PERSONAL NARRATIVE- Peter Bennett & Elizabeth Bailey > Exhibition #1
Exhibition #1
Gina Cholick/Glimmer
BEST SERIES
BEST SERIES
GINA CHOLICK
"Blue"
"I long for a feeling of vastness, like being held by the ocean. When I’m floating, my body is in complete surrender, but I know below lies infinite darkness and mystery.
When I step away from the business of life, when I am very quiet and still, I can gently peel and probe at the edges of my reality. There exists an infinite space that is equal parts always surrounding me and just out of reach, like standing on both sides of a doorway. Within this dark expanse, I search for glimpses of a deeper, truer self, and when I catch this reflection, beauty shimmers to the surface.
More info on the series:
Blue is a self-portrait series exploring a liminal space between the reality of daily life and the mystery of a deeper self. I’ve spent a great deal of time thinking about this, but it came to the forefront during the pandemic, when I was spending extended periods at home. I wonder who we are when we strip away the layers of daily life and the roles we play.
Often, I would spend four hours creating a single photograph. I blacked out the entire house with duvetyne, letting only a crack of light in. I used mirrors, prisms, shutter speed, and orbs to achieve the dreamlike, in-between state I was aiming for - that liminal space where the constructed self dissolves and something truer might emerge."
Gina Cholick is a Los Angeles-based photographer and artist. Her work is driven by light and explores themes of identity, longing, and life’s journey. She combines self-portraits and landscapes to evoke a sense of mystery.
Gina’s fascination with photography began when she took a summer class as a child in South Dakota. She was instantly hooked by the magic of the darkroom. Through her camera, she discovered a sense of adventure and a deeper connection to nature. After earning a BA from the Montana State University School of Film and Photography, she began her career as a lighting technician and producer in Seattle before moving to Los Angeles to enjoy the sunny days and join the city’s thriving art community. She currently works as a commercial and fine art photographer.
Her work has been exhibited in spaces such as the Los Angeles Center of Photography, the Robert Berman Gallery, the Center for Fine Art Photography, SE Center for Photography, Fabrik Projects Gallery, Tilt Gallery, PhotoPlace Gallery, and the San Diego Art Institute. Her images have been featured in publications including Lenscratch, F-Stop Magazine, Bokeh Bokeh Photo, and the Detroit Center for Contemporary Photography. She was a finalist for Critical Mass in 2017.
Images are for sale - please reach out to inquire about edition availability.
"Blue"
"I long for a feeling of vastness, like being held by the ocean. When I’m floating, my body is in complete surrender, but I know below lies infinite darkness and mystery.
When I step away from the business of life, when I am very quiet and still, I can gently peel and probe at the edges of my reality. There exists an infinite space that is equal parts always surrounding me and just out of reach, like standing on both sides of a doorway. Within this dark expanse, I search for glimpses of a deeper, truer self, and when I catch this reflection, beauty shimmers to the surface.
More info on the series:
Blue is a self-portrait series exploring a liminal space between the reality of daily life and the mystery of a deeper self. I’ve spent a great deal of time thinking about this, but it came to the forefront during the pandemic, when I was spending extended periods at home. I wonder who we are when we strip away the layers of daily life and the roles we play.
Often, I would spend four hours creating a single photograph. I blacked out the entire house with duvetyne, letting only a crack of light in. I used mirrors, prisms, shutter speed, and orbs to achieve the dreamlike, in-between state I was aiming for - that liminal space where the constructed self dissolves and something truer might emerge."
Gina Cholick is a Los Angeles-based photographer and artist. Her work is driven by light and explores themes of identity, longing, and life’s journey. She combines self-portraits and landscapes to evoke a sense of mystery.
Gina’s fascination with photography began when she took a summer class as a child in South Dakota. She was instantly hooked by the magic of the darkroom. Through her camera, she discovered a sense of adventure and a deeper connection to nature. After earning a BA from the Montana State University School of Film and Photography, she began her career as a lighting technician and producer in Seattle before moving to Los Angeles to enjoy the sunny days and join the city’s thriving art community. She currently works as a commercial and fine art photographer.
Her work has been exhibited in spaces such as the Los Angeles Center of Photography, the Robert Berman Gallery, the Center for Fine Art Photography, SE Center for Photography, Fabrik Projects Gallery, Tilt Gallery, PhotoPlace Gallery, and the San Diego Art Institute. Her images have been featured in publications including Lenscratch, F-Stop Magazine, Bokeh Bokeh Photo, and the Detroit Center for Contemporary Photography. She was a finalist for Critical Mass in 2017.
Images are for sale - please reach out to inquire about edition availability.
Gina Cholick/To the Surface
Gina Cholick/Selves
Gina Cholick/Untouched
Gina Cholick/Seeing Eye
Cetywa Powell/Icicle 1
CETYWA POWELL
"Winter Storm URI"
"February 15th, 2021. Our electricity goes out at 5:15 pm. This isn't cause for panic, and I do what I always do when we lose electricity: I take my laptop to Starbucks. An hour and a half later when I pull up to the house, the street is dark and our garage door won't open. The electricity is still out.
The temperature inside the house has dipped to mid-4o's Fahrenheit, and
worry sets in. I pull out our camping gear — sleeping bags, flashlights, lanterns — and we huddle in one bed underneath a pile of comforters and sleeping bags. Two adults and one child. It's cold. We sleep this way,
cramped, for hours. But my husband slips out later — the bed's too crowded, he says.
The morning after, it's 30 degrees Fahrenheit inside. Outside, it's 10. This is the coldest weather Texas has had since 1989. We have a gas stove, so we make tea, coffee, soups. When the sun streams across the living room floor, we take notes from our dog and bathe in the sunlight where it feels 10 degrees warmer.
Austin Airport cancels all arrival and departure flights.
A day later, on February 16th, the electricity returns. Things seem normal for the rest of the day, and we revel in the fact that we now have indoor heat. Later that afternoon, I receive a text. My neighbor. Save as much water as you can, she says. We're going to lose water. Water trickles out when I turn the faucets on, but I leave them running, filling up bottle after bottle. My sleep that night is troubled. February 17th. We wake up with no water.
For dishes, I melt snow over our stove, but it's hard. I always run out of water halfway. Flushing the toilet becomes a chore. For each flush, we need two large pots of water: 45 minutes of collecting snow and
melting it. I allow flushes only for number 2. Our grocery store is out of water and is low on food supplies. The roads are too icy and therefore unsafe for the delivery trucks. Meanwhile, our food supply is dwindling. So is our water supply. And with the snow piled high on the surrounding roads, we're effectively stranded.
Day 2 of no water. February 18th.I take inventory. We have enough water for 2 more days. I think. The days feel dreary, but we attempt a degree of normalcy. At least we have heat. Day 3 of no water. February 19th. I email Austin friends and acquaintances. My son's school - or maybe a parent - sends out a mass email of a water pick-up spot. The city is handing out bottles of water. I feel a semblance of relief. We have 3 bottles of drinking water left. Day 4 of no water. February 20th. My
feet feel particularly dry, and I'm tired of melting snow. My shoulders visibly slump when someone in the house has to go to the bathroom for a number 2.
My outlook darkens. I work, melt snow, and take photos of the icicles I collect. Their skeletal features reflect my mood. I find them morbid and strangely beautiful. The death toll in Austin rises to 28.
February 21st, our water is back on. When our days feel "normal" again, I walk around the neighborhood, camera in hand, trying to find slivers of beauty. One day without electricity and four days without water seem trivial now. But a year later, I buy a battery-powered generator and stock up on water and canned food. Just in case."
Cetywa Powell is a photographer, writer, and filmmaker. Her photos have
appeared in The New York Times, National Geographic's online Daily Dozen, and at the Museum of Flight in Seattle as well as the Grants Pass Museum of Art in Oregon. She has been part of exhibitions worldwide.
IMAGES FOR SALE
All 3 photos:
Moab Entrada Rag Bright paper
$350 unframed
Limited edition of 5
Signed on back
Contact: Cetywa Powell at ten8photography@undergroundvoices.com
"Winter Storm URI"
"February 15th, 2021. Our electricity goes out at 5:15 pm. This isn't cause for panic, and I do what I always do when we lose electricity: I take my laptop to Starbucks. An hour and a half later when I pull up to the house, the street is dark and our garage door won't open. The electricity is still out.
The temperature inside the house has dipped to mid-4o's Fahrenheit, and
worry sets in. I pull out our camping gear — sleeping bags, flashlights, lanterns — and we huddle in one bed underneath a pile of comforters and sleeping bags. Two adults and one child. It's cold. We sleep this way,
cramped, for hours. But my husband slips out later — the bed's too crowded, he says.
The morning after, it's 30 degrees Fahrenheit inside. Outside, it's 10. This is the coldest weather Texas has had since 1989. We have a gas stove, so we make tea, coffee, soups. When the sun streams across the living room floor, we take notes from our dog and bathe in the sunlight where it feels 10 degrees warmer.
Austin Airport cancels all arrival and departure flights.
A day later, on February 16th, the electricity returns. Things seem normal for the rest of the day, and we revel in the fact that we now have indoor heat. Later that afternoon, I receive a text. My neighbor. Save as much water as you can, she says. We're going to lose water. Water trickles out when I turn the faucets on, but I leave them running, filling up bottle after bottle. My sleep that night is troubled. February 17th. We wake up with no water.
For dishes, I melt snow over our stove, but it's hard. I always run out of water halfway. Flushing the toilet becomes a chore. For each flush, we need two large pots of water: 45 minutes of collecting snow and
melting it. I allow flushes only for number 2. Our grocery store is out of water and is low on food supplies. The roads are too icy and therefore unsafe for the delivery trucks. Meanwhile, our food supply is dwindling. So is our water supply. And with the snow piled high on the surrounding roads, we're effectively stranded.
Day 2 of no water. February 18th.I take inventory. We have enough water for 2 more days. I think. The days feel dreary, but we attempt a degree of normalcy. At least we have heat. Day 3 of no water. February 19th. I email Austin friends and acquaintances. My son's school - or maybe a parent - sends out a mass email of a water pick-up spot. The city is handing out bottles of water. I feel a semblance of relief. We have 3 bottles of drinking water left. Day 4 of no water. February 20th. My
feet feel particularly dry, and I'm tired of melting snow. My shoulders visibly slump when someone in the house has to go to the bathroom for a number 2.
My outlook darkens. I work, melt snow, and take photos of the icicles I collect. Their skeletal features reflect my mood. I find them morbid and strangely beautiful. The death toll in Austin rises to 28.
February 21st, our water is back on. When our days feel "normal" again, I walk around the neighborhood, camera in hand, trying to find slivers of beauty. One day without electricity and four days without water seem trivial now. But a year later, I buy a battery-powered generator and stock up on water and canned food. Just in case."
Cetywa Powell is a photographer, writer, and filmmaker. Her photos have
appeared in The New York Times, National Geographic's online Daily Dozen, and at the Museum of Flight in Seattle as well as the Grants Pass Museum of Art in Oregon. She has been part of exhibitions worldwide.
IMAGES FOR SALE
All 3 photos:
Moab Entrada Rag Bright paper
$350 unframed
Limited edition of 5
Signed on back
Contact: Cetywa Powell at ten8photography@undergroundvoices.com
Cetywa Powell/Icicle 2
Diana Lundin/LA River, Light Motion Study 1
DIANA LUNDIN
"This series of "Light + Motion" abstracts of the Los Angeles River was my attempt at breaking my chronic pursuit of perfection.
I'm not saying I achieved perfection but I did strive for it, entering my skilled images of dogs and cats into multiple international competitions. And one day, the idea of perfection just broke me. I didn't want that anymore, I felt like I was bleeding the soul out of my work by worrying about every little pixel out of place, every shadow crossing where, in the end, it wasn't wanted.
I took an organized photo walk of the Los Angeles River and on the morning I set off, I grabbed equipment I was unfamiliar with to force myself to try something new. I brought a 25x extension tube, meant for macro work. I figured I could magnify something small, a bee or flower perhaps, but instead, I pointed my camera across to the opposite river bank and of course nothing was in focus, it was so far away. But then I decided to use a very slow shutter speed and pan my camera across the bank and something magical happened. I started to see just light and motion, nothing tangible in focus. And the colors! They were shocking, how they blended the vegetation of the banks and the reflection of the sky on the river itself. You couldn't be sure what the subject was.
But it was poetry. Written in words of my favorite colors. Nothing was perfect, which made it so perfect. I broke the chokehold perfection had on me and helped bring out what was the alchemy between me, the river, my camera, and the magic of light and motion rendered in two dimensions.
And it gave the LA River, the ugly river in a concrete strait jacket, another voice, too. It whispered to me, "See me differently. Don't see what they've done to me. See what I can do to you." And I did see."
IMAGES FOR SALE-
Images 1 through 6
10"x8" fine art prints
$125 each
series of 6 10"x8"s
$550.
Contact-
diana@dianalundin.com
"This series of "Light + Motion" abstracts of the Los Angeles River was my attempt at breaking my chronic pursuit of perfection.
I'm not saying I achieved perfection but I did strive for it, entering my skilled images of dogs and cats into multiple international competitions. And one day, the idea of perfection just broke me. I didn't want that anymore, I felt like I was bleeding the soul out of my work by worrying about every little pixel out of place, every shadow crossing where, in the end, it wasn't wanted.
