Edgar, together with his wife Alison, followed his undergraduate Fine Arts degree from Wayne State University in Detroit with two Peace Corps years in Nellore, Andhra Pradesh, in southern India. His works to this day retain an influence from the sights, sounds, colors and deep spiritual meaning of that culture, particularly in the rich and complex backgrounds of his drawings, and in the thematic influence and structure of his works in oil.
Building on those textured graphite rubbings and hatchings, Edgar's foregrounds present on the one hand mystical even startling figurative work, and on the other hand natural forms progressing in varying ways toward abstraction. His most recent work shows a developing passion for color.
In the time following his India adventure, Edgar pursued and MFA from the University of Wisconsin at Madison. He then taught art back in Michigan at Hope College in Holland, Lansing Community College and Charles Stuart Mott Community College in Flint. For six years he joined with three other artist in opening the first gallery in Lansing's Old Town. He continued exhibiting silkscreens, photographs and drawings at Old Town galleries until quite recently.
Locally, Edgar is retired from a long career in commercial printing, and has returned full-time to his Quakertown studio, where his long-neglected brushes have rediscovered the challenges and joys of oil painting. Recent exhibitions have included the Cheltenham Arts Consortium, Banana Factory Members' Exhibitions, and the Greenshire Arts Consortium.
Tappan, New York
While in art school at Kutztown University in Pennsylvania, Jefferson worked at local frame shops – learning the craft of framing as well as researching its history and practice – from Old Master to contemporary. This developing passion led to a position as Gallery Director at Eli Wilner of Manhattan, dealer in antique frames and their restoration, and framer to major museums, auction houses and both public and private collections.
As an artist, Jefferson moved from drawing and silver point etching to the first stirrings of a second passion – photography, first as a preparation for drawing then later as an art in its own right. He had noted that the drawings did not do justice to the lighting in the photos themselves, and with this observation launched his current full-time career as a photographer, choosing black-and-white film as medium.
Jefferson first came to the notice of the New York art world with the muted surfaces and sensuous qualities of his cityscapes. Basing his work on 19th-century photographic classics and the scenic production qualities of film noir, Hayman's eye searches out the present in terms of a classic past. As one critic has noted, Unlike any other photographer in this digital age, Jefferson's works have the look of delicately executed, graphite drawings. Filled with a heady atmosphere, his toned gelatin silver prints hover somewhere between the city's history and its dream.
As the cityscapes pay homage to photographic old masters, his more recent foray into photographic stills – common objects depicted alone or in odd-numbered groups – owes an acknowledged debt to the Dutch Old Masters (of cigar-box fame). His dawning attention to figurative work evidences these same mysterious and dream-like qualities.
Thought the subject matter is universal, Hayman's rendering of materials and use of the frame far remove them from conventionality. The sense of history and nostalgia is strongly evident in the craftsmanship of Hayman's found, vintage or self-designed and hand-made frames. Most of his frames reflect the American designs of the late 19th and early 20th centuries. His attention to craftsmanship of the highest order recalls the artistry and workmanship of a fine piece of Gustav Stickley furniture or the timeless qualities of an Alfred Stieglitz or Edward Steichen photograph, according to the same Manhatttan critic.
His works are in the personal collections of President William Jefferson Clinton, Robert DeNiro, Ethan Hawke, David Mamet, Whoopi Goldberg, Eli Wlner and Sir Kenneth Thompson among others, as well as in the collections of Banana Republic, Nautica, Regis Corporation and Kutztown University. Most recently he had a portfolio accepted as part of Manhattan's MOMA collection.
New York, New York
Jane has been a Sidetracks Art Gallery artist since her debut as one of two artists in "Welcome to an Artist's Work Day", the opening show of November, 2005. Her work continue to delight art lovers in the New Hope/Lambertville area. A native New Yorker, Jane's artworks range from twisted ballet dancers to quirky critters to fanciful-if- strange scenarios, presenting her individual take on the wonders and foibles of us all. Her multi-media works seem meant both to charm and to puzzle, both to perplex and to delight.
Jane's choice of materials owes as much to her profession as an art restorer and gilder as to her formal art education as an abstract painter. Most of the medieval furniture and polychrome objects she works with are carved wood with a traditional gesso base, then covered with gold leaf and painted with natural earth pigments. Her sculptures take form in large part from the limits and the possibilities of these materials.
Major influences include: first, Santos figures from Central America, the American Southwest and the Philippines (small polychrome figures of Christian saints); and second, Southeast Asia decorative and religious object figures, objects both functional and personal which serve a communal purpose but remain highly individual, each retaining the distinctive touch, even the devotion, of its creator.
Jane sees her resulting sculptures as facets of her personality that need either to be nurtured or celebrated by whoever looks at or lives with them.
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