Padraic is a New England based artist, born and raised in Rhode Island. He studied art education at the Massachusetts College of Art and Design, in Boston, MA. In 2009 Pad helped co-create The Sakonnet Collective. Pad works in a variety of materials and mediums. He has a studio at the Collective, where he primarily makes mixed media paintings.
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Stephen Kinnane founded Sakonnet Woodworking in 2008 after completing a two year course at Boston's prestigious North Bennet Street School of Traditional Craft.
Stephen has been designing and making furniture ever since. His combination of skill and natural ability to create fine furniture using different processes, woods and finishes, make his work uniquely diverse.
Stephen is dedicated to excellence in the art of classical woodworking and takes pride in creating furniture for clients who value the art of traditional craftsmanship. Full size, hand drafted drawings of each piece are completed before beginning construction, guaranteeing precise dimensions and eliminating any potential joinery problems. He uses time tested joinery techniques to ensure that the integrity and specifications of each piece are never comprised.
Stephen is passionate about preserving the legacy of traditional craftsmanship. Comprehensive in scope, thorough in detail, Stephen’s standard of work strives to provide a better understanding for the value of heirloom quality furniture that will not only last a lifetime, but will be shared throughout generations.
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David Gonville is a Rhode Island based contemporary artist. His work is inspired by the ocean and it's convergence with, surf, weather, land forms, and contemporary human interaction.
He begins his process by creating multiple large wood panels of different colors, textures, and mediums, varying layers of oil paint, encaustic, plaster, and found raw materials to make each unique in it's process. He then deconstructs and reconstructs the panels, using common carpenters tools, to build a sculptural painting. A new abstract form. The intuitive process of painting, cutting, sorting, and constructing is integral to it's final form.
The compositions that emerge in his work reference personal experiences in the ever changing coastal environment of Little Compton Rhode Island, where he surfs all year. David transcribes his experiences of changing weather patterns, open space, peaceful environments and odd beach americana into his work. He paints to convey this connection with the ocean and the environments around him.
David studied Marine Affairs at URI, and graduated from UMass Dartmouth, BFA in Graphic Design. He is the co-founder of Nami Studios, a creative services company, since 2001. His work has sold internationally and is in private collections. He proudly lives with his family and best friend/ wife in his native Rhode Island (US).
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Art for me is an exhilarating process that allows for an intersection of expression and discovery, both of which are equally important. The discovery is the fun part. It is the exploration of how medium affects the paint, how textures add interest to the canvas. It is playing with color and line, the adding to and subtracting from a piece. Printmaking is similarly experimental. I work with monotypes – each piece is unique, each with its own combination of stenciling, drawing, textures, color and layers. There is much excitement in that, for better or worse, what emerges from the press is always a surprise.
The element of expression is harder, yet essential. It the communication of feeling and mood -- it is they way in which the artist truly conveys her self. Four years ago, I had to grapple with sadness that came with the deaths of two important people in my life. Working through those feelings through my art was therapeutic, and, at the same time, taught me importance of having an emotional connection to my work.
I have endeavored to retain this connection and, as a result, my body of work is an emotional diary of sorts: my color choices and brush strokes reveal my response to events around me or feelings within. My canvases are often layered, containing a history in the form of poetry writings, or newspaper articles that have touched me in some way. By removing parts of the painting with the use of painters tape, scraping away, or even hot water, I can expose part of the “soul” of the painting. It is never certain what will be revealed in this process, how all the elements will come together. As my late father-in-law would say, “that is the beauty of it.”
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Isabel Mattia is an incoming MFA candidate at Rhode Island School of Design. She studied at SAIC for a post-baccalaureate semester in 2016 after receiving her Bachelors Degree from Brown University with a double concentration in Visual Art (with honors) and Africana Studies. Her work has been exhibited in the Dedee Shattuck Gallery, New Bedford Art Museum, The Perry and Marty Granoff Center for the Arts at Brown University, and the David Winton Bell Gallery. She is a recipient of the Marlene Malik Grant for Sculpture and the Roberta Joslin Award for Excellence in Art.
Mattia lives on a nascent Farm in Rhode Island, and works in her space within Smokestack Studios in Fall River, Massachusetts. She is a public projects artist and teaches welding at the Steel Yard in Providence, RI. She has worked as Dedee Shattuck Gallery's gallery manager and lead curator, as a teaching and artist assistant for artists Paul Myoda and Charlotte Hamlin. Mattia has led arts workshops for young artists at Curvin-McCabe school in Pawtucket Rhode Island and for incarcerated women in the Adult Correctional Institute in Cranston, Rhode Island.
Carl Dimitri has received Fellowships in Painting from the Vermont Studio Center and the Rhode Island State Council on the Arts. In 2013, he was elected into the Drawing Center. He has published illustrations for the Kenyon Review, Bomb and Paper Darts, and has illustrated a number of books including Dandelion Farm by Darcie Dennigan. He has shown in New York, Miami, Cincinnati, Providence, New London, and Los Angeles.
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I live and work surrounded by trees and fields, children and animals. My pottery and sculptural tiles are fired in a wood-burning kiln, which requires 24 hours of non-stop stoking to reach stoneware temperatures (2,300 degrees F. or higher). The action of the flame and the wood ashes on clay and glazes leaves subtle and intriguing effects making all the hard work worth-while.
I have followed clay wherever it has led me, for over thirty years and I expect to continue to play with clay until my creaky fingers can no longer pinch a pot. I have taught clay techniques of many kinds, sometimes while still learning them myself.
Simplicity and attention to detail are important to me in my own work. In my collaborative group-made murals, I enjoy putting together a collage and thus teasing a cohesive and unified whole out of many creative but disparate parts. While I enjoy teaching and watching people’s creative inhibitions melt away, I also enjoy learning and unbending along with my students.