I took an organized photo walk of the Los Angeles River and on the morning I set off, I grabbed equipment I was unfamiliar with to force myself to try something new. I brought a 25x extension tube, meant for macro work. I figured I could magnify something small, a bee or flower perhaps, but instead, I pointed my camera across to the opposite river bank and of course nothing was in focus, it was so far away. But then I decided to use a very slow shutter speed and pan my camera across the bank and something magical happened. I started to see just light and motion, nothing tangible in focus. And the colors! They were shocking, how they blended the vegetation of the banks and the reflection of the sky on the river itself. You couldn't be sure what the subject was.
But it was poetry. Written in words of my favorite colors. Nothing was perfect, which made it so perfect. I broke the chokehold perfection had on me and helped bring out what was the alchemy between me, the river, my camera, and the magic of light and motion rendered in two dimensions.
And it gave the LA River, the ugly river in a concrete strait jacket, another voice, too. It whispered to me, "See me differently. Don't see what they've done to me. See what I can do to you." And I did see."
IMAGES FOR SALE-
Images 1 through 6
10"x8" fine art prints
$125 each
series of 6 10"x8"s
$550.
Contact-
diana@dianalundin.com
Diana Lundin/LA River, Light Motion Study 2
Diana Lundin/LA River, Light Motion Study 3
Diana Lundin/LA River, Light Motion Study 4
Diana Lundin/LA River, Light Motion Study 5
Ellen Jantzen/Articulate
ELLEN JANTZEN
"Being immersed in medical issues for the last two years I have finally started using my CT images to create new works.
As I have been creating landscapes, mostly, for quite some time now I have combined my CT’s with various natural environments. I have titled the series ScanScapes."
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software.
As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces.
Ellen has been creating works that bridge the world of prints, photography and collage.
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery:
http://www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM www.editionone.gallery
Awards include the 2022 SERIES WINNER in the Digital Manipulation and Collage category in the 19th Julia Margaret Cameron Awards!!! For my series: Mid + West Dreaming HONORABLE MENTION in the17th Black & White Spider Awards for my photo “Departure” HONORABLE MENTION. I am up for a re/focus award Lectures 2022 i3 (Ideas, Images, Inspiration) lecture series I spoke and showed my work (January 11, 2022) at the School of Visual Arts NYC. This was a Zoom presentation. 2022 The landscape show, "Creating Land" opened in Pingyao, China on September 19th. It is wonderful to know that nine of my pieces were shown.
"Being immersed in medical issues for the last two years I have finally started using my CT images to create new works.
As I have been creating landscapes, mostly, for quite some time now I have combined my CT’s with various natural environments. I have titled the series ScanScapes."
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software.
As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces.
Ellen has been creating works that bridge the world of prints, photography and collage.
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery:
http://www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM www.editionone.gallery
Awards include the 2022 SERIES WINNER in the Digital Manipulation and Collage category in the 19th Julia Margaret Cameron Awards!!! For my series: Mid + West Dreaming HONORABLE MENTION in the17th Black & White Spider Awards for my photo “Departure” HONORABLE MENTION. I am up for a re/focus award Lectures 2022 i3 (Ideas, Images, Inspiration) lecture series I spoke and showed my work (January 11, 2022) at the School of Visual Arts NYC. This was a Zoom presentation. 2022 The landscape show, "Creating Land" opened in Pingyao, China on September 19th. It is wonderful to know that nine of my pieces were shown.
Ellen Jantzen/Attenuation
Ellen Jantzen/Divaricate
Diane Fenster/Chiaroscuro of the Heart
FIRST PLACE
FIRST PLACE
DIANE FENSTER
JUROR COMMENTS:
Elizabeth Bailey wrote:
"This image is clearly deeply felt, with a sense of personal meaning and emotion both conveyed and contained within it. The layering of portrait and plant material evokes a feeling of remembering or dreaming, suggesting a reflective state and the passage of time. The organic textures and color palette complement the pensive mood and draw the viewer in."
Peter Bennett wrote:
"The photograph succeeds so well because it has such a strong emotional impact as well as a visual one. It is a powerful image that captures one’s attention through its balanced composition and gentle tones, and the closed eyes of the subject and the juxtaposed imagery and textures create a depth that invite the viewer into her mind and memories."
QUESTIONS:
JURORS: "How did you create this image? Is it a double exposure?"
DIANE FENSTER: "This image is a self-portrait combined with photographs of plant material using Photoshop layers."
JURORS: "What inspired you to create this image?"
FENSTER: "Chiaroscuro Of The Heart is from my series Clothed In Widow’s Weeds. In this series I am exploring the layered emotions and memories that envelop my experience of the loss of my husband."
JURORS: What influences your work?"
