Mary Storms - Aloft Raleigh
2100 Hillsborough street, Raleigh
October - December
> Community Exhibits
2100 Hillsborough street, Raleigh
October - December
300 S Dawson St, Raleigh, NC 27601
First Friday - October 5th
Carlos Vargas was born in Miami, Florida and attended UNCC (University of North Carolina at Charlotte), receiving a B.F.A. in Art ,with concentrations in graphic design and digital media, in 2018 . His body of work ranges from graphic design to experimental video to even digital paintings . Carlos recently presented one of his video pieces (To + Fro) at the annual Digital Graffiti festival in Alys Beach, Fl. Carlos' main inspiration comes from stories. Since he was a little kid, Carlos would read fantasy stories and and analyze them. This analysis would become the basis of each and every one of his pieces. When not creating work, Carlos is playing or running tabletop games with his friends.
All artist have their own style when it comes to art. Picasso had cubism. Andrew Warhol had Pop Art. I have Ink blots. This series is an ongoing collection of self-expression. These ink blots are not created but rather form when I reach a state of relaxation. Because of this, no two ink blots are exactly the same much like no two moments in life are ever the same. My goal in this series is to present the viewer with a glimpse into who I am both as a person and as an artist.
VAE’s first collaboration with NHC will be an extension of an upcoming project, THE EVERYDAY.
THE EVERYDAY is a multi-venue, multi-discipline, cross-disability project headed by an international steering committee with the curatorial goal of highlighting universal experiences, told from the disability perspective, presented in an audacious way. The project will be presented throughout August and September 2018 and will showcase talent on local, national, and international levels.
Danny Laffey • HagerSmith
July-August 2018Read More
Jane Cheek • Aloft RDU
July-September 2018Read More
Constance Pappalardo • Aloft Raleigh
July-September 2018Read More
May - November
REX Heart & Vascular
May 2018 - January 2019
May - June
Courtney Potter has worked as a professional painter, photographer, filmmaker, and artist for the last decade. As a child she explored multiple art forms—performing in the St. Louis children’s touring choir, writing and illustrating short stories, and playing piano at Carnegie Hall in high school.
Courtney graduated from UNC-Chapel Hill in 2009 with a degree in Photojournalism. Her photography projects have taken her across the world and earned her multiple awards including College Photographer of the year, WPJA, WPPI, and the Santa Fe Photographic Workshops. Her paintings have been featured in art shows along the East Coast, and she’s currently preparing for three 2018 solo exhibitions in the North Carolina Triangle (Raleigh – Durham – Chapel Hill) where she lives.
Authenticity and love fuel Courtney’s work and life purpose. Just like you, she values excellence and soul: she’s not a fan of trends, tropes, or mediocrity. Your artwork won’t look like everyone else’s, because you aren’t like everyone else. You live your life boldly from a foundation of love, and you want paintings and photographs that match your truth.
Courtney helps individuals (who love themselves), couples (who love each other), and creative business owners (who love their work) tap into their own authenticity and creativity. She does this through her exquisite abstract paintings that transform your living space, honest wedding photos that celebrate your quirks and your deep love for your community, stunning boudoir photos that remind you how you feel in your sexiest moments, or soulful branding visuals that let your inspiration behind your brand really shine through.
When not painting or making photographs, you’ll probably find Courtney rockclimbing, chasing her dream to live on a houseboat with her boo, or exploring the Pacific Northwest. Her deepest joy is found in exploring (whether it’s new ideas, the world, or her own creativity) and connecting (with her community, her family, and her friends).
Also, the pelvis is her power symbol.
April - June
William Drewitx (Bill) is an emerging artist that has worked with ink for 35 years. Creating intricate pen and ink drawings since he could hold a pencil, he recently embraced his artistic ability to create photos that are a unique blend of color, light, and design.
Nature reflects the duality within each of us. Nature is chaotic and harmonious, violent and peaceful, tumultuous and still, cunning and innocent.
Humans are a part of this duality, capable of malicious acts and of benevolent kindness.
The photos of William Drewitz embody the duality of nature and humanity where chaos and harmony play together in a single photo.
How the image affects the viewer is a reflection of the inner self at that moment.
By mixing UV ink, solvents, and oils a pattern is created and then photographed digitally using macro-photography. The art was born from a desire to have a creative outlet coupled with a major life change. It shows the complexity, the beauty, the emotion, and the ever-changing flow of our lives. Bill hopes you find yourself in the experience of these pieces. Everyone sees something different and has a different emotional reaction to any given design.
What do you see?
April - June
Chryssha Guidry was born in Florida in 1991. In 2013, she
graduated from Flagler College in St. Augustine, FL, with a BFA in Fine
Arts, Psychology, and a minor in Graphic Design. In 2014, after traveling
across country in a Chevy Conversion van, she landed in Asheville, North
Carolina. Finding a true love for North Carolina, she now resides in
This work started as a form of therapy, a method of release. The actions
organically evolve amongst each other, and she emphasizes these
relationships visually. Information is being obscured rather than
revealed. The continuous direction combines multiple perspectives, each
one making the last more obscure showing the whole is less than the
sum of its parts. There is a physical experience that can be considered
the peak, if not the overall purpose of one’s perception of this work. This
is experienced through relaxing and surrendering to the emotion that is
transpiring lulling them into a reflective escape.
In my current practice I build large wall collages, called texture matrices, from paper, tape, and other leftover studio materials, then I make rubbings from the matrices as they evolve. The rubbings are made with wax pastel, watercolor crayon, and sometimes charcoal on paper or Yupo, and then some sections are worked in more detail with colored pencil and/or soft pastel. The completed rubbings are treated with an archival varnish.
Most of the pieces in this show were made from the Texture Matrix #3, identified as “TM3” in the titles. Four of these are collages created by combining two rubbings from adjacent areas on the matrix. The remaining pieces came from Texture Matrices #1 and #2 (TM1 & TM2) which were created during a residency at MassMOCA in August of 2017.
The process of creating the texture matrices and then making rubbings from them is like hiding a treasure and then rediscovering it. Even though I create the matrix, I can’t keep all the layers and their possible interactions in working memory, so every rubbing is a discovery of what’s there, what elements will come to the fore at each stage of the matrix’s evolution. Rubbings force me to work in the realm of the hidden, and to trust what will be revealed. I am intrigued by the play between what is hidden and what is revealed, and most particularly interested in what needs to remain hidden. Just as tree roots can only function properly if they stay hidden underground, much of what is important to our inner life must transpire underneath what is visible/conscious/apparent. Like X-rays, the rubbings reveal much of what is hidden beneath the layers of the texture matrix, but there is also a limit to what is revealed.
United Arts Council
Artists are part of every aspect of society, there is nothing created that does not include an artistic principle as much as it includes mathematical and physical science.
I have always merged science and art in my work. I live my life reflecting my ethical beliefs and artistic philosophy. My work embodies what I am: for good or bad, for perfect or flawed. The objects I create are imbued with my struggle to understand the unpredictability and the complexity of being human in the 21st century: as an older woman, as an American Latina, as a wife and mother, and as a believer in an ethical political/economic system for the world we live in.
This series of drawings/paintings embodies my research into the NeuroMorphic Universe that we all inhabit, playfully transcending the complexity of life.
My Hand is my Mind.
Natacha Sochat was born in Manhattan, New York City. As a very young child she grew up in Habana, Cuba. Her father was a Cuban revolutionary. In later childhood, her family lived in the south Bronx. Her love of art was nurtured while growing up in the rich cultural landscape of NYC. She attended the Bronx HS of Science. Natacha lived and worked in Europe in the early 1970’s, travelling to many different cities viewing many artistic works in person. She worked as a professional photographer in Berlin, Germany, including freelance work for "Berlin Today" magazine. After Berlin she moved to Boston MA in 1974, where she attended Boston University. She is a Summa Cum Laude graduate of Boston University (BA Biology with distinction, minor art history). Her post-baccalaureate studies at Brandeis University Graduate School of Arts and Sciences and School of the Museum of Fine Arts Boston included painting, printmaking, photography, and video. She received her MFA in Studio Arts from Tufts University/School of the Museum of Fine Arts, Boston. Her MFA thesis embodied the NeuroMorphic Universe - our connectedness biologically and otherwise, and her work still resides in this realm to this day. She received her MD degree from Boston University School of Medicine.
Natacha met Michael Sochat in 1975 while attending Boston University and they married in 1980. While at Boston University College of Liberal Arts, Natacha met Arthur Polonsky and Harold Tovish. Their philosophies greatly influenced her decision to be an artist. She learned how to code in 1975 before the personal PC was introduced. This was the stepping stone for Natacha to the world of computers that she would later naturally incorporate into her artistic process.
In 2010 Natacha co-founded NKG (Boston contemporary art gallery, now closed). NKG gave voice to the pluralism that continually enriches contemporary art and ideas. NKG's mission was to further contemporary art by giving equal value to the mind and the hand. Natacha curated many exhibitions and works during this time. She also created and managed the gallery’s website.
Natacha has taught at numerous places including School of the Museum of Fine Arts (painting), the New Hampshire Institute of Art (drawing/printmaking), and was Master Teacher in Studio Arts at the St. Paul's School Advanced Studies Program (Concord, NH). She is an interdisciplinary thinker, curator, and artist including painting, printmaking (etching, relief, monoprint, etc), bookmaking, small sculptural objects, performance, video, drawing, and photography. Her work is in numerous collections, has won many awards and has been in exhibitions throughout the United States. She was a member of the College Board Association and served on the Board of the Woman's Caucus for Art (NH), including President and webmaster.
In 2015 Natacha left NH and moved to Raleigh, NC where she currently resides and has a studio in ArtSpace.
January - February
I seek to eliminate all or most realistic imagery from my work. I acquit myself from making work that has been expected of me. I focus on manipulation of media while immersed in the process of creating. Pieces are built with layers of media, constructing the final product over time through multiple working sessions. Basic elements and principles of art such as line, shape, color and movement are key components in my current body of work. I use minimal tools in the process of creating pieces often using my hands, fingers and breath to guide mediums around the working surface. Spontaneous and unplanned moments occur in every piece, which is exciting and challenging to me.
When I was a teenager, my attitude towards making art shifted dramatically as I let go of the notion that successful art had to be realistic. I was enamored by artists such as Georgia O’Keeffe, Wassily Kandinsky, Frank Stella and Jackson Pollock. Their work supported the ideas I had; to be focused on color, process, composition, etc. I knew that I could make tightly rendered, realistic work, but never felt comfortable with those creations representing me as an artist. I eventually listened to my instincts and started to strip away imagery, or at the very least abstract it. I allowed myself to focus on process, use of media and the basic components of art. I held onto this foundation through my college body of work, which allowed me to heavily investigate my viewpoint as an artist. I completed most of my work in clay and glass during this time (BFA, Alfred University 2002). As I moved into my professional teaching career, the artist I became started to dwindle. As educators, we strive every day to inspire our students to find their own personal voice in their artwork. As educator-artists, we often struggle with finding that very voice in our own work. I found myself back at the crossroads of feeling like I was supposed to make realistic art, as that was a great deal of what I was required to teach. I started many pieces that have never been finished and at times I was paralyzed by indecision and the pressure to be a realist. I placed a false reality on myself as a realistic artist. As a result, my authenticity and creativity suffered.
Over the past year, I have revisited my artistic influences and have opened up again to the mindset I established over twenty years ago. I have placed no restriction on myself regarding what a final piece should look like. I get lost in the process of creation and media manipulation. The subject matter, style and media are now my confident choices, not decisions that I feel were made for me. After years of dormancy, I have finally revealed work that is authentic and genuine.
