Artists: Paper Chassis
001. Lisa Goren
Angles of Ice on the Ground, 2018
watercolor
Painting of frozen ground in Boston.
002. Lisa Goren
The Lava Pulls Apart, 2018
watercolor
Painting of broken lava in Iceland.
003. Lisa Goren
Glacier Greenland, 2018
watercolor
Watercolor of a view of Greenland from a plane's window.
004. Jen Roberts
Water, 2018
ink
While considering meanings for chassis, I reflected on the most recent of antique American cars I’ve lost to rot and other structures that offer ephemeral opportunities. These drawings represent forms and vehicles in nature with promising possibilities that facilitate movement and change.
005. Jen Roberts
Root, 2018
ink, graphite, collage
006. Jen Roberts
Heat Vent, 2018
ink, collage
007. Benjamin O’Brien
No. 36 - On Your Birthday, 2018
mixed media
008. Benjamin O’Brien
Indigo Hill, 2018
acrylic
009. Benjamin O’Brien
Luscerne, 2018
ink, newsprint
010. Tony Schwensen
Seventeen Angry Democrats, 2018
digital (laser) print
011. Thaddeus Beal
Fuse 2, 2018
carbon on paper
012. Thaddeus Beal
Fuse 1, 2018
carbon on paper
013. John McVey
etherings (ɛðərings), 1, 2018
unidentified non-woven geotextile fabric, (redundant top layer)
taken from site at
33.954584, 133.300480
1 of 6, keywords:
andscapes; encrustations; folds;
orrowings; weathering
014. John McVey
etherings (ɛðərings), 2, 2018
unidentified non-woven geotextile fabric, (redundant top layer)
taken from site at
33.954584, 133.300480
2 of 6, keywords:
andscapes; encrustations; folds;
orrowings; weathering
015. John McVey
etherings (ɛðərings), 3, 2018
unidentified non-woven geotextile fabric, (redundant top layer)
taken from site at
33.954584, 133.300480
3 of 6, keywords:
andscapes; encrustations; folds;
orrowings; weathering
016. Anne Corrsin
Against Type, 2018
graphite, printed text
017. Sophia Ainslie
Last Touch A, 2018
collage, india ink, Flashe, acrylic paint
018. Sophia Ainslie
Last Touch B, 2018
collage, india ink, Flashe, acrylic paint
019. Sophia Ainslie
Last Touch C, 2018
collage, india ink, Flashe, acrylic paint
020. Sophia Ainslie
Last Touch D, 2018
collage, india ink, Flashe, acrylic paint
021. Jesse M. Kahn
Dark Room Back Room, 2018
foil, laser toner, vellum
022. Megan Pepin
Don't Touch Me, 2018
ink, watercolor, gel-pen
023. Nancy Mags
Woods, 2018
Xmas tissue, paint swatches, garlic box, packaging, vintage magazines, books, mod podge, glue
024. Nancy Mags
Flowers, 2018
Xmas gift box, tissue, calendar pages, paint swatches, mod podge, glue
025. John Claus Beckwith
Lampblack, 2018
paint, collage
026. Emma Clark
Fleural Savage, 2018
mixed media, pen, ink, acrylic
A juxtaposed juxtaposition.
027. John Claus Beckwith
Next, 2018
paint, collage
028. John Claus Beckwith
Apples, 2018
paint, collage
029. Brian J. Huntress
There are Men in the Floorboards, 2018
mixed media, prepared paper
030. Brian J. Huntress
Assigned Degenerate at Birth, 2018
mixed media, prepared paper
A social pariah does not choose to be a pariah. The criteria is socially constructed and assigned at random.
031. Radiant Jasmin
The Sunflower Next-door, 2018
water soluble oil pastel, color pencil
032. Radiant Jasmin
Christine’s Sunflowers, 2018
color pencil
My next-door neighbor’s beautiful flowers.
033. Amanda Bastien
Orchid Colored Glasses, 2018
Prismacolor pencils
This image was inspired by my friend Kyle who endeavors to see the world through orchid colored glasses.
034. Margaret Bellafiore
Morning, 2018
charcoal
I live with water at the bottom of my street. I have been drawing the changing sky from a spot near the seawall.