FENSTER: "Many of my projects are responses to personal experiences or emotional states — for example, A Long History Of Dark Sleep, self-portraits made during the pandemic that explore anxiety and insomnia. These self-reflective works inform my ongoing interest in fundamental human issues and influences how I approach subject matter.
I see myself as an “alchemist,” blending digital tools with alternative and experimental photographic processes (e.g., toy cameras, Polaroid pack film, lumen printing, transparency transfers) to push beyond straight photography. These methods influence not just how my images look, but also what they mean — with materials and process acting as metaphors for themes like memory, fragility, loss, and transformation.
My work is often described as literary and emotional, layered with symbols and metaphors that suggest stories, inner states, and psychological landscapes rather than literal representation. This narrative approach comes from my interest in combining elements (images, writing, themes) to build visual meaning, often in ways that resemble poetic or symbolic storytelling."
JURORS: "Do you have a theme you return to?"
FENSTER: "My work deeply explores fundamental human conditions — memory, emotion, identity, psychological states, and life transitions. My images often are introspective, emotional, and symbolic rather than purely representational."
JURORS: "Is this image tied to a specific memory for you, or is it a more general representation of the the process of memory?"
FENSTER: "This image, as well as the entire Widow’s Weeds series references the emotional turmoil of being my husband’s caregiver and his subsequent death."
JURORS: "Did you shoot the added elements for this image, or were they from photos you already had?"
FENSTER: The plant material was collected and photographed specifically for this series."
MORE ABOUT DIANE FENSTER:
Diane Fenster says, "In Clothed in Widow’s Weeds, I explore the layered emotions and memories that envelop the experience of loss. Through my imagery, I seek to give form to the silent mourning, the tangled grief, and the resilience found within the depths of sorrow. The title references traditional mourning attire, symbolizing both society’s expectations and personal rituals of grief.
My work captures moments of vulnerability and transcendence—delicate textures, somber tones, and symbolic elements that evoke the presence of my husband even in his absence. These images serve as both a tribute and a confrontation with mortality, illustrating the complex dance between despair and hope.
Ultimately, this body of work is a reflection on love’s enduring imprint and the process of healing that unfolds in the shadow of loss. Through photography/symbolism using weeds from our garden and our future gravesite and layered composition, I aim to connect viewers with universal experiences of mourning, while honoring my personal journey through grief.
Self-taught photographer exhibiting since 1990. I view myself as an alchemist, using digital, alternative processes, and traditional photographic tools to delve into fundamental human issues. My work is literary and emotional, full of symbolism and multiple layers of meaning.
My images have appeared in numerous publications on photography digital art. I've been a guest lecturer at many seminars and conferences, internationally exhibited and a part of museum, corporate and private collections.
In 2001 I was the first artist inducted into the Adobe Photoshop Hall Of Fame. My work appears in the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC.
Recent recognition includes inclusion in Photolucida’s Critical Mass Top 200 in 2025 and 2022.
IMAGES FOR SALE-
All images 11"H x 14” W
Chromogenic print
$400 unframed
Limited edition of 5 plus 1AP
Signed on back
Contact: Diane Fenster diane@dianefenster.com
JUROR COMMENTS:
Elizabeth Bailey wrote:
"This image is clearly deeply felt, with a sense of personal meaning and emotion both conveyed and contained within it. The layering of portrait and plant material evokes a feeling of remembering or dreaming, suggesting a reflective state and the passage of time. The organic textures and color palette complement the pensive mood and draw the viewer in."
Peter Bennett wrote:
"The photograph succeeds so well because it has such a strong emotional impact as well as a visual one. It is a powerful image that captures one’s attention through its balanced composition and gentle tones, and the closed eyes of the subject and the juxtaposed imagery and textures create a depth that invite the viewer into her mind and memories."
QUESTIONS:
JURORS: "How did you create this image? Is it a double exposure?"
DIANE FENSTER: "This image is a self-portrait combined with photographs of plant material using Photoshop layers."
JURORS: "What inspired you to create this image?"
FENSTER: "Chiaroscuro Of The Heart is from my series Clothed In Widow’s Weeds. In this series I am exploring the layered emotions and memories that envelop my experience of the loss of my husband."
JURORS: What influences your work?"
FENSTER: "Many of my projects are responses to personal experiences or emotional states — for example, A Long History Of Dark Sleep, self-portraits made during the pandemic that explore anxiety and insomnia. These self-reflective works inform my ongoing interest in fundamental human issues and influences how I approach subject matter.
I see myself as an “alchemist,” blending digital tools with alternative and experimental photographic processes (e.g., toy cameras, Polaroid pack film, lumen printing, transparency transfers) to push beyond straight photography. These methods influence not just how my images look, but also what they mean — with materials and process acting as metaphors for themes like memory, fragility, loss, and transformation.