January - March
Chaos has been defined as the first thing to exist.
New ideas emerge from it. Society moves forward because of it. Weather changes because of it. Art is created from it.
The world is full of chaos. Mental, physical, and environmental chaos comes at us at all times. But the world is also full of beauty. And sometimes this beauty is found in the chaos.
Even something as simple as a child’s Slinky toy can turn into chaos. Once tangled, it can never be returned to its original form. Why not take the misshapen, both in life and in objects, and make something out of it? You may be surprised by what results.
Exhibitions at United Arts are mounted in The MJH Gallery. This space is located in the historic Pine State Creamery building in the Glenwood South district of Downtown Raleigh. This exhibition space features great natural light, views from the storefront windows, and an opening reception as part of Raleigh's First Friday Gallery Walk. This venue features exhibits of 2D and 3D work each month. While UAC does not offer and artist stipend, they host the largest First Friday out of our CEP and are one of the best selling venues.Read More
Novozymes is a biotechnology company whose North American headquarters are located in Franklinton, NC.
Artists are curated by VAE staff into group shows. Artists are compensated $1000 divided by the number of works.Read More
United Arts Council
Windswept mountain ridges. Quiet forest trails. Cliffs overlooking an expansive sea. Big skies
and dramatic vistas. I’m drawn to nature.
Inspiration comes from local venues, as well as, far-flung destinations like Iceland and
Tasmania. While hiking, I fill sketchbooks with pen and watercolor drawings, translating those
images into larger oil paintings in my studio. I think of myself as a plein air artist who also paints
My recent landscapes range from impressions to abstraction. They are created with oil and cold
wax - applied, layered, scraped, and marked - creating textured and complex expressions of
Chris Young is an Iowa native and a 21 year Cary, NC resident. While also active in the
business world and as a community volunteer, she has been a professional artist for 4 years.
Chris has exhibited in Cary and Raleigh and her paintings are in private collections coast to
United Arts Council
I have spent my life studying, teaching, and making art. What inspires me to pick up a pencil, brush, or pen, and make marks on paper or canvas is the same now as it was when I first started out as an artist: color, pattern, and flattened space.
For me, color needs to be as intense and bright as I can make it. I want my colors to be exciting, like opening a new box of crayons on the first day of school.
My work is flat and decorative. I am mad for pattern, texture, and interesting marks. I like the movement they create in a drawing or painting and the way they activate the surface by breaking large shapes into smaller colored spots.
Although I draw from life, I make a conscious effort to flatten the space in the picture plane by tilting it toward the viewer and altering the perspective. The objects looked stacked, one on top of the other, vertically, rather than one behind the other, horizontally.
There is also an element of "storytelling" in my work. The objects I draw and paint are objects I touch or use every day--objects perhaps unimportant to others, but which have meaning for me beyond my finding them interesting or beautiful. These objects evoke stories from my own memories or sometimes stories I make up about them.
I find these stories funny or whimsical, sometimes sad, sometimes silly. We all struggle, I think, daily, with horrors in the news and difficulties in our own lives. In my drawings, there is no cruelty or violence, no war or hunger or pain. I am aware that this is not the real world, but I want the viewer to forget all that if only for a moment. I want my work to be a feast for the eyes.
Saundra Smith Rubiera is a North Carolina artist who works in colored pencils, markers, acrylic paints, and linocuts. She has an MFA degree from East Carolina University with a major in painting and a minor in printmaking. She is a retired art teacher and has illustrated three published books. Saundra’s work has been exhibited in national, regional, and local shows. Her business, Dancing Lady Designs, creates custom art and furniture for children’s rooms.
Saundra was a 2017 recipient of an Individual Artist Grant. The grant funded the framing of this travelling show which has been shown in six locations throughout the state. The Regional Artist Project Support program is administered and funded by the Arts Council of Fayetteville/Cumberland County with support from the NC Arts Council and the counties of Lee, Moore, Richmond, Robertson, and Scotland, the City of Fayetteville, Cumberland County, and private contributions.