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Formal education for Gwendolyn began as a child in Philadelphia where she attended workshops at The Manayunk Art Center and Woodmere Art Academy. During adolescence she participated in various art programs sponsored by the City of Philadelphia, and later studied at Moore College of Art and Pennsylvania University … Read More
Formal education for Gwendolyn began as a child in Philadelphia where she attended workshops at The Manayunk Art Center and Woodmere Art Academy. During adolescence she participated in various art programs sponsored by the City of Philadelphia, and later studied at Moore College of Art and Pennsylvania University of the Arts. Moving to New York in 1987 she attended The School of Visual Arts and received a Bachelor’s degree in Fine Arts. Since that time Gwendolyn’s work has been shown in various group and solo shows in and around New York City and Philadelphia. Read Less
  • Artist
    Borderlands — Austin, TX, USA
  • Cars and Caffeine
    Peekskill Coffee House — Peekskill, NY, USA
  • Group Show
    Chestnut Hill Gallery — Philadelphia, PA, USA
  • MegaDeck
    PARAMOUNT CENTER FOR THE ARTS — Peekskill, NY, USA
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Painting and printmaking are mediums, which allow me to turn my unconscious world into something physical, and turn the physical world into something dreamlike.

By way of incorporating linoleum stamps into the painting, transcendental iconography and symbols appear and are repeated throughout my work. Objects fad… Read More
Painting and printmaking are mediums, which allow me to turn my unconscious world into something physical, and turn the physical world into something dreamlike.

By way of incorporating linoleum stamps into the painting, transcendental iconography and symbols appear and are repeated throughout my work. Objects fade and reoccur, moving through space and time but not re-moving from a place.

My paintings begin with the attraction for the sculptural aspect of classic car design. The focus on the rear is a non-traditional view of the classic car that often creates the illusion of driving away and evoking a mystery and a question; where are we headed, or, where are you taking me? The symbols that are stamped continue the dialogue. Their origins vary from a hula girl that sits in the rear window of a 1960 Studebaker (Duce), to circling ravens that add a sense of doom that accompanies the 1962 Cadillac Ambulance (Blood Drive). The heavy chrome, which is highly reflective, adds an abstract view of the outside world. The chatter of color and contrast of light give the cars an extraterrestrial feel, they float in time and space and are not restricted by gravity. They levitate and drive away.

The basic icon of these works invokes nostalgia in the viewer. They are warm and familiar pieces; eye candy. In a world overwhelmed with front-page news in the fast lane into the unknown, I enjoy taking the viewer to another place in time where usually a smile will appear. Read Less
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