035. Margaret Bellafiore
Noon, 2018
charcoal
I watch the changing sky from the seawall. I am trying to draw it.
036. Margaret Bellafiore
Night, 2018
charcoal
Watching. Drawing. Watching.
037. Rachel Tadeu
Flower Lines, 2018
Micron
038. Rachel Tadeu
Spring Flowing Red, 2018
Micron, gouache
Line study based on a picture I took of spring flowers.
039. Ginny Zanger
Fog x Terraskin, 2018
mixed media, TerraSkin
Inspired by Fujiko Nakaya's fog sculptures on the Emerald Necklace (Jamaica Pond's Fog x Beach), I made my first piece on TerraSkin, a paper made from stone.
040. Emily Moore
Seven Zinnias, 2018
charcoal
041. Patricia Burson
Mitre, 1988
ink
042. Patricia Burson
Aediculae, 1988
ink
043. Patricia Burson
Rood, 1988
ink
044. Tamara J. Safford
A Plea, 2018
color pencils
Represents the position that women of a certain age often find themselves in relation to their contemporaries, children and authorities. They find they need to ask in a gentle and polite manner for social justice from most often the opposite sex. A Plea is a request for peace, and social justice.
045. Richard Reynolds
He Stumbles through the Field
(proposal for a sign), 2018
ink
046. Richard Reynolds
He Stumbles through the Field
(proposal for a sign), 2018
ink
047. Niels Burger
E, 2018
pen and ink, bristol
048. Richard Reynolds
Shadows in the Midday Sun
(proposal for a sign), 2018
ink
049. Niels Burger
L, 2018
pen and ink, bristol
050. Niels Burger
W, 2018
pen and ink, bristol
051. Rob Roy
Study for the Road Ritual Series, 2018
mixed media
Study for an ongoing series of works inspired by driving (1995-present).
052. Dale Archer
Untitled, 2018
black pen, Aqua pencil
053. Richard K. Bacon
River Bed, 2017
black ink
054. Claire DiIonno
Warped (1), 2018
Sharpie, Micron
My inspiration for the title was the idea to stray from the ordinary. The straight lines represent the "ordinary" and the curved lines represent the unique thinkers. I created faces out of the warped lines to indicate individual thinkers.
055. Dale Archer
Untitled, 2018
black pen
056. Claire DiIonno
Warped (2), 2018
Sharpie, Micron
057. Dale Archer
Untitled, 2018
black pen, Aquacolor crayon
058. Claire DiIonno
Warped (3), 2018
Sharpie, Micron
059. Anne Corrsin
Quadrant, 2018
graphite, colored pencil
060. Pam Maguire
Self Portrait, 2018
pen
"Fika" is a Swedish tradition to spend time with friends over coffee and snacks. Although I appear alone, my friends are helping me frame the image, set on the island of Ulvö.
061. Ellen Gower
The Spokeless Wheel 1 (Rolls On), 2018
ink
062. Ellen Gower
The Spokeless Wheel 2 (No Hands), 2018
ink
063. Ellen Gower
The Spokeless Wheel 3
(Inflourescence), 2018
ink
064. Cliff Meyer
Untitled (1), 2018
inkjet print
065. Cliff Meyer
Untitled (2), 2018
inkjet print
066. Cliff Meyer
Untitled (3), 2018
inkjet print
067. Tiffany Gill
Health, 2018
inkjet print
Distorted decline of health. Health vs. Fortune - the decline of health and the steady rise of fortune.
068. Tiffany Gill
Fortune, 2018
inkjet print
069. Joan Kiley
My Red Necklace, 2018
color pencil
My drawing is an image of feelings about laughter at sex and our bodies. The vase also supports something, water, flowers, pencils. In my youth, I was a floral designer for so years, and feel that this drawing is a natural outgrowth of that profession. I have created these in paintings, it was a challenge to reproduce this in a drawing.
070. Richard K. Bacon
Birth of New Souls, 2017
silver gel pen, black paper
As I go deeper into understanding the purpose and meaning of my creative expression, I've come to realize that making art is a spiritual practice for me. The artwork I do becomes a meditation that channels divine wisdom, which wants to express itself through me and as me. Inspired by universal symbology, which is the foundation of conscious evolution, I find myself wanting to explore ways that express the greater truth that we are all unique individual marks within a greater whole. This notion that we all are made of and part of Oneness creates an awareness where we join together to achieve and support the greater wholeness of community rather than only think of our selfish needs that diminish the strength of our common good. Now more than ever, this shift in paradigm is needed to heal all of humanity and ultimately transform and preserve the Earth with cathartic love.
071. Philip Gerstein
Glad, 2018
watercolor, watercolor stick, specialty paper
072. Philip Gerstein
There Must Be a Reasonable
Explanation, 2018
watercolor stick, specialty paper
073. Philip Gerstein
Will There Be Rain?, 2018
watercolor stick, specialty paper
074. Elizabeth Michelman
First Thought Best Thought Series
(Black/Blue/Gray/Aubergine), 2018
acrylic printer’s ink, Arches papers, collage
075. Elizabeth Michelman
First Thought Best Thought Series
(Blue/Gray/White), 2018
acrylic printer’s ink, Arches papers, collage
A multimedia artist, Michelman's work explores language, thought sound and time through primarily visual and conceptual means.
076. Roberta Nigro Hall
Snap Judgement 0001, 2018
acrylic, yupo paper
077. Sam Tan
Floating Life, 2018
acrylic, graphite
078. Roberta Nigro Hall
Snap Judgement 0002, 2018
acrylic, yupo paper
079. Cynthia Kollios
Rice Paper River Map with Husks, 2018
graphite, oil, rice paper, husks, collage
080. Cynthia Kollios
Rice Paper River Map with Stars, 2018
graphite, oil, rice paper, collage
081. Roberta Nigro Hall
Snap Judgement 0003, 2018
acrylic, ink, yupo paper
082. Deborah Kamy Hull
Pequenos diamantes flor: Numero uno, 2018
watercolor, paint, pencil, crayon
083. Deborah Kamy Hull
Ten cuidado con la noche, 2018
gold paper, watercolor, paint, pencil, crayon
Torn and jagged diamonds are justaposed, layered and ghosted.
084. Deborah Kamy Hull
Pequenos diamantes flor: Numero dos, 2018
watercolor, paint, pencil, crayon
085. Nanc Hart
Untitled, 2018
graphite, acrylic, Arches
Ongoing series after Pieter Bruegel the Elder.
086. Masako Kamiya
Untitled, 1999
mixed media
087. Richard K. Bacon
Integration, 2018
felt marker
088. Claudine Metrick
Zinnias, 2018
mixed media
089. Kathy Soles
Bolus Head #2, 2018
fluid acrylic, watercolor pencil, collage, Rives BFK
These images are in response to my residency in Ireland.
090. Kathy Soles
Bolus Head #1, 2018
fluid acrylic, watercolor pencil, collage, Rives BFK
091. Kathy Soles Bolus Head #3, 2018
fluid acrylic, watercolor pencil, collage, Rives BFK
092. Elsa Campbell
Harbored Some Intention, 2018
graphite, artist crayon
093. Elsa Campbell
Hard Gaze, 2018
graphite, artist crayon
This series uses a limited palette of just a few colors to reduce the image to a few essential elements. It is looking deeply at something familiar and common.
094. Elsa Campbell
Now Sadly Lost, 2018
graphite, artist crayon
095. Rhoda Rosenberg
Drawing #1, 2018
mixed, collage, handmade paper
096. Rhoda Rosenberg
Drawing #2, 2018
mixed, collage, handmade paper
097. John Tracey
Wall, 2018
ink, Rives BFK
098. John Tracey
Range, 2018
ink, Rives BFK
099. John Tracey
Dry Lake, 2018
ink, Rives BFK
100. John Tracey
Utah, 2018
ink, Rives BFK
101. Susan Alport
Overlay (1), 2018
mixed media drawings, on offset printed 35mm photographs
In these pieces, I’m literally overlaying chronological time by integrating sketches and notes from recent years with carefully focused photos I shot in 1968 for my college year book. I selected a few of the pages with my reprinted photos to serve as my chassis. Combining past with current work in this way opens up possibilities of creating something new out of the “old,” which is the central interest and intent in all of my work. These pieces feel like “worksheets” in this process. Ripping out previously guarded pages from a 50 year-old book for their size alone (10 x 10 inches) was as significant as the results, and as satisfying, as it’s an alternative I neither expected nor planned when size became the first priority in “creation.”