My work is often described as literary and emotional, layered with symbols and metaphors that suggest stories, inner states, and psychological landscapes rather than literal representation. This narrative approach comes from my interest in combining elements (images, writing, themes) to build visual meaning, often in ways that resemble poetic or symbolic storytelling."
JURORS: "Do you have a theme you return to?"
FENSTER: "My work deeply explores fundamental human conditions — memory, emotion, identity, psychological states, and life transitions. My images often are introspective, emotional, and symbolic rather than purely representational."
JURORS: "Is this image tied to a specific memory for you, or is it a more general representation of the the process of memory?"
FENSTER: "This image, as well as the entire Widow’s Weeds series references the emotional turmoil of being my husband’s caregiver and his subsequent death."
JURORS: "Did you shoot the added elements for this image, or were they from photos you already had?"
FENSTER: The plant material was collected and photographed specifically for this series."
MORE ABOUT DIANE FENSTER:
Diane Fenster says, "In Clothed in Widow’s Weeds, I explore the layered emotions and memories that envelop the experience of loss. Through my imagery, I seek to give form to the silent mourning, the tangled grief, and the resilience found within the depths of sorrow. The title references traditional mourning attire, symbolizing both society’s expectations and personal rituals of grief.
My work captures moments of vulnerability and transcendence—delicate textures, somber tones, and symbolic elements that evoke the presence of my husband even in his absence. These images serve as both a tribute and a confrontation with mortality, illustrating the complex dance between despair and hope.
Ultimately, this body of work is a reflection on love’s enduring imprint and the process of healing that unfolds in the shadow of loss. Through photography/symbolism using weeds from our garden and our future gravesite and layered composition, I aim to connect viewers with universal experiences of mourning, while honoring my personal journey through grief.
Self-taught photographer exhibiting since 1990. I view myself as an alchemist, using digital, alternative processes, and traditional photographic tools to delve into fundamental human issues. My work is literary and emotional, full of symbolism and multiple layers of meaning.
My images have appeared in numerous publications on photography digital art. I've been a guest lecturer at many seminars and conferences, internationally exhibited and a part of museum, corporate and private collections.
In 2001 I was the first artist inducted into the Adobe Photoshop Hall Of Fame. My work appears in the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC.
Recent recognition includes inclusion in Photolucida’s Critical Mass Top 200 in 2025 and 2022.
IMAGES FOR SALE-
All images 11"H x 14” W
Chromogenic print
$400 unframed
Limited edition of 5 plus 1AP
Signed on back
Contact: Diane Fenster diane@dianefenster.com
Diane Fenster/Eros and Pathos #2
Diane Fenster/Ghostfire on the Horizon
Diane Fenster/Raven Broken Wind
Diane Fenster/Sister Morphine #3
Diane Fenster/Where the Mountain Meets the Sea
Jane Gottlieb/Daydream
JANE GOTTLIEB
"I have been a full-time artist for over 50 years, creating art with photographs I have taken all over the world, my colorful imagination, and the magic of Photoshop.
My love of color and composition, combined with my unique vision, make viewing my artwork a true joy.
My award-winning artwork is featured in both private and corporate collections, as well as in museums, public spaces, art galleries, and at international art expos.
My art is in countless permanent collections, magazines, and books.
Jane Gottlieb is a colorist. The descriptive term is used sparingly since few artists have been blessed with the ability to utilize color as the principal component of a work. Gottlieb’s vibrant art challenges both the mind and the eye. Channeled through a remarkable imagination and disciplined eye, she delivers to us a visual universe of unparalleled wonders. These are classically beautiful works in theme and composition, but move well beyond tradition in interpretation and critical placement of exuberant color. These works are not about superficial razzle-dazzle. Instead,
Jane Gottlieb’s works are about color’s understanding of natural form.
If the role of art is to cause us to better understand ourselves and the environment in which we reside, then Jane Gottlieb’s artworks are a
resounding success.”
Dr. Louis Zona, Director, Butler Institute of American Art
IMAGES FOR SALE-
Contact artist through website. Prices from $1,000 to $15,000 depending on size.
"I have been a full-time artist for over 50 years, creating art with photographs I have taken all over the world, my colorful imagination, and the magic of Photoshop.
My love of color and composition, combined with my unique vision, make viewing my artwork a true joy.
My award-winning artwork is featured in both private and corporate collections, as well as in museums, public spaces, art galleries, and at international art expos.
My art is in countless permanent collections, magazines, and books.
Jane Gottlieb is a colorist. The descriptive term is used sparingly since few artists have been blessed with the ability to utilize color as the principal component of a work. Gottlieb’s vibrant art challenges both the mind and the eye. Channeled through a remarkable imagination and disciplined eye, she delivers to us a visual universe of unparalleled wonders. These are classically beautiful works in theme and composition, but move well beyond tradition in interpretation and critical placement of exuberant color. These works are not about superficial razzle-dazzle. Instead,
Jane Gottlieb’s works are about color’s understanding of natural form.
If the role of art is to cause us to better understand ourselves and the environment in which we reside, then Jane Gottlieb’s artworks are a
resounding success.”
Dr. Louis Zona, Director, Butler Institute of American Art
IMAGES FOR SALE-
Contact artist through website. Prices from $1,000 to $15,000 depending on size.
Jane Gottlieb/Dreamland
Jane Gottlieb/Magical Midnight
Jane Gottlieb/Going Up & Up & Up
Jane Gottlieb/Paris Pyramid at Dusk
Jesse Kieffer/Derelictz Correo
HONORABLE MENTION
HONORABLE MENTION
JESSE KIEFFER
"In the City"
"I am a beginning photographer with a love for my city that I struggle to express. One way to tell a city you love it, as you might a person, is to hold it in your gaze. To look closely enough to observe its intricacies—stone mermaids writhing high on the corners of historic buildings, the glow of a streetlight illuminating a stranger’s face—and from far enough away that you can find it in its place along the curvature of the earth, surrounded by distant stars.
I cannot observe in this way with my eyes alone. I need a lens—that miraculous circle of polished glass inside which the world comes into focus. And a camera of course, and long afternoons and nights to carry it through city streets and neighborhoods. When I lace up my shoes and drape my camera strap over my shoulder, I am preparing to seek my beloved. It is my hope that my tenderness toward my city and its people will show in these photographs—that the observer’s gaze will linger there, as mine has, if only for a moment."
Jesse Kieffer was born in Boston, Massachusetts, and has lived there for most of her life. As long as she can remember, she has loved language, and in 2012 graduated from the University of Massachusetts having received several awards for her writing. Her work has appeared Audubon, AMC Outdoors, and Hippocampus Magazine, among other publications.
Inherent in the discipline of writing is the ability to visualize a scene, and the elements of a compelling written scene mirror those of a good photograph. So for Jesse, the addition of photography to her creative life was a natural transition. She bought a small mirrorless digital camera and joined the venerable, 140 year-old Boston Camera Club in December of 2020
During the long COVID lockdown hours, she wandered the streets of Boston for hours each day, taking hundreds of out-of focus and poorly-composed photographs. Over time though, the pictures got better. She started winning camera club contests, and her photograph, After the Party, was awarded an Honorable Mention in the 2021 edition of the International Photography Awards.
Jesse is passionate about photography, dedicated to both the art and the craft. She hopes someday to combine her skills as a writer and photographer in photojournalism.
Images for sale-
Girl Aloft 12H X18W
Archival paper
$300 unframed
Signed on back
A Solitary Figure Surrounded by Light 18H x 12W
Archival paper
Limited edition of 15
$200 unframed
Signed on back
Subway Sleeper 8H x 10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
All the Way Through. 16H x 9W
Archival paper
$200 unframed
Limited edition of 15
Signed on back
After the Party 12Hx18W
Archival paper
$300 unframed
Signed on back
The Dancer Appears 8H x10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
For all images, contact Jesse Kieffer
jesse.e.kieffer@gmail.com
Instagram: @jesse_kieffer
"In the City"
"I am a beginning photographer with a love for my city that I struggle to express. One way to tell a city you love it, as you might a person, is to hold it in your gaze. To look closely enough to observe its intricacies—stone mermaids writhing high on the corners of historic buildings, the glow of a streetlight illuminating a stranger’s face—and from far enough away that you can find it in its place along the curvature of the earth, surrounded by distant stars.
I cannot observe in this way with my eyes alone. I need a lens—that miraculous circle of polished glass inside which the world comes into focus. And a camera of course, and long afternoons and nights to carry it through city streets and neighborhoods. When I lace up my shoes and drape my camera strap over my shoulder, I am preparing to seek my beloved. It is my hope that my tenderness toward my city and its people will show in these photographs—that the observer’s gaze will linger there, as mine has, if only for a moment."
Jesse Kieffer was born in Boston, Massachusetts, and has lived there for most of her life. As long as she can remember, she has loved language, and in 2012 graduated from the University of Massachusetts having received several awards for her writing. Her work has appeared Audubon, AMC Outdoors, and Hippocampus Magazine, among other publications.
