Strength in Subtly
DEBORAH ARGRYOPOULOS
Original Mixed-media
44 x 57
6800.
Lake Travis Noir
GUY BURCHAK
Original Acrylic
60 x 24
1995.
Cultural Evolution
GUY BURCHAK
Original Pencil
33 x 12
1995.
Storm on Horizon
PAT FLATHOUSE
Original Oil
12 x 6
650.
Winter Birds
PAT FLATHOUSE
Original Watercolor
8 x 10
250.
Dark Trees
PAT FLATHOUSE
Original Watercolor
8 x 10
250.
Where the Moon Leads
PING IRVIN
Original Acrylic
28 x 22
750.
Threshold of Light
PING IRVIN
Original Oil
30 x 30
1200.
Cupcake
SCOTT LEOPOLD
Original Mixed-media
54 x 64
5000.
Pale Rider
SCOTT LEOPOLD
Original Mixed-media
70 x 86
10000.
I’ve Got Rhythm, I’m Just Not Sure Which One
LISA LOUDERMILK
Original Acrylic
24 x 24
795.
McClendon House
JOHN OBRIEN
Original Acrylic
32 x 26
1600.
Flames of Fire
DELYLA OVALLE-BOWYER
Original Acrylic
8 x 8
200.
Storm Surge
DELYLA OVALLE-BOWYER
Original Acrylic
5 x 5
200.
Beyond the Stars
DELYLA OVALLE-BOWYER
Original Acrylic
5 x 5
200.
Glaciers
ROSALINDA PEÑA
Original Acrylic
20 x 16
300.
The Dive
ROSALINDA PEÑA
Original Collage
12 x 24
300.
Floral Elegance
MONIC REYES
Original Mixed-media
40 x 32
3077.
The Motif Collection
MONIC REYES
Original Mixed-media
30 x 40
4888.
Elegance Noire I
MALEN REYES
Original Mixed-media
18 x 22
864.
Elegance Noire II
MALEN REYES
Original Mixed-media
16 x 20
864.
Vitesse I
ROLAND REYES
Original Acrylic
24 x 36
1950.
Vitesse II
ROLAND REYES
Original Acrylic
24 x 36
1950.
Anatomía del silencio
LYMARIS RIVERA
Original Acrylic
24 x 24
1700.
Days of Haze on River
SUE SAKAHARA
Original Oil
36 x 24
1200.
Brown Down
SUE SAKAHARA
Original Oil
14 x 18
500.
The Weight of the World
KIM SCHLINKE
Original Mixed-media
24 x 36
450.
My Sea
KIM SCHLINKE
Original Mixed-media
46 x 30
1000.
Water Sign
KIM SCHLINKE
Original Mixed-media
24 x 36
450.
David
ANASTASIA SHIMANSKAYA
Original Collage
30 x 40
900.
Statue of Liberty
ANASTASIA SHIMANSKAYA
Original Collage
30 x 40
900.
Wind in the birch grove
ANASTASIA SHIMANSKAYA
Original Acrylic
48 x 60
600.
experiment in red
JASON STEINBERG
Original Mixed-media
24 x 36
895.
experiment in blue
JASON STEINBERG
Original Mixed-media
24 x 36
895.
Binary Ballet
MOHAMMAD ALI BHATTI
Original Mixed-media
18 x 24
3500.
MONOCHROME
Harmony in Contrast
MOHAMMAD ALI BHATTI
Original Mixed-media
17 x 23
3250.
MONOCHROME
The Midnight Harmony
MOHAMMAD ALI BHATTI
Original Mixed-media
17 x 23
3250.
MONOCHROME
Unity in Duality
MOHAMMAD ALI BHATTI
Original Mixed-media
17 x 23
3250.
MONOCHROME
August
JOHN OBRIEN
Original Etching
8 x 10
400.
Museum mounted acid free.
Evolving Universe Indigo Monochrome
ELIZABETH GREGOWICZ
Open Giclee Canvas Giclee
20 x 16
395.
Signed and Art Finished Canvas 1/1
Finding Zen Bronze Monochrome
ELIZABETH GREGOWICZ
Open Giclee Canvas Giclee
16 x 20
395.
Signed and Art Finished Canvas 1/1
Platinum Blonde Sage Monochrome
ELIZABETH GREGOWICZ
Open Giclee Canvas Giclee
20 x 16
395.
Signed and Art Finished Canvas 1/1
Tartarian Style Metal Basket
K JUNE BAKER
Original Watercolor
22 x 18
375.
Tartarian art often includes Botanical Symbols
Catch Me I’m Falling
DEBORAH ARGRYOPOULOS
Original Mixed-media
72 x 48
8800.
hangs with wooden frame on back with 2 d rings. heavy textured
Earth Expression
JOHN FLIPPIN
Original Acrylic
30 x 30
600.
This acrylic painting has been finished with archival varnish.
After The Storm
DAVID PIPER
Original Oil
24 x 20
300.
A violent storm just assaulted a sturdy stand of mesquite trees.
Magic in the Moonlight
DEBORAH ARGRYOPOULOS
Original Mixed-media
24 x 48
4800.
3-d wall art- unframed. hang with standoffs or if you want to frame...
Self Portrait
ROSALINDA PEÑA
Original Acrylic
16 x 16
300.
At Laguna Gloria a sweet and beautiful friend artist took a photo of me.
Still Life in Blue
ANN JOHNSON
Original Oil
14 x 11
400.
A study in blue of potted plants on a stoop in a small village in France.
The Wave
ROSALINDA PEÑA
Original Acrylic
24 x 18
350.
While on a trip to Hawaii, I was very impressed by the gorgeous and giant waves.
Red
BOB SHEPHERD
Original Oil
24 x 24
595.
I think I used every tube of red that I owned in the painting of this painting.
Quite Harbor at Dusk
MOZELLE MARKS
Original Oil
20 x 16
600.
A small rowboat rest on a pebble beach in a tranquil atmosphere of stillness of a natural setting
Crystal Cobalt
BOB SHEPHERD
Original Oil
26 x 32
675.
I inherited this Waterford Cobalt crystal goblet. I loved painting it using 3 different brands of Cobalt Blue.
A Thread in the Fabric of Everything I
JULIE PELAEZ
Original Alcohol Ink
18.5 x 22.5
695.
Inspired by our interconnectedness, each painting strip represents us as individual threads in the fabric of life.
A Thread in the Fabric of Everything II
JULIE PELAEZ
Original Alcohol Ink
18.5 x 22.5
695.
Inspired by our interconnectedness, each painting strip represents us as individual threads in the fabric of life.
A Thread in the Fabric of Everything III
JULIE PELAEZ
Original Alcohol Ink
18.5 x 22.5
695.
Inspired by our interconnectedness, each painting strip represents us as individual threads in the fabric of life.
Rebirth
MOZELLE MARKS
Original Acrylic
24 x 24
750.
A black rose, representing new beginnings in center of concentric squares adds dramatic effect to minimalist painting
Twisted Venus
BOB SHEPHERD
Original Oil
21 x 27
500.
Black and White and nothing else. For a guy who is a green weak colorblind artist (Like van Gogh) I loved doing this painting.
Moonlit drift
GAYATHRI DURISETI
Open Giclee Pen and Ink
11 x 14
350.
Using line work to build topography, this drawing treats both the ocean swells and the sky as a single, continuous map of texture.
Night Dance
BOB SHEPHERD
Original Oil
20 x 23
350.
Gamblin makes a color that is made from all oif their colors mixed together. It's Torrit Grey. This painting is only TorritGrey, black and white.
Stormy Day
MOZELLE MARKS
Original Oil
20 x 16
600.
The colors reminiscent of old photos. A solitary weathered barn situated on a stark landscape with wood planks emphasizing its age and rustic character.
Stride
LISA LOUDERMILK
Original Mixed-media
60 x 12
1500.
Hi, Dan and Melissa. One would say "the blue one" when they saw this piece hanging in a selection. But the blues are not the same hue. Up to you. Thanks.
Due Process
KATHY SULLIVAN
Original Acrylic
30 x 40
8000.
The constitution's fundamental guarantee that all levels of government must operate within the law and provide fair procedures before acting against individuals.
Free Falling
KATHY SULLIVAN
Original Acrylic
36 x 36
5000.
Gravity may pull you down to a landing that is not intended, unlike you. It's what you do with the landing that counts. Put yourself back together better then ever!