102. Susan Alport
Overlay (2), 2018
mixed media drawings, on offset printed 35mm photographs
103. Susan Alport
Overlay (3), 2018
mixed media drawings, on offset printed 35mm photographs
104. Gayle White
Kinetic Threads, 2018
polyester, cotton, silk
105. Gayle White
The Curse of the Carpenter Ants, 2018
graphite, steel
106. Timothy Harney
Circus Wagon #1, 2018
mixed media collage
107. Timothy Harney
Circus Wagon #2, 2018
acrylic
108. Timothy Harney
Circus Wagon #3, 2018
mixed media collage
109. Frances Hamilton
Yellow Moves (on Pink), 2018
acrylic, marker, thread
New from Dolls and Toy series.
110. Frances Hamilton
Blue Moves (on Blue), 2018
acrylic, marker, thread
111. Frances Hamilton
Orange Moves (on Yellow), 2018
acrylic, marker, thread
112. Ric Haynes
Mother was a Showgirl, 2018
collage, ink
True story.
113. Ric Haynes
Wearing Her Stonewall Jackson Skirt, 2018
collage, ink
It's history.
114. Ric Haynes
I Wish I Did That , 2018
collage, ink
Talking to snakes and playing the banjo are skills I am trying to perfect.
115. Jesse M. Kahn
#2nd Best Fuck Ever, 2018
foil, laser toner, vellum
116. Charles Goss
Pope's Nose, 2018
collage, acrylic, pencil
117. Charles Goss
Lung , 2018
collage, acrylic, pencil
From the series The Amsterdam Papers – work made at the Artist-In-Residence, Niew Enmeer, Amsterdam, The Netherlands, June-August 2018.
118. John Schulz
Comix Weave _Study #5, 2018
inkjet, cut paper, tape
Young Love #15
Crestwood Publishing Co. Inc. 1948
(Vol.2, #9)
"Sometimes... Love Isn't Enough!"
Pencils and inks: Bill Draut
(unsigned) p5
119. John Schulz
Comix Weave _Study #6, 2018
inkjet, cut paper, tape
Boy Comics #113
Lev Gleason Enterprises Corp., July 1955
"Spring Training"
Pencils and inks: Joe Kubert
(unsigned) p7
120. John Schulz
Comix Weave _Study #7, 2018
inkjet, cut paper, tape
Young Romance #11
Feature Publications, Inc. 1949
(Vol.2, #5)
"My Father's New Wife"
Pencils and inks: Lee Elias (?)
(unsigned) p6
121. Catalina Viejo Lopez de Roda
Opening, 2018
acrylic, graphite
122. Christian Gonçalves
Untitled, 2018
graphite
123. Peter Thibeault
Eternal Chassis, 2018
pastel, wax pencil, strathmore paper
124. Peter Thibeault
Man’s First Chassis, 2018
pastel, wax pencil, strathmore paper
125. Peter Thibeault
Ram Charged Chassis, 2018
pastel, wax pencil, strathmore paper
126. Kim Alemian
Ocean Bather – Wave + Full Moon, 2018
watercolor, oil pastel
127. Kim Alemian
Ocean – Twilight Bather with Ochre Overreach, 2018
watercolor, oil pastel
128. Jesse M. Kahn
Tormentor, 2018
foil, laser toner, vellum
129. Aimee Belanger
Danny, 2018
pen + ink
130. Aimee Belanger
The Star, 2018
pen + ink, collage
131. Aimee Belanger
The Virgin, 2018
pen + ink
132. Anthea Bush
The Potato Eaters, 2018
watercolor, ink
133. Laura Fischman
Clementines + Dish, 2018
oil paint
134. Laura Fischman
Coffee Cup + Saucer, 2018
oil paint
135. Lorraine Gentile Haynes
Inland Sea, 2018
textile: mini art quilt on paper
136. Lorraine Gentile Haynes
Fisheye, 2018
textile: mini art quilt on paper
137. Lorraine Gentile Haynes
Midland, 2018
textile: mini art quilt on paper
138. Dan Wills
Looking, 2018
craypas, stencil
139. Dan Wills
Never Not an Artist, 2018
craypas, stencil
From Richard Tuttle’s work.
140. Peter Lipsitt
Procrustean Bed, 2018
cast paper with inclusions, mylar, pencil
Procrustes in Greek myth. Stretched or severed legs of victims on his iron bed. The metaphor has meaning of changing facts to fit the situation.
141. Peter Lipsitt
Postcard Landscape, 2018
cast paper and foil
My casting of the papers is the base for the work with paper as an actor in the entire image.
142. Peter Lipsitt
Bump in the Road, 2018
cast paper and markings
technique: repoussé of sorts
143. Lynette Haggard
Drawing Situation #2, 2018
pencil, watercolor crayon, cardboard, Flashe, glue
144. Lynette Haggard
Drawing Situation #1, 2018
pencil, watercolor crayon, cardboard, Flashe, glue
145. X Bonnie Woods
Flap #2, 2018
Sumi ink, folded paper, Swiss crayon
146. X Bonnie Woods
Flap #3, 2018
Sumi ink, folded paper, Swiss crayon
147. X Bonnie Woods
Flap #5, 2018
Sumi ink, folded paper, Swiss crayon
148. Sarah LL Milton
Universal, 2018
oil paint, charcoal, colored pencil, etching ink
149. Rick Zonghi
Untitled No.1, 2018
pastel, charcoal, pencil
150. Dorothea Van Camp
Wire Frame I, 2018
screen printed oil on prepared paper
151. Dorothea Van Camp
Wire Frame II, 2018
screen printed oil on prepared paper
152. Dorothea Van Camp
Wire Frame III, 2018
screen printed oil on prepared paper
153. Brian Littlefield
Untitled Etching, 2018
etching
154. Joanna Kao
Untitled, 2018
paper, thread, screen material
I began this piece with the idea of the difficulty of living in a tent, but the metaphor morphed to include feelings about practices relating to control of the human body.
155. William Flynn
Surreal Sail, 2018
paint
156. Therese Zemlin
Random – System Meditation, 2018
found book signature (pages), ink, gouache
Pages are from Science + Education: Essays by T.H. Huxley, 1895.
Why the interest in book pages? Lines of code, creative process layered on creative process, destroying the book to resurrect the pages, overlaying one structure on top of another, focusing on the pages as objects. Which is the Chassis? The text or the drawing? Or Sol Lewitt's famous quote: "The idea is the machine that makes the art." Sometimes responding to the ideas in the text, sometimes responding to the text as image, using the text as part of a meditative process, not so much as automatic mark-making, but something closer to repetitive and meaningful processes such as weaving or papermaking.
157. William Flynn
From the Myths, 2018
paint
I'm putting histories together.
158. William Flynn
Different Time Periods, 2018
paint
159. William Flynn
Found and Framed, 2018
paint
160. Jo Ann Rothschild
Thinking of Jeff, 2018
ink, watercolor, crayon, colored pencil, vellum
Lately, I've been thinking of Jeff Hull's work and also thinking of the drawings I did that he traded for and showed.
161. Elynn Kröger
On the Edge, 2018
oil, wax, graphite, Arches Huile
162. Elynn Kröger
Some People Don't like Fog, 2018
oil, wax, oil pencil, graphite, Arches Huile
163. Elynn Kröger
Untitled: Garden, 2018
oil, wax, graphite, Arches Huile
164. Martin R. Anderson
A Certain Slant of Light, 2018
collage
165. Pat Shannon
New Day in the Room Upstairs, 2018
digital print, color pencils
This drawing uses perforations as a means of markmaking to punctuate through the paper and perhaps hint at what is beyond the surface of the image.
166. Martin R. Anderson
The World is Not Conclusion, 2018
collage
167. Sarah Trahan
Combinational Swatch R, 2018
graphite, pen
168. Sarah Trahan
Combinational Swatch G, 2018
graphite, pen
169. Sarah Trahan
Combinational Swatch B, 2018
graphite, pen
A meditation of fabric construction, pattern and computer coding processes.