Inherent in the discipline of writing is the ability to visualize a scene, and the elements of a compelling written scene mirror those of a good photograph. So for Jesse, the addition of photography to her creative life was a natural transition. She bought a small mirrorless digital camera and joined the venerable, 140 year-old Boston Camera Club in December of 2020
During the long COVID lockdown hours, she wandered the streets of Boston for hours each day, taking hundreds of out-of focus and poorly-composed photographs. Over time though, the pictures got better. She started winning camera club contests, and her photograph, After the Party, was awarded an Honorable Mention in the 2021 edition of the International Photography Awards.
Jesse is passionate about photography, dedicated to both the art and the craft. She hopes someday to combine her skills as a writer and photographer in photojournalism.
Images for sale-
Girl Aloft 12H X18W
Archival paper
$300 unframed
Signed on back
A Solitary Figure Surrounded by Light 18H x 12W
Archival paper
Limited edition of 15
$200 unframed
Signed on back
Subway Sleeper 8H x 10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
All the Way Through. 16H x 9W
Archival paper
$200 unframed
Limited edition of 15
Signed on back
After the Party 12Hx18W
Archival paper
$300 unframed
Signed on back
The Dancer Appears 8H x10W
Archival paper
$250 unframed
Limited edition of 15
Signed on back
For all images, contact Jesse Kieffer
jesse.e.kieffer@gmail.com
Instagram: @jesse_kieffer
Jesse Kieffer/Ferns and Steeple
Jesse Kieffer/The Secret
Kathryn Dunlevie/Cowboy Boots by Night
HONORABLE MENTION
HONORABLE MENTION
KATHRYN DUNLEVIE
"Femmes Futuristes"
"I have in my life experienced self-doubt, insecurities and inhibitions - and I know I have not been alone.
With these "Femmes Futuristes" I hope to inspire a jettisoning of such limitations, and a transformation of the self, where qualities and attitudes are chosen freely, independent of societal norms and familial pressures.
I have worked with my photographs and snippets of ephemeral printed matter, selecting bits and pieces, and constructing figures whose gestures suggest a sense of empowerment and possibility. Finally, I situate them in venues where they are free to create their own narratives.
These figures are viewed as if with x-ray vision - their patchwork interiors hinting at what they might have lived, their silhouettes offering clues as to how they have proceeded through time. They model a new energy and the prospect of a brighter future.
I hope we will all move forward with them, piecing together the best fragments of our personal histories and living our lives with daring authenticity."
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
"Femmes Futuristes"
"I have in my life experienced self-doubt, insecurities and inhibitions - and I know I have not been alone.
With these "Femmes Futuristes" I hope to inspire a jettisoning of such limitations, and a transformation of the self, where qualities and attitudes are chosen freely, independent of societal norms and familial pressures.
I have worked with my photographs and snippets of ephemeral printed matter, selecting bits and pieces, and constructing figures whose gestures suggest a sense of empowerment and possibility. Finally, I situate them in venues where they are free to create their own narratives.
These figures are viewed as if with x-ray vision - their patchwork interiors hinting at what they might have lived, their silhouettes offering clues as to how they have proceeded through time. They model a new energy and the prospect of a brighter future.
I hope we will all move forward with them, piecing together the best fragments of our personal histories and living our lives with daring authenticity."
Born in Atlanta, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid.
She has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited in the People's Republic of China at the Fujian Huaguang Photographic Art Museum, and at the Pingyao International Photography Festival, as well as in Moscow with the US Art in Embassies Program, at Toronto’s Gallery TPW, and in the United States at FotoFest International, San Francisco Camerawork, PhotoAlliance, the Southeast Museum of Photography, Washington DC’s Art Museum of the Americas, and the Institute of Contemporary Art San Jose.
Her work has been reviewed in Spain’s La Fotografia Actual, in Korea’s photo +, in Germany’s Profifoto, as well as in San Francisco's Camerawork: A Journal of Photographic Arts, Visual Art Source, and AestheticsToday.blogs.
Kathryn Dunlevie/Best Foot Forward
Kathryn Dunlevie/Eurydice
Kathryn Dunlevie/Moving Fast
Kathryn Dunlevie/Tiresias
Kathryn Dunlevie/Veneziana
www.kathryndunlevie.com
www.instagram.com/kathryndunlevie
www.instagram.com/kathryndunlevie
PERSONAL NARRATIVE HOME:
FIRST PLACE:
HONORABLE MENTIONS:
BEST SERIES:
EXHIBITION #1:
EXHIBITION #2:
