Anyone wishing to get a glimpse of the art world back on the early 1980s should check out the film

Jean-Michel Basquiat: The Radiant Child

Much is already known about the life and death of this prolific painter who would have turned 50 this year. Very little is understood of the personal side of Basquiat’s genius. The film successfully unveils the rags to riches tapestry from a very compelling inside perspective, including an interview from 1983 that was stashed away in a closet until now and intimate nuggets from the likes of Andy Warhol, Julian Schnabel, among others.

We also get to witness NYC back in the heady days of sex, drugs, music, clubs and art. How many of us remember how cool Soho once was and how gritty the area now called Nolita had been?  The art scene was so truly available and accessible, unlike the high brow, elitist landscape it has evolved into today.



Marilyn Weiss, an accomplished artist for more than 30 years, considers herself to be first and foremost a collagist.  The constant changing nature of this special medium always offers something new and allows her to work with an infinite variation of colors, textures and shapes.

A material world

While there is no specific material that is her favorite, Marilyn finds herself drawn to those that elicit history.  She uses “bits and pieces” from her life or the lives of family and friends.  Old papers, thread, strings, and buttons will often turn up in her work, as will fabric or yarn from a baby sweater or, possibly, a vintage dress.

The material is not used literally, rather it is melded into a piece so that it loses its original identity and takes on another.  But each collage piece chosen has to have meaning and be relevant to the specific work  – it is not just “stuck on”.

And yet, in the end, for Marilyn, collage is strictly an emotional process. She does not try to figure out why something works – she just feels it when it does.

Take “Cool Space” for example. The work is a hand-worked monotype, one of a series of three – this being the most colorful. It is a whimsical, bright and happy piece  inspired by children and one can easilyvisualize the play between the real and the artificial.

Cool Space

“Just Me,” is a sweet and sentimental mixed media, collage.  We witness a female figure sitting by herself, seemingly content and happy.

Just Me

A feminine touch

A self-proclaimed people person, Marilyn’s art usually includes human figures, and most often they are women.  Fascinated by relationships and the way forms and figures interact, there is a dominant feminine theme and form in much of her work.

“You can say that I’m a feminist,” she explains.  “Not in a beat- yourself-over-the-head kind of way, but in the fact that I always paint women.  I guess I’m saying that we’re here and we’re important.  It’s subtle, but it’s there.”

Some great examples of this genre of her work are “Studio View, Grays” and “Sister Act,” both intricate collages with a distinct feminine theme.

Studio Views, Grays

Sister Act

Weiss is quite clear that she loves what she does – creating art gives her great pleasure.  She believes that art is meant to be seen and enjoyed, and hopes that her work stirs sensibilities, provokes emotions and most importantly, brings joy to those who experience it.

After meeting her and studying the pieces offered in our upcoming December auction, we can say that her hopes have been achieved – we have thoroughly enjoyed getting to know both Marilyn Weiss and her wonderful body of work.

To view the ArtistsinAuction website click here.

To view more of  Marilyn Weiss’ work, click here.

IN and OUT

Sunday Morning

Goblet Portraits 1977


The work of Zeke Berman demonstrates a truly unique eye in the world of photography. We are truly grateful to have such a talented artist on board, partaking in our upcoming auction.

Berman has honed his craft over the last 35 years, producing singular, studio-based photographs that reflect his long-standing interest in visual cognition and optics.

His work has evolved much over the years but always explores an intersection between sculpture, photography and drawing.

From the outset Berman received strong critical acclaim. His work has been collected, published and exhibited in galleries and museums such as MoMA, The Metropolitan, The Whitney, and Art Institute of Chicago. He has been featured in the first New Photography Exhibition at MoMA and has received multiple awards, including the Guggenheim, NEA and NYFA Arts Fellowships.

In the beginning

As a kid, Berman loved sculpture. He attended the High School of Music and Art and studied sculpture at the Philadelphia College of Art. He only backed into photography after graduating. To date he approaches photography as a studio based art and his sculptural training clearly plays an important part in his working process.

During his years in art school, conceptual art and minimalism were a fresh aspect of contemporary art. At that time, Berman began a developing fascination in perception theory –  a lifelong interest that involves questions of cognition, optical illusion and the evolution of the senses. The idea that an illusion can change in appearance,  right before our eyes, is equally fascinating and inspiring to him.

His study found its way into his working process when he began to experiment with a camera in the studio. Berman’s epiphany came when he discovered a deep mystery and possibility in the transformation of a three-dimensional construction into a two-dimensional photograph.

A cumulative process

The formal range of Berman’s work and his sculptural use of materials is varied, original and idiosyncratic. All his pieces are intricately designed and constructed in his studio.

Berman uses a 4X5 studio view camera  to create all his photography. The procedure is an old one that delivers extremely sharp, and clear prints, as well as images that are very realistic in the description of the materials used. The end result is often a photograph designed from a construction but with the appearance of a drawing.

His process is cumulative in nature – he makes photographic sketches constantly as he constructs and reconstructs, creating many, images as the work evolves. Intuition and spontaneity ensue throughout the process. We asked him how he knows when he has finally completed a piece.  His answer is that it simply feels complete.

Optical illusion

In the late 1970’s Berman had a direct interest in creating different kinds of illusion. His work from this period clearly demonstrates optical illusion and the transformation of three-dimension into two-dimension.

“Cup with Objects” from 1979 is a great example of 3D/2D play. All the objects fill up the frame up to the edge, however, one slight shift of the camera and the pieces wouldn’t work together.

Cup with Objects

“Web,” a piece from the late 80’s contains an actual spider web. It is a very linear, abstract work, and one that clearly depicts the flow from drawing to sculpture to photography. In fact, much of his work from this time period was very linear in nature.


Later pieces demonstrate the evolution and progression in his photography.

Take for example “Shoe and Tire,” a 1993 commission piece for Progressive Corporation, an auto insurance company. The company CEO is an avid art collector and commissioned Berman to create a suite of still life’s around which the company’s Annual Report was designed. He won several design awards for this work.

Shoe and Tire

“Heart,” created in 1995 was commissioned by graphic designer Mark Schwartz for his daughter who was born on Valentine’s day.


Although Berman rarely photographs people, “Standing Stack” from 1997 was made at a time when he wished to bring more human presence into his work.

Standing Stack

Berman lives and works in NYC. He now works mostly in color, a new turn in his evolving body of work.

To view the ArtistsinAuction website click here.

To view more of  Zeke Berman’s work, click here.

Plant Slice 1999

Fat Lamp and Cherry Blossoms 2008


We were thrilled to see such a great turnout of art aficionados at our preauction reception last Thursday in lower Manhattan.

More than 100 guests attended the event to see the works of several of our NewYork based artists, including Tom Smith, Mike Lindwasser, Dulcie Dee, Sean Parrott, EGSilberman, Robin Antar, Alex White-Mazzarella, Zeke Berman, Marilyn Weiss and Joni Diskint.  A great time was had by all as many of our talented artists were also in attendance to answer questions and share in conversation and cocktails.

All of their wonderful and varied pieces are available for sale, as are those by our many other talented artists across the country – and all at extremely affordable prices! We are currently featuring a wide array of media – photography, painting, drawing, sculpture, mixed media,  so there is truly something for everyone irrespective of taste.

Our auction date is soon approaching and it’s still not too late to bid on work that you love. Or perhaps purchase a piece for someone else – art makes for a  fabulous gift idea!

Please visit to view our complete roster of artists and browse through our catalog to see the entire collection of artwork we are offering for sale.

Untitled (magician) by Tom Smith

Floral #2 by EGSilberman

Picnic by R. Gene Barbera


"Her " by Monika Agic


"Competition of Forms 2" by Robin Antar


"Blue" by Roshan Houshmand

swimmer 23 30x42

"The Swimmer #23" by Paul Sierra

In and OUT

"IN and OUT" by Marilyn Weiss


"Green House" by Darrell Jones

after dark my sweet

"After Dark My Sweet" by J. Kieran McGonnell


"Untitled" by John Phillip Davis


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Art is truly for everyone – and everyone can appreciate art.


Joni Diskint is fortunate to be a full-time artist – not a luxury afforded by many. She has set up her home in Chatham, New Jersey as a gallery – Joni Diskint Fine Art – specifically designed to showcase her work.

Her history probably dictated that she would set out on an artistic path. As a child, she was extremely creative, writing stories and making illustrations at a very young age. In fact, she nearly published a book when she was in the fifth grade.

The early years

But she only fully entertained the idea of being an artist when she was in college. She flourished in color and painting classes, received great feedback from professors, and decided to spend a year in London pursing her craft.

Things started to happen for her rather quickly. While living and painting in Colorado she began to show her work at local shows. At 25, she had her first show in Soho, NY, which marked the beginning of a yearly occurrence – she would show at a different gallery in Soho every year. At the time, she lived in the Berkshires, where she owned a gallery and would exhibit her work as well as that of other emerging artists.

At 30, she moved to the east side of NYC. “There was too much going on in the city not to be here”, she says.  Soon her work started selling in earnest, especially once she started offering prints of her pieces.

Seeing the light

The landscape is her inspiration – the colors and the light, as well as its never ending, constantly changing nature.  In most of her pieces the sky plays an important role because it is forever moving and always conveying a unique type of light.

Take “Lonesome Valley,” a very evocative and challenging piece that conveys a dramatic, dark sky contrasting against the white snow. The piece is very deep and intense and is made from a very dark color palette.  The ominous sky takes the viewer into a depth, to a different place.

Lonesome Valley

The “Oil Lamps” are equally evocative in their portrayal of light. She bought the lamps in India and uses them for meditation, mostly at night when they cast a very solemn glow. Her idea was to capture the dark, that is to paint the light within the dark, and her aim was to go as dark as possible.  She had studied Vermeer and other masters who so artfully conveyed light, and so she felt the need to do so as well.

Oil Lamp 1

“Reflected Light” is another play on light, this time using the reflection of the sun against the trees at sunset. These trees are actually in her backyard and she worked endlessly to evoke the light to come through to the canvas.

Reflected Light I

Joni sells through her home as well as through a variety of charity shows. She also has a separate studio attached to the house where she teaches painting classes.  We invite you to view the work of our featured artist and to “see the light” in her varied works.

To view the ArtistsinAuction website click here.

To view more of  Joni Diskint’s work, click here.


If you love color and abstraction, you won’t want to miss the Georgia O’Keefe exhibit currently on display at the Whitney Museum in NY.  By now you’ve read multiple reviews, but it can honestly be said that this is one show you have to see in order to “experience”.

While it is true that Georgia O’Keefe’s flowers and landscapes made her one of the most celebrated figures of twentieth-century art, the radical abstractions she created throughout her career are much less well known. Yet they are equally spectacular. In fact, it is her abstract work that ultimately led to her creation of landscapes and florals, and not the other way around.

For O’Keefe, abstraction offered a medium in which she could portray the “unknown” – the many intense thoughts and ideas she could not express in words. Her work conveys emotional response to people and places, as well as the rhythms of nature and the experience of being enveloped by its mystery and beauty.

The exhibit also chronicles the life saga of an extremely prolific artist, allowing us to feel her emotions as she went through different stages of elation and agony. At times her pieces explode with color, at other more distressful times, color becomes somewhat subdued.


In 1916, O’Keefe burst onto the New York scene with her charcoal abstracts –  some of the most radical works ever produced in the US in the twentieth century. Renowned photographer Alfred Steiglitz, who would shortly become her personal and professional partner, gave her a show in 1917, exhibiting her work for the first time at his “291” gallery.

Witness “Early Abstraction” from 1915 – a linear work that takes on the form of a piece of sculpture.


"Early Abstraction," 1915

Vibrant Oils

She first introduced oils at the Anderson Galleries in 1923, marking the public’s first view of her work since 1917 at “291.” It was a jubilant time for O’Keefe, both artistically and personally, and the vibrant colors she uses – fiery reds, lush greens, erotic greens and yellow – convey her exhilaration. Favorites of ours include “Pink and Green,” 1922, “Corn Dark,” 1924, “Red Canna,” 1925-1928, and “White Sweet Peas,” 1926 (you’ll have to see these for yourself in person).


"Abstraction," 1926


"Grey, Blue & Black-Pink Circle," 1929


"Flower Abstraction," 1924


"Abstraction White Rose," 1927

There is one particularly darker piece from this time period, a work that portrays her experience of undergoing anesthesia before an operation to remove a benign breast cyst – “Black Abstraction,” 1927.

O’Keefe married Steiglitz in 1924 and they spent winters in NYC and summers at his home on Lake George. Many of the colorful lake series were produced during the peaceful times spent there.

Darker times

O’Keefe first started to travel to New Mexico in 1929. Steiglitz was having an affair with a younger woman and she felt the need to escape. In 1932 she suffered a nervous breakdown and stopped painting altogether until 1934. For the next ten years abstraction figured very little into her work until the Black Place Series, which were based on an area in New Mexico 150 miles west of her home at Ghost Ranch.

Paving the way

After Steiglitz’s death in 1946, O’Keefe moved permanently to New Mexico, at which time she began to introduce flat geometric planes of color, a factor that would play a central role in the art of the 1960’s. A great example is “Black Door with Red” from 1954.

A personal favorite is the opening work to the exhibit – “Above the Clouds” – an absolute masterpiece, which was created in the early 1960’s.

Although the exhibit stops around this time period, O’Keefe would go on to expand and evolve through her painting. She died in 1986 – at the ripe old age of 98 – having left an indelible mark on the world of abstract art.

To view the ArtistsinAuction website click here.


"Black Door with Red," 1954

blueflower1918nonamered and orange streakmusicpinkandblueno2jackinthepulpitno1V


"Above the Clouds," 1962-63

Dulcie Dee at Monkdogz Gallery

Dulcie Dee at Monkdogz Gallery


Dulcie Dee, an American born Chinese artist, is also a native New Yorker who grew up on the Upper West Side. Her grandfather, Dee C. Chuan, was the founder of the China bank in Manila, Philippines. As a result of this familial tie, Dulcie was sent over by her father in the early 1970s to meet her Asian relatives. She spent much time during her growing years in the Philippines and received her Bachelor of Arts degree from the University in Manila.

After college Dee became a freelance artist, working for the big ad agencies in NYC as a hands-on graphic designer for the better part of 15 years. She always painted and exhibited in shows along the way, the first in 1992, which was a one-woman show.


The Geisha Exposed

Her experiences in Manila were a real eye opener and initiated the start of her unique painterly style of Asian Art. She pored over the books in the local libraries and found loads of inspiration.

In the 1980s Dee started copying the Japanese shunga wood block print masters who had so fascinated her, such as Utamaro and Yoshitoshi. Mainly, she would copy Samurais and Geishas to paper. First she used color pencil, as well as pen and ink to simulate the wood block, but over the years she finessed the work to suit her distinct style. Interestingly enough, many of her Geisha paintings are self-portraits.

After four years in San Francisco, where she received her Masters, she came back to NY and started on a new Madame Butterfly series, a total of 12 pieces where she decidedly opened up the kimono and exposed the Geisha. Nicknamed the foreplay series, these works evoke a vibrancy based on color and semi-eroticism.

Soon after, in 2007, she participated in the Flashing Flesh group show at the Monkdogz gallery in Chelsea, marking the first time a Chelsea gallery exhibited her work.







Hard Times

“Peking Princess” came next. This large, oil on canvas is a self-portrait that depicts the Chinese girl painter caught amid the oncoming recession in NY. The blue/green hair symbolizes suffocation and struggle – life’s hardship where she is spinning her wheels and not really getting anywhere in terms of job prospects. The piece was shown earlier this year at the National Arts Gallery Roundtable, a show that included invited guest artists.

Peking Princess

Peking Princess

Dee currently lives and works in her studio apartment in the Financial district. She constantly paints but is eager to find work, and at this point, a roommate to help share the costs of living in NYC.  We are excited to have her as one of our featured artists and wish her much success.

To view the ArtistsinAuction website click here.

To view more of Dulcie Dee’s work, click here.

dulciestudio3dulcie studi 1




ArtistsinAuction, the premiere online auction company, wants to invite you to our Preauction Launch party!

Come and meet several local, talented artists, view their work and share in conversation and cocktails.

Thursday, November 19


95 Morton Street

(between Greenwich and Washington Streets)

7th Floor

New York, NY 10014


To RSVP to this event, please contact

If you know someone who may be interested in attending, you may pass along this invitation.

For more information on our business, featured artists and online auctions visit


Interview by R. Gene Barbera


Heart by Zeke Berman


Navigation Arf by Alex White-Mazzarella

DSCN0004_01Peking Princess

Peking Princess by Dulcie Dee


Untitled (magician) by Tom Smith

In and OUT

IN and OUT by Marilyn Weiss

Floral #2

Floral #3 by EGSilberman


Competition of Forms 2 by Robin Antar

City of lights

City of Lights by Mike Lindwasser

oil lamp 1.

Oil Lamp 1 by Joni Diskint

Recyclo F Aug 19, 2009 9-49 AM 1475x2309

Recyclo by Sean Parrott



If travel is the key to art, then artist Roshan Houshmand has successfully unlocked the door to creativity.

Born in the Philippines, where she lived for eight years, Houshmand then moved to Iran, her native land. While she currently lives in upstate New York, she has resided in no less than half a dozen places all over the world, including New York City, New Mexico and Arizona. But, Barcelona, Spain, where she lived for ten years, was the most important place in her life as an artist.

The early years

When Housmand was a child her dad used to manage a paint factory. She fondly remembers her love of playing with the many samples at a very early age. Once she attended art classes, she began to dabble in many facets of the arts – painting, sculpture, lithography – experiencing it all, but she finally focused on painting.

In college her work was mainly abstract in nature, but her travels lead to new inspiration.

On Travel and Particle Theory

Houshmand believes that travel is essential to her painting because the experiences allow her to absorb different colors and visions and to move out of her comfort zone. She also feels that working under unfamiliar circumstances results in the discovery of different techniques. Currently, she teaches at SUNY Delhi as well as private painting students, many of whom join her for painting workshops each January at a chosen venue in the world.



Her flower series are specific examples of the influence of her travels and they emerged from time spent in the deserts of Arizona. These pieces just burst with color and Houshmand admits that some of the magic is due to the fact that these life forms were so out of context to the surroundings.



Houshmand’s most recent paintings are influenced by physics and, specifically, by a lecture that she attended in the summer of 2005 at Columbia University in New York. She soon began creating black and white pieces based on the following of particle trails, and later shifted the technique to color. She explains that this particular technique is all about painting in the moment.

One example is “Zed,” inspired by the photography of particle trails from bubble chambers. The spirals are trails that signify a certain amount of energy transmission and the title, oddly enough, is based on a wacky Dr. Seuss character.



“Celestial Chamber,” while based on particle trails, includes manipulated lines and conveys a sense of telescopic imagery. The horizontal and vertical lines, as well as the spirals, all remind her of map making.

Celestial Chamber

Celestial Chamber

The Painting is in the Process

“Constellation” and the other dot paintings were done in Nicaragua and are meditative compositions based on schools of fish. While creating this piece and others like it, she found a very soothing feeling in the process.



Houshmand paints everyday and she says the process itself is what gets her inspired. Her work continues to evolve over time and these days she is using much more color. All her pieces are extremely organic and one need not understand physics to gain a spiritual sense from her work.



Black Bird

Black Bird

She sells quite a bit of work off of her website as well as on other online venues, like ArtistsinAuction, and through local galleries. We are thrilled that she has joined us in our venture.

To view the ArtistsinAuction website click here.

To view more of Roshan Houshmand’s work, click here.



live at the green mill-radio days


James Kieran McGonnell was born in Ireland, speaks with a lovely Irish lilt and has a keen affinity for most things Irish. And American.

He is highly influenced by artists hailing from his homeland, most notably Francis Bacon and Louis Lebroquay, both of whom emerged out of the post WWII art movement – the period known as Existentialism. He is also greatly persuaded by notable writers such as Yeats, Samuel Beckett, Jim Thompson and Virginia Woolfe, to name a handful.

So it’s not surprising that literature, history and art history all have an immeasurable effect on what he does. In fact, every one of McGonnell’s paintings is embedded with a rich history that is clearly evident.

History in the Making

Take “Red Herring” for example, in which circles reside within a square, a theme popularized in 50’s pop art and the work of American Color field painters, such as Kenneth Noland. The concept is a play on the idea of searching for something undefined. All the fish are in a regimented order depicting the routine and safety of everyday life. What will happen to them?

Red Herring

Red Herring

In “Once Upon a Spinning Time”  two dancers are  doing the jitterbug. The piece represents the first dance of Obama and his wife, Michelle, at the inauguration and evokes a snapshot out of the continuum in which you expect the future to have a certain and predictable outcome.

Once Upon a Spinning Time

Once Upon a Spinning Time

“After Dark My Sweet” is based on a Jim Thompson novel and a Yeats poem. The idea of moths drawn to a light conveys a sense of danger and the piece demonstrates the unpredictability of the future.

After Dark My Sweet

After Dark My Sweet

“Ghost Bike” is also based on a Yeats poem, conveying all the beauty in the world thus far, but that which cannot be experienced because it has passed. The bike is a symbol of the life of a person, the tragedy and beauty in history.

“A Pair of American Glasses” and “Live at the Green Mill – Radio Days” both symbolize American history– that which has long passed but stays with us forever.

A Pair of American Glasses

A Pair of American Glas

The Method to the Motive

McGonnell has spent the past 15 years transferring images onto canvas. His technique is intense and intricate. First, he designs the images in his head, instilled by the inspiration of poems, literature, a muse of history or a reaction to daily life and living.

The ideas are then transferred to the computer, and through graphic imaging and photography the piece begins to take on a very conceptual shape. Next, McGonnell hand draws the entire piece on canvas with a pencil.

Finally, he paints. Through a combination of air brush spray paint and hand painting, utilizing high quality products containing silicones and resins, the work evolves into the finished masterpiece.

kieran in studio1

There is no question that Kieran McGonnell is a prolific and disciplined artist. He has been painting constantly for many years, currently in his upstairs studio, and works with galleries and dealers both in New York and Chicago, where he currently resides. He also shows once a year in Ireland. He says this has been the toughest year to date –no small statement from a talented artist such as he.

To view the ArtistsinAuction website click here.

To view more of J. Kieran McGonnell’s work, click here.

kieran studio2

Dumbo 018


Dumbo has changed. A lot.

Since venturing into this sliver of a wasteland under the Manhattan Bridge almost ten years ago, I have witnessed no less than a complete turnaround. When the D.U.M.B.O. – Art Under the Bridge Festival began in 1997, abandoned and dilapidated manufacturing structures were becoming home to a growing number of artists, all in search of affordable studio spaces. There was perhaps one corner deli that served the area.

Now,  pet grooming stores, not to mention a Chase bank, posh clothing and furniture stores, as well as a growing number of eating and drinking establishments, blanket the area.  And the familiar trend – artists move in, area grows hip, trendy stores gain a foothold, tourists and mainstream New Yorkers discover the area, housing becomes unaffordable, artists move out – is becoming clearly evident.

Dumbo 035Dumbo 006Dumbo 001

Still, the festival draws an ample crowd and the event is highly entertaining. The outdoor performance and public art are good fun – witness the fish parade and the knitted zombies – and the remaining artists, many of whom have been here since the beginning, open the doors to their colorful studios, displaying a wide array of creative talent.

To view the ArtistsinAuction website click here.

Dumbo 038Dumbo 028

Dumbo 015Dumbo 039

Evening Light

Evening Light


“Until you apply things with love you cannot start living,” says artist, Mary Sonya Conti. And there is no question that she thoroughly loves what she does. You can just hear it in her voice as she explains her unique techniques. But even more so, you can see the love she puts into every single piece of her art.

“Sonya” is a self taught artist that learned her craft at a very young age – long ago when her mom started craft night for she and her six siblings. Each kid had to create a different project from things collected outside the house. It was a great form of entertainment and a great way to expand the imagination, something she fears has gotten lost these days. Sonya clearly remembers collecting river rocks and tiling the bathroom floor at seven years old – a technique that has, ironically, become really popular today.

Much of Sonya’s work is based on tactile objects found in her garden – hosta and maple leaves, gravel, moss, and even dirt. She explains that the idea is to stay connected to what is around her so as to elicit a feeling and a mood- a defined focus from the many textured elements she uses. She admits she can even produce a fragrance from certain textures. If she does her job well the viewer will connect with the piece and further spark the imagination.

Unique techniques

One popular technique Sonya uses is with gauze. Concentrated watercolors are poured over the material, which is then draped to bring texture and lines. Once the piece has dried and the material is peeled back (sometimes she leaves the material in the work), the piece conveys the feel and texture of linen, and the colors are all blended naturally. Images are built slowly in this way. She then finishes the entire work by sealing the gauze with a glaze so it won’t deteriorate. As you can imagine, it’s a very time consuming process.

selfportraitgrey4 copy

gallerywork 004

Five years ago, Sonya started teaching workshops in which she teaches her “laying” techniques, specifically, the laying of elements into color and certain pouring methods.

Her Work

“Through a Child’s Eye,” was created by highlighting the veining of hosta leaves. Acrylic inks were poured over and the “bones” were revealed once the leaves were peeled off. Then detailing began – pen and ink, as well as diluted watercolors were used to build up a glazing effect. Originally Sonya set out to create a peacock, but an excited child changed her mind in mid-creation and she just let the piece be what it was.

Through A Child's Eyes

Through A Child's Eyes

“Giving Tree” is part of a series in the Artists are selected and invited to create based on a chosen theme. This one was based on the story about the giving tree, a tree that had supported a man all throughout his life. The group showcases their work in two monthly local galleries.

Giving Tree

Giving Tree

“Riviera” was a commission for the Dayton Philharmonic Opera House. It was actually housed in the ladies bathroom – greatly admired by all the women who saw it. “You have to start somewhere,” says Conti.

Home Comfort on the Riviera

Home Comfort on the Riviera

Mary Sonya Conti has two upcoming local shows in September, and she is up for selection as a mural artist for the city of Dayton, Ohio. We wish her much success.

To view the ArtistsinAuction website click here.

To view more of Mary Sonya Conti’s work, click here.


If you had the chance to visit the 2009 Chelsea International Fine Art Competition Exhibition at the Agora gallery in NYC you would have been in for a real treat. If you haven’t, there are still a couple of days left before the show closes.

The exhibition, that opened August 14 and runs through September 2, featured nearly 30 artists from around the world and the collection was a vibrant mix of media from photography to sculpture,  the surreal to the conservative.  The artists of the competition often represented the countries and communities they hailed from, each piece reflecting a little of humanity’s many-faceted soul.

We definitely had our favorites, but the show as a whole was a spectacular demonstration of collective work from talented artists worldwide.

To view the ArtistsinAuction website click here.

Kathy Liao

Kathy Liao

Charles Imbro

Charles Imbro

Judith Kramer

Judith Kramer

Andre Netto

Andre Netto