Indigo Currents
ANNESSA KING
Original Watercolor
14 x 18
504.
Although this is a watercolor painting, I matched the pictures I took of the now long-oxidized paintings I made with the fugitive blue latex of Indigo Milk Cap mushrooms.
Sleepy Oak
JEFF NABONA
Original Mixed-media
7 x 14
625.
This piece represents the rythm of fall, after the air cools. With a big yawn and a stretch, the oak trees drop their leaves and acorns, and prepare to sleep through winter.
Centripetal
GAYATHRI DURISETI
Open Giclee Pen and Ink
8 x 12
275.
Starting from a central point, the lines branch outward into thick, curving columns. The focus was on creating a sense of pulse and depth purely through line weight and proximity.
Electric Silence
DIMPLE KAUL
Original Acrylic
24 x 24
864.
This painting reimagines a familiar subject through an unexpected palette. By replacing natural color with vibrant magenta, the focus shifts from realism to mood, form, and presence.
Roots to canopy
GAYATHRI DURISETI
Open Giclee Pen and Ink
8 x 12
275.
I’ve always been drawn to the weathered, twisted trunks of old trees. By using long, uninterrupted pen marks, I tried to capture the feeling of growth, tension, and age in a single trunk.
Silk in water
GAYATHRI DURISETI
Open Giclee Pen and Ink
8 x 12
275.
Betta fins have a weightless, textile-like quality in water. I contrasted the tight, structured pattern of the fish’s scales with long, flowing lines in the fins to emphasize fluid motion.
Silent Gallop
DIMPLE KAUL
Original Acrylic
16 x 20
480.
This monochromatic portrait explores movement through light, value, and gesture. By removing color, the focus shifts to the horse's strength, expression, and the rhythm of its flowing mane.
"Night Nurturing"
OLGA GORALEWICZ
Original Acrylic
48 x 36
2000.
Night settles, and she settles with it. Guided by the third eye rather than sight, she holds a quiet, ancient wisdom, feminine, intuitive, unhurried. The stars on her body remind you she was never lost.
Rings
GAYATHRI DURISETI
Open Giclee Pen and Ink
8 x 10
270.
A study in rhythm and patience. Starting from a dense center and moving outward, thousands of individual pen strokes form undulating rings, creating subtle variations in shade and pressure across the page.
Contour study
GAYATHRI DURISETI
Open Giclee Pen and Ink
8 x 12
275.
Rather than using traditional shading, I built the structure of the face entirely out of directional ink lines. Following the natural curves of the muscles gives the subject volume through line density alone.
Golden Refuge
LYMARIS RIVERA
Original Acrylic
30 x 24
2400.
An intimate portrait of returning to oneself. Wrapped in rich mustard tones and deep shadows, the curled figure evokes a sense of rest, resilience, and the quiet strength found in protecting your own inner space.
Living Waters
KATHLEEN CRANDALL
Original Acrylic
20 x 20
275.
Living Waters is a reflection on the beauty of water and its nature to be cleansing, gentle and powerful, and so often calming when we look at it, and how much more transformative is the eternal living water of Christ.
Dialogue Series; Verdant Blink
TIM LOWKE
Original Mixed-media
8 x 8
300.
Dialogue Series; As an outgrowth and exploration within my current Friend or Foe Series, I have begun working on acrylic paintings that explore the conversations had and how they impact my environment, mood and understanding of others.
The Shattering
KATHY SULLIVAN
Original Acrylic
30 x 40
8000.
When you feel like a glass picture that smashed on the floor broken into many little pieces, unrecognizable. Looking from above to the shattered pieces on the floor you find a piece of your heart that is not shattered and you become whole again.
SCARFACE
DOUG GILES
Original Oil
24 x 36
4250.
This is an actual portrait of a lion my buddy photographed deep in the African bush of Tanzania. The facial scars on this lion tell the brutal story of life in the bush. Real life will yield scars so wear them well and get them for noble purposes.
The Parting
KATHLEEN CRANDALL
Open Giclee Watercolor
9 x 12
Please Inquire.
The Parting is a story of Moses parting the Red Sea. This particular painting reminds the artist that God makes a way for us free from the past bondages, and invites us forward into a life of grace and faith. Art available in Giclee Prints. Reach out with questions about prints.
My refuge
LYMARIS RIVERA
Original Acrylic
20 x 20
1600.
A representation of the quiet space we return to when we need to step away from the noise of the outside world. Curled inward, the figure finds refuge in her own presence. A reflection on introspection, stillness, and the beauty of realizing that sometimes, the safest place we can find is within ourselves.
Crescent Horizon
LYMARIS RIVERA
Original Acrylic
60 x 48
5000.
Description:
An abstract, moody landscape that blends organic forms with a surreal night sky. Warm ochre dunes and dark, silhouette-like landforms frame a deep crimson backdrop, anchored by a luminous golden crescent moon. The piece captures a sense of quiet solitude, mystery, and the peaceful vastness of a desert night.
Candle Light Drawing
GRANIA PATTERSON
Original Charcoal
20 x 26
695.
In art class we were tasked with drawing a candlelight picture. No other light allowed. I had a room in my office that had no light other than overhead. It was pitch black. I chose the Asian objects because my professor was Japanese. It was surprising to me that one candle could give off enough lumens that I could see, and it created interesting shadows.
Terracotta Reserve
LYMARIS RIVERA
Original Acrylic
24 x 36
2800.
With a restrained and rich palette of earth tones, this painting captures a silenced emotion. Half of the face is hidden behind an impenetrable shadow, as if guarding a secret or a sorrow. The visible half, with its watchful eye and serious expression, suggests an inner strength and dignity that persist despite the darkness that surrounds it. It is a study of resilience and introspection.
Mr M in the shadow
BEATRIZ CEZON VIVAS
Original Acrylic
30 x 20
995.
This monochromatic artwork, created in a delicate range of pink tones, portrays a floral garden filled with harmony and serenity. Among the flowers, a cat appears, gazing to the side and bringing an element of mystery and curiosity to the scene. The composition invites the viewer to pause and wonder what has caught the cat’s attention, creating a sense of calm, intimacy, and contemplation.
Raw Africa - Wild Dogs
DOUG GILES
Original Oil
36 x 48
6500.
The African wild dog is one of Africa’s most formidable pack hunters. Lean, long-legged, and marked with unique patches of black, brown, white, and yellow, these highly social predators hunt in coordinated packs and can chase prey over long distances. They rely on teamwork, endurance, and relentless pursuit rather than brute strength. Alone they're not a threat but together ... you'd better run.
Passion 02
JEFF NABONA
Original Mixed-media
8 x 12
480.
The limited series “Passion: 0x/05” is a 5 piece study, capturing the short lived beauty of Passion vine flowers and a new boundary in delicacy for my medium. The Green Anole lizards find refuge and insects in the Passion vine, highlighting their interdependency. Both help each other, like we should. Now they reside in a wall hung bud vase.
The medium is steel with layered clear coat for protection.
Static Motion
ANSELMO ORNELAS
Original Acrylic
38 x 32
1650.
This piece explores the overwhelming pressure of modern existence. I wanted to capture the anxiety of feeling trapped in a race you never agreed to run. The sky is a finish line that is everywhere and nowhere, creating a sense of inescapable urgency. The zebra is inherently anxious and exposed, mirroring the isolation people feel in a fast-paced world. It is a visual manifestation of vulnerability, isolation, and the quiet panic of being left behind.
Running Bull
DOUG GILES
Original Oil
48 x 36
5750.
A mature American bison bull is a half-ton to one-ton powerhouse, often weighing 1,500–2,000 pounds, with exceptional strength concentrated in its massive shoulders, neck, and head. Despite its bulk, a bull can sprint around 35 mph, pivot with surprising agility, and use its heavy skull and horns to toss, gore, or trample a threat. At close range, few North American animals combine that much mass, speed, and raw power. Don't try to pet one if you see one.
Conversion of Saint Paul
DOUG GILES
Original Oil
40 x 30
7000.
Saul of Tarsus (later to become The Apostle Paul) wasn’t gently persuaded into Christianity—he was violently interrupted by Christ. A feared persecutor of Christians, Saul was traveling to Damascus to arrest believers when a blinding light from heaven knocked him to the ground and the risen Jesus confronted him: “Saul, Saul, why are you persecuting Me?” (Acts 9:4). Saul rose physically helpless—blind, shaken, and dependent upon others to lead him by the hand. So much for "Gentle Jesus, meek and mild."
Tsavo Maneaters
DOUG GILES
Original Oil
36 x 36
4250.
The Man-Eaters of Tsavo were two maneless male lions that terrorized railroad workers in British East Africa in 1898 during construction of a bridge over the Tsavo River.
For months the lions stalked the camps at night, dragging workers from their tents and killing and eating them, creating such panic that construction nearly stopped. Contemporary railway accounts claimed 135 victims. They were doing it for fun.
The reign of terror ended when Lt.Col. John Patterson, the British officer overseeing the bridge project, hunted the lions relentlessly and shot the first on December 9, 1898, and the second on December 29.
Patterson later chronicled the ordeal in his 1907 book The Man-Eaters of Tsavo. Val Kilmer and Michael Douglas starred in the movie about the ordeal in 1996 called, The Ghost.
Whispers of the Forest
BEATRIZ CEZON VIVAS
Original Acrylic
30 x 30
1500.
An immersion into nature through a universe built entirely in green. The monochrome palette transforms the forest into a timeless space, where light, shadows, and subtle variations of tone create depth, mystery, and movement.
Amid the density of the trees, a small squirrel appears as a subtle and silent presence. Its gaze and path seem to invite the viewer to follow it, venturing alongside it into the heart of the forest, toward a path hidden among the trees.
The squirrel thus becomes a small guide, a link between the viewer and that which lies beyond the visible. Its presence awakens curiosity and suggests that every path holds a story waiting to be discovered.
Green ceases to be merely a color and becomes an atmosphere: life, renewal, mystery, and connection with nature. The work invites us to pause, observe, and let ourselves be led by this small being that, silently, seems to say: follow me.
Gravitas and Delight
ISABEL ALESSIO
Original Oil
16 x 20
1100.
When I was young, I greatly disliked pink and magenta colors. I thought these colors said something about me that I wanted far from my identity. As an adult, I have grown to earnestly love the very colors I once rejected.
Bathed in natural light, these magenta monochromatic flowers remind me of the breath and depth of change, of conversion. Shading the magenta, you can see how much blue/violet is present in the color, giving it gravitas. By tinting it, you return to the childlike delight of its pink essence.
Moving from the bottom right to the top left, you can see my conversion. As a pink-rejecting child, I was trapped in the heaviness of the dark, violet tones. Moving upward and to the left, you vividly see the light and clarity that led to a change of heart. And, at the apex, you hit the bright notes of a tinted magenta, creating a vibrant pink that delights the senses.
Who knew how rich one color could be!
Form Exploration No 3
CHRISTOPHER BECKCOM
Original Matte Giclee
32 x 48
3072.
FORM EXPLORATION NO. 3 IS PART OF THE UNTITLED I SERIES, WHICH MARKS THE BEGINNING OF MY EXPLORATION INTO THIS VISUAL LANGUAGE.
BUILT THROUGH PRECISE GEOMETRY AND SELF-IMPOSED RULES, THE WORK EXAMINES BALANCE, RESTRAINT, AND THE RELATIONSHIP BETWEEN STRUCTURE AND EMOTION.
EACH PIECE FUNCTIONS AS A QUIET FORM OF STORYTELLING, USING LINE, SPACE, AND REPETITION AS ITS VOCABULARY. NEGATIVE SPACE PLAYS A CENTRAL ROLE IN THE SERIES. IT IS NEVER TREATED AS ABSENCE, BUT AS AN INTENTIONAL AND ACTIVE ELEMENT, CAREFULLY SHAPED THROUGH PLACEMENT AND RESTRAINT.
WITHIN THESE BOUNDARIES, A CONVERSATION DEVELOPS BETWEEN FORM AND VOID, CONTROL AND MOVEMENT.
AS MY FIRST COLLECTION IN THIS STYLE, UNTITLED I ESTABLISHES THE FOUNDATION OF MY PRACTICE—WHERE ARCHITECTURAL RIGOR MEETS ORGANIC MOTION, AND LIMITATIONS BECOME OPPORTUNITIES.
THE WORK INVITES VIEWERS TO PAUSE, LOOK CLOSELY, AND CONNECT WITH SOMETHING RAW, INTERNAL, AND DEEPLY HUMAN.