	LOTHAR NICKEL In the heights of the Altissimo mountain range in Northwestern Italy, white clouds mingle with the white rock faces exposed by the stone quarries of Carrara. This is the lofty home of the Carrara marble, a material which the sculptor Lothar Nickel employs in many of his creations. In spite of their physical weight and solidity, these sculptures betray a certain affinity with those fleeting cloud formations. Click here for more information on the artist back to top
	NANCY SPOELHOF For both painting and drawing I employ a process that involves working on several pieces simultaneously over the course of many months. While in the studio I first establish a framework of intersecting shapes across the pieces. As the shapes distill into a sort of architecture I focus on finding the natural spaces where the figures fit. Click here for more information on the artist back to top
	AMANDA HANLON In my paintings the figure is seen in repetition, in absence, invoking the viewer as figure, or formally depicted. Although the methods of figural description differ, an element of a human presence is consistently portrayed. Using this recurrent element, and by way of constructing my work in the form of series, I am able to further examine conceptual ideas such as narrative construction or the process of creation. An idea that forms the crux of my conceptual inspiration is the examination of everyday events. Click here for more information on the artist back to top
	MICHELE COPPIN Full Moon on Stage features Coppin's latest work which utilizes an ancient technique called Eglomise. Typically, it refers to glass decorated on the back by paint or gilded gold. "I have combined the two (paint and gold) to create images of the purest light and color. The glass is a smooth and very permanent support for reversed painting with oils backed by gold leaf and or metal foil." Click here for more information on the artist back to top
	T.A. Zive T.A. Zive has been painting since 1948. A native of New York City, Zive was formerly a realistic portrait painter. She became well known for capturing the spirit of her subjects' character through her deliberate use of strong color and brushstroke. As her work evolved into abstract and ultimately into figurative expressionism, her personal study of human behavior and personal psyche became increasingly evident. The figurative works possess dramatic mood settings. Eyes alone often become the key to understanding her subject's soul. Click here for more information on the artist back to top
	LAURA WALDORF Laura Waldorf's artwork is as alive and vibrant as she is. Her bright, colorful, energetic images reflect her personality and philosophy. She excels in Pop Art layered paper collages that are intricately hand-cut and assembled in a highly detailed graphic style. Each collage is an adventure; each tells its own story guided by the artist's imagination and skill. Click here for more information on the artist back to top
>	CAROL SCHILLE “The viewer who wishes to view these paintings strictly as color abstractions is quite welcome to that. These should be complete works when seen from that vantage point. However many have traveled to Asia and many are involved in meditation and/or Buddhism. Others might be curious about how these works happen. Although my pilgrimage takes me to Tibet, Nepal, and China, these works are very much based in Western color abstraction. The meditational and spiritual qualities experienced when viewing color painting and the basis for abstraction in the Buddhist philosophy is a natural connection which has been noted regarding the great color painting of the 20th century. For my own work, I like the idea of duality, that is ancient/modern, east/west, abstract color/Buddhist philosophy and meditation, meaning/mysterious entity. Click here for more information on the artist back to top
	DAVID SPRINITS Of the different disciplines (such as lampworking, fusing, and casting) that fall under the generalization of “glass art,” I chose hot glass because of the creative process involved in it, which allows me to contribute a little bit from each aspect of my personality towards the final result that is expressed in my works: The analytical angle, borrowed from my engineering background, is present in all the fabricated pieces; the bursts of intensity that are common in the hot shop are also normal occurrences of my everyday, non-glass, life; the tedious, mostly solitary work of the cold shop parallels the many hours I still spend each week in front of the computer, looking at spreadsheets and databases of numbers; the unquestionable trust towards my co-workers in the hot shop is typical of my relationships, within as well as outside the glass community. Click here for more information on the artist

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