Artist Gallery

Painting

Photography

Lost in Time
Featured in 2024 Student Film Festival

Painting

Oil on Board 19 X 17

Painting

painted on location when the facility was not in use (now used as the Science Museum) oil on canvas

Photography

Taken on the Staten Island Ferry heading towards Manhattan.

Mixed Media

SDED-7, 08/14/2019.
Acrylic on canvas over plywood, 24 x 20 in (61 x 51 cm).
Today, number 7 of my SDED/Porture series was just finished. Finished is a loose term (they are never finished, but I have to draw the line somewhere, and today is as good as any). The Richie Norton simplicity thing went out the window: it was so much to say! I felt that my 2D/3D slice needed a story... and it became a short novel! The dynamic between the two to three dimensions is again enhanced with trompe l'oeil sections in order to make the transition both easier and intriguing in order to finish the story. The 3D element is born out of the original flat surface of the canvas and is adorned with a fake third dimension.

Painting

Acrylic painting/ mixed media on canvas 24x48

Photography

Painting

Photography

Painting

Painting

An original watercolor inspired from a beautiful photo a photographer friend gave me to paint from. She lives in Sweden and the photo was of a sunken dinghy with the sunset reflecting off of the water. This is my rendition in watercolor. Realism was not my intent, but more an inspiration of the photo.

Photography

Visions of Fatima is a collection of photographic images inspired by the celestial phenomenon known as the Miracle of the Sun that occurred in Fatima, Portugal on October 13, 1917 and is associated with coinciding apparitions of the Virgin Mary.
The subject of these abstract prismatic works is a statue of Our Lady of Fatima, which is another name for the Virgin Mary, given after she appeared in Fatima. With the use of a light prism, I explore how light refractions and vibrant colors create an impression of otherworldliness, evoking a sense of wonder and awe that thousands of witnesses of the Miracle of the Sun experienced.
In May of 1917 the Virgin Mary first appeared to three shepherd children who were tending their flock of sheep on a family pasture. She appeared to the children every 13th of the month for the next five months. She told them to pray, do penance, and have devotion to her Immaculate Heart through which God grants graces. During her apparition in September, Mary told the shepherd children that she would perform a miracle “so that all may believe”.
Word of this message spread, and on October 13, as many as 70,000 to 100,000 people descended onto the pasture, awaiting to hear what message was conveyed to the shepherd children. As the crowd began to gather, soldiers sent by the anti-Catholic government forcibly blocked people from entering the pasture. Devotees were physically assaulted and wounded, but undeterred. With the onslaught of steadfast spectators, the soldiers desisted. Torrential rains began to soak the assemblage. But still, they remained undeterred.
The crowd consisted of rich and poor, young and old, educated and uneducated, believers and skeptics. No one except the visionary children saw the apparition of the Virgin Mary. Of those children, only the two girls heard her. But all the spectators saw the Miracle of the Sun.
During the apparition of the Virgin Mary, the rain subsided, and the sun appeared and could be viewed without harm to the cornea. Witnesses described what they saw as the sun dancing, spinning, and changing colors. The sun appeared to drop from the sky. Witnesses recall feeling radiant heat from the disconcertingly close orb. Some people feared the world was ending. Others were moved to belief in the trinitarian God proclaimed by the apparition.
In response to the question “Can a scientist take the Miracle of the Sun seriously?” former particle physicist Fr. Andrew Pinsent says, “Why not?” He explains how systems in nature behave predictably in isolation. But should an intervening force act on the system, the system is no longer predictable.
While I cannot intervene on a system and cause movement outside of cosmic laws, I can manipulate the light that hits the lens of my camera. When I look through the lens, I am looking past the subject, asking myself, what is being shown to me that I cannot see? It is my hope that Visions of Fatima helps the viewer see beyond the image hanging before them and open themselves to wonder.
“It is the response to a wonder that guides you to the original Presence behind it.” - Father Lorenzo Albacete, aerospace physicist

Works on Paper

11 x 15 Oil Pastel Sketch

Painting

This is a painting done with water washes and gouache paint, June, 2024. I use my imagination to paint imaginary, deep sea creatures. I use a water filled squeegee sponge to create puddles of combined color and then I quickly fan the watery mass into a shape hopefully resembling a fish. Then, the blunt end of the brush is used to impress the wet paper and leave what appear to be scales, fins and eyes...

Painting

Painting donated to Solute2Soldiers Homeless Awareness event, on August 27th 2016. This pastel painting was raffled off to help raise money during the event.

Photography

One of the author's first amateurish snapshots in 2008. This shot led him to discover that he, too, with no photography knowledge and experience, can capture beauty though his crude lens. Empowered by others, the author has been propelled to share his creations to those who have the same passion and appreciation for beauty around us.

Photography

Works on Paper

The piece is titled “Revolving Robot” it is an etching. It is created on a copper plate and done using acids to mark into a plate. It also has a aquatint in the background of the image.

Mixed Media

This illustration was made digitally through Photoshop. The first layer of this illustration was merely a sketch. Using multiple layers I applied depth and color. The main theme of this illustration was suppose to include a story between individuals in an environment. All of the characters in this illustration were first roughly sketched. Then as the idea of a "accidental" fall from a tree came to play. There were photographic references of the forest and individuals. All the characters were taken at different times and places. Using the general idea that the actual illustration would be visually seen in a mouse point of view the photo references were taken from a lower angle. 
There are may thick lines used in this illustration, also a few layers of cross hatching and finally and overlay of tone and color. The color palette of this digital illustration was mainly primary color: red, blue,and yellow. I tried to spread around the reds and greens in the illustration and also tried to have some sort of light source coming from the left/ bottom of the drawing. 

Photography

Photography

Works on Paper

Painting

This acrylic painting is #12 in my Bowling Ball House series.

Painting

Size: 24” X 30”
Medium: Acrylics
Price: $250
Item #: 1420
This is an acrylic painting of a field of iris flowers . The painting was done on 100% cotton primed gallery stretched, side staple free canvas. Canvas is stapled on the back of the stretcher bars and the sides of it is painted so it can be hung without a frame. It is wired and ready to hang. To protect this painting from UV light and dust, a resistant clear gloss acrylic coating was applied. Artist signature and date is located on back of canvas.
http://home.comcast.net/~artbynancy/site/
artbynancy@comcast.net

Works on Paper

Soft Pastel

Mixed Media

8x8 Oil on Panel

Works on Paper

Photography

Painting

The Bodhisattva Ideal

Photography

Painting

Oil on canvasboard