THE EXPANDED IMAGE- Lori Pond & Ann Mitchell > Exhibition #1
Exhibition #1
Amadine Nabarra /Bernoulli Equation 1
First Place
First Place
Amandine Nabarra
Jurors Lori Pond & Ann Mitchell Review:
"We wish we could see this image in person, because its physicality implores the viewer to touch and interact with it.
Questions from Jurors:
"How did you originally come to use a sculptural approach for your work in general?
Amandine Nabarra: "I have always seen my work as an exchange with the viewer. When I had photography shows, I felt a quiet frustration. The audience was passive. They stood in front of the images, looked, and moved on. I kept wondering: what if the structure of a work could emphasize the concept itself? What if it was something people could hold and discover or walk through and feel?
That’s when I discovered artist books. A piece of art that can be physically shared. Something intimate. All the senses can be engaged.The experience becomes richer, more direct. It creates a different kind of connection; not just between the viewer and the work, but between people."
Jurors: "We were impressed by the structure of the work, can you tell us what this piece is about and how the structure supports that?"
Amandine Nabarra: "At the time, I was working with images of swimmers going through water slides. As I edited the photographs, I realized water was more than a subject. It is central to our existence. We are mostly water. We need it to survive.
There are many theories about existence; about layers of consciousness, about whether we share a common narrative. I began to wonder: if I translated a natural element like water into an object, would people from different cultures recognize it instinctively? Would they see water, even without being told?"
Jurors: "What was the development process? Did you try various methods, how does size and length play a part in this piece?"
Amandine Nabarra: "To explore that question, the structure had to behave like water. The images needed to float, to shift like waves, to slip through the hands. That is how I arrived at the scale of eighty-seven strips for the work.
I made many prototypes, testing the ideas in three dimensions. Bernoulli Equation took more than two years to complete. Cutting my photographs into strips did not come easily. I care deeply about composition. But once I began, it became surprisingly playful. I sewed the strips together so they overlap, keeping the image whole while allowing it to move. The structure is simple, but it lets the image shift and breathe."
Jurors: "Why do you choose to expand upon the traditional approach to Photography?"
Amandine Nabarra: "This book was my first step toward a more sculptural and ludic approach. Since then, I have continued to create other books with the same intention. Produced in limited editions, they have steadily sold out over the years.
Today, I create artist books, sculptures, and models for immersive installations I hope to realize in the near future. I’m interested in this evolution; in pushing the work beyond the flat image, into space, into the hands, into experience."
Artist Statement:
"I work at the intersection of art, science, and spirituality, using photography alongside paper-engineered books, sculptural forms, and immersive installations to reimagine how stories are carried and felt. Using physical structures as vessels for stories, I translate personal and collective inquiries into tactile, reflective works that are intimate, visceral, and deeply human."
Amandine Nabarra is a multidisciplinary artist whose work operates at the intersection of art, science, and spirituality. Working across photography, sculptural artist books, and immersive installations, she approaches each project as an open exploration, allowing ideas to determine their own materials, scale, and form. Her practice is not anchored to a fixed medium or method; instead, each work invents the conditions it requires in order to exist.
She works with paper in all its forms, natural and sculptural materials such as wood and clay, as well as metal, plexiglass, image, and text. Materials are chosen for their capacity to convey an idea through structure, weight, transparency, resistance, or fragility, rather than for stylistic continuity. Scale remains fluid, shifting from intimate, hand-held works to expansive spatial environments as each project demands. Meaning emerges through physical and perceptual experience.
Her work draws from scientific and natural systems; such as water, geological processes, memory, perception, and the cosmos; while remaining attentive to questions that extend beyond the measurable, toward the unknown. Rather than illustrating concepts, her projects create situations in which viewers encounter uncertainty and transformation through direct engagement.
She is currently developing Wild Act: Creativity, an artist book that investigates the creative process through modular wooden forms and printed booklets.
Nabarra’s artist books and and sculptural works are held in more than fifty public collections worldwide, including the Getty Research Institute, the Centre Pompidou, and numerous museum and university collections across multiple continents.
Alongside her studio practice, she is engaged in community-based work at Studio 526.
She lives and works in Los Angeles.
www.amandinenabarra.com
www.instagram.com/amandinenabarra/
Jurors Lori Pond & Ann Mitchell Review:
"We wish we could see this image in person, because its physicality implores the viewer to touch and interact with it.
It's a very mysterious image. It folds in on itself, spins around, and reminds me us of flowing water with all its blueness, twists and turns.
The only recognizable aspects of this image are the two hands that seem to float in a river of water. We love how our eyes are guided by the photo to flit and follow it as it fulfills its watery destiny."
Questions from Jurors:
"How did you originally come to use a sculptural approach for your work in general?
Amandine Nabarra: "I have always seen my work as an exchange with the viewer. When I had photography shows, I felt a quiet frustration. The audience was passive. They stood in front of the images, looked, and moved on. I kept wondering: what if the structure of a work could emphasize the concept itself? What if it was something people could hold and discover or walk through and feel?
That’s when I discovered artist books. A piece of art that can be physically shared. Something intimate. All the senses can be engaged.The experience becomes richer, more direct. It creates a different kind of connection; not just between the viewer and the work, but between people."
Jurors: "We were impressed by the structure of the work, can you tell us what this piece is about and how the structure supports that?"
Amandine Nabarra: "At the time, I was working with images of swimmers going through water slides. As I edited the photographs, I realized water was more than a subject. It is central to our existence. We are mostly water. We need it to survive.
There are many theories about existence; about layers of consciousness, about whether we share a common narrative. I began to wonder: if I translated a natural element like water into an object, would people from different cultures recognize it instinctively? Would they see water, even without being told?"
Jurors: "What was the development process? Did you try various methods, how does size and length play a part in this piece?"
Amandine Nabarra: "To explore that question, the structure had to behave like water. The images needed to float, to shift like waves, to slip through the hands. That is how I arrived at the scale of eighty-seven strips for the work.
I made many prototypes, testing the ideas in three dimensions. Bernoulli Equation took more than two years to complete. Cutting my photographs into strips did not come easily. I care deeply about composition. But once I began, it became surprisingly playful. I sewed the strips together so they overlap, keeping the image whole while allowing it to move. The structure is simple, but it lets the image shift and breathe."
Jurors: "Why do you choose to expand upon the traditional approach to Photography?"
Amandine Nabarra: "This book was my first step toward a more sculptural and ludic approach. Since then, I have continued to create other books with the same intention. Produced in limited editions, they have steadily sold out over the years.
Today, I create artist books, sculptures, and models for immersive installations I hope to realize in the near future. I’m interested in this evolution; in pushing the work beyond the flat image, into space, into the hands, into experience."
Artist Statement:
"I work at the intersection of art, science, and spirituality, using photography alongside paper-engineered books, sculptural forms, and immersive installations to reimagine how stories are carried and felt. Using physical structures as vessels for stories, I translate personal and collective inquiries into tactile, reflective works that are intimate, visceral, and deeply human."
Amandine Nabarra is a multidisciplinary artist whose work operates at the intersection of art, science, and spirituality. Working across photography, sculptural artist books, and immersive installations, she approaches each project as an open exploration, allowing ideas to determine their own materials, scale, and form. Her practice is not anchored to a fixed medium or method; instead, each work invents the conditions it requires in order to exist.
She works with paper in all its forms, natural and sculptural materials such as wood and clay, as well as metal, plexiglass, image, and text. Materials are chosen for their capacity to convey an idea through structure, weight, transparency, resistance, or fragility, rather than for stylistic continuity. Scale remains fluid, shifting from intimate, hand-held works to expansive spatial environments as each project demands. Meaning emerges through physical and perceptual experience.
Her work draws from scientific and natural systems; such as water, geological processes, memory, perception, and the cosmos; while remaining attentive to questions that extend beyond the measurable, toward the unknown. Rather than illustrating concepts, her projects create situations in which viewers encounter uncertainty and transformation through direct engagement.
She is currently developing Wild Act: Creativity, an artist book that investigates the creative process through modular wooden forms and printed booklets.
Nabarra’s artist books and and sculptural works are held in more than fifty public collections worldwide, including the Getty Research Institute, the Centre Pompidou, and numerous museum and university collections across multiple continents.
Alongside her studio practice, she is engaged in community-based work at Studio 526.
She lives and works in Los Angeles.
www.amandinenabarra.com
www.instagram.com/amandinenabarra/
Amandine Nabarra/Bernoulli_Equation 2
Amandine Nabarra/It Doesn’t Hurt Anymore 1
Amandine Nabarra/It Doesn’t Hurt Anymore 2
Amandine Nabarra Roaming Rocks 1
Amandine Nabarra/Roaming Rocks 2
Denis Hagen/Nightbird
Denis Hagen
My work is Visual Exploration.
I make digital photo composites or collages. Photos are not planned or staged.
Subject matter is found at various times and locations, and initially combined as whole photos in Photoshop. There may be as many as 8-9 photos/layers, although most are 4-6. The work is essentially nonobjective, with varying degrees of abstraction. I try to resist the obvious and often encourage flaws.
Two-dimenional compositions seem to work best, and I always begin in color. I use a Canon PowerShot G-6.
My focus is exploration is my goal is to create image I have not seen before. There is always the surprise of discovery, the search for something unique, and the irony of making photos that may not eventually resemble photographs. I do not explain the images.
Bio:
Retired creative director/art director, having worked for advertising agencies in Cedar Rapids, Omaha and Chicago. I now live in Iowa.
Titles Of Images For Sale:
Nightbird
Roadside
Rumor Mill
Sprezzatura
Thereabouts Four
Two Figures
15.375" x 20.5" image on 17"x22" Epson Velvet Fine Art Paper, signed en verso.
Unframed, $1,500.00, plus shipping.
Contact artist-
denishagen11@hotmail.com
https://artistregistry.org/artist-Profile?TN=20210210101636
My work is Visual Exploration.
I make digital photo composites or collages. Photos are not planned or staged.
Subject matter is found at various times and locations, and initially combined as whole photos in Photoshop. There may be as many as 8-9 photos/layers, although most are 4-6. The work is essentially nonobjective, with varying degrees of abstraction. I try to resist the obvious and often encourage flaws.
Two-dimenional compositions seem to work best, and I always begin in color. I use a Canon PowerShot G-6.
My focus is exploration is my goal is to create image I have not seen before. There is always the surprise of discovery, the search for something unique, and the irony of making photos that may not eventually resemble photographs. I do not explain the images.
Bio:
Retired creative director/art director, having worked for advertising agencies in Cedar Rapids, Omaha and Chicago. I now live in Iowa.
Titles Of Images For Sale:
Nightbird
Roadside
Rumor Mill
Sprezzatura
Thereabouts Four
Two Figures
15.375" x 20.5" image on 17"x22" Epson Velvet Fine Art Paper, signed en verso.
Unframed, $1,500.00, plus shipping.
Contact artist-
denishagen11@hotmail.com
https://artistregistry.org/artist-Profile?TN=20210210101636
Denis Hagen/Roadside
Denis Hagen/RumorMill
Denis Hagen/Sprezzatura
Denis Hagen/Thereabouts Four
Denis Hagen/Two Figures
Ellen Jantzen/Transmutation
Honorable Mention
Honorable Mention
Ellen Jantzen:
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software. As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
In 2022, Ellen Jantzen’s series Mid + West Dreaming was named Series Winner in the Digital Manipulation and Collage category in the 19th Julia Margaret Cameron Award for Women Photographers. Her photograph Departure received an Honorable Mention in the 17th Black & White Spider Awards, and she also received an Honorable Mention from the reFocus Awards. In January 2022, Jantzen presented her work as part of the i3 (Ideas, Images, Inspiration) Lecture Series at the School of Visual Arts in New York. Her work was included in the landscape exhibition Creating Land, which opened September 19 at the Pingyao International Photography Festival in Pingyao, China. Nine of her photographs were exhibited there, and the exhibition was placed in the festival’s premier exhibition space. The Pingyao festival is one of the largest photography events in China, typically presenting more than 400 exhibitions featuring roughly 2,000 photographers and over 20,000 images. Her work was also included in the International Digital Media and Arts Association (IDMAA) Conference and Exhibition.
In addition, Jantzen’s work was featured in several publications and reviews in 2022. Her images appeared in Thought Art Magazine (Issue 06) and were highlighted by Creative Concierge Services in their Subtle-Arts blog for the Mid + West series. Her work was also featured in South x Southeast Magazine in the April/May issue. For Earth Day, a selection of her images was included in a special exhibition curated by Laurie Freitag through L.A. Photo Curator. Additional features included articles in Stir World Magazine and Aesthetica Magazine (Issue 105: Points of View). Two of Jantzen’s images were also to selected to illustrate an article in the January/February issue of the Harvard Business Review.
www.instagram.com/ellenjantzen/
www.ellenjantzen.com/
www.patreon.com/ellenjantzen
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM www.editionone.gallery
Ellen Jantzen:
Ellen Jantzen was born and raised in St. Louis Missouri. Her early college years were spent obtaining a degree in graphic arts; later emphasizing fine art. Ellen spent two years at FIDM (the Fashion Institute of Design and Merchandising) in downtown Los Angeles. Here, she obtained her advanced degree in 1992. After a few years working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. Having been trained in computer design while at Mattel, Ellen continued her training on her own using mostly Photoshop software. As digital technology advanced and the newer cameras were producing excellent resolution, Ellen found her perfect medium. It was a true confluence of technical advancements and creative desire that culminated in her current explorations in photo inspired art using both a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography and collage.
In 2022, Ellen Jantzen’s series Mid + West Dreaming was named Series Winner in the Digital Manipulation and Collage category in the 19th Julia Margaret Cameron Award for Women Photographers. Her photograph Departure received an Honorable Mention in the 17th Black & White Spider Awards, and she also received an Honorable Mention from the reFocus Awards. In January 2022, Jantzen presented her work as part of the i3 (Ideas, Images, Inspiration) Lecture Series at the School of Visual Arts in New York. Her work was included in the landscape exhibition Creating Land, which opened September 19 at the Pingyao International Photography Festival in Pingyao, China. Nine of her photographs were exhibited there, and the exhibition was placed in the festival’s premier exhibition space. The Pingyao festival is one of the largest photography events in China, typically presenting more than 400 exhibitions featuring roughly 2,000 photographers and over 20,000 images. Her work was also included in the International Digital Media and Arts Association (IDMAA) Conference and Exhibition.
In addition, Jantzen’s work was featured in several publications and reviews in 2022. Her images appeared in Thought Art Magazine (Issue 06) and were highlighted by Creative Concierge Services in their Subtle-Arts blog for the Mid + West series. Her work was also featured in South x Southeast Magazine in the April/May issue. For Earth Day, a selection of her images was included in a special exhibition curated by Laurie Freitag through L.A. Photo Curator. Additional features included articles in Stir World Magazine and Aesthetica Magazine (Issue 105: Points of View). Two of Jantzen’s images were also to selected to illustrate an article in the January/February issue of the Harvard Business Review.
www.instagram.com/ellenjantzen/
www.ellenjantzen.com/
www.patreon.com/ellenjantzen
Ellen is currently represented by Susan Spiritus of the Susan Spiritus Gallery: www.susanspiritusgallery.com
Edition One Gallery, Santa Fe, NM www.editionone.gallery
Ellen Jantzen:
Ellen Jantzen/Amplification
Ellen Jantzen/Barrier Relief
Ellen Jantzen/Off Road
Ellen Jantzen/On Cloud Nine
Ellen Jantzen/Prosperity
Igal Stulbach/Nightlife1
Igal Stulbach
I'm a visual artist making photography, documentary films and video art. I'm
exploring the borders between those fields. My way is constant search and experimentation. I am a flaneur. My photography is also influenced by the
Japanese aesthetic of wabi-sabi.
Born in Krakow Poland in the year 1949 to
Holocaust survivors , since 1959 living in Bat Yam, Israel. I started my artistic
activity at a relatively late age. In the year 2015 I made a documentary film
named “Group portrait” (Short monologues by second-generation Holocaust
survivors) which was broadcast on Israeli national TV -channel 10 and
screened in several cinematheques. My video art and photography works have been shown in exhibitions in Israel and abroad. I received awards for my artworks in several photography and film contests and festivals. My photographs have been published in print and online magazines.
Diptychs made from pictures I took while strolling the streets late at night. Mannequins nightlife.
www.stulbach.com
I'm a visual artist making photography, documentary films and video art. I'm
exploring the borders between those fields. My way is constant search and experimentation. I am a flaneur. My photography is also influenced by the
Japanese aesthetic of wabi-sabi.
Born in Krakow Poland in the year 1949 to
Holocaust survivors , since 1959 living in Bat Yam, Israel. I started my artistic
activity at a relatively late age. In the year 2015 I made a documentary film
named “Group portrait” (Short monologues by second-generation Holocaust
survivors) which was broadcast on Israeli national TV -channel 10 and
screened in several cinematheques. My video art and photography works have been shown in exhibitions in Israel and abroad. I received awards for my artworks in several photography and film contests and festivals. My photographs have been published in print and online magazines.
Diptychs made from pictures I took while strolling the streets late at night. Mannequins nightlife.
www.stulbach.com
Igal Stulbach/Nightlife 2
Igal Stulbach/Nightlife 3
Igal Stulbach/Nightlife 4
Igal Stulbach/Nightlife 5
Igal Stulbach/Nightlife 6
James Wimberg/Preferred Rewards
Honorable Mention
Honorable Mention
James Wimberg
My journey in mixed media collage is rooted in a deep appreciation for form, composition, and the emotional potential of the resulting image. I’m drawn to strong graphic elements, strange juxtapositions, intentional layering, and textures. Visual choices that create rhythm and tension but ultimately serve a more intuitive goal - to convey feeling over fact.
When I make my collages, I’m not excited by the literal qualities of a specific element, but by the emotional response it evokes in me. I deliberately work as an analog collage artist because I value the tactile nature of tearing, cutting, and placing elements in the frame. I don't want to work digitally; however, I do use my phone to capture and analyze compositions as I work. This objectifies the work so I can study it in a two-dimensional format and decide what is working and what is not, in the composition.
My work invites the viewer to look past what is immediately visible and step into a more subjective experience. It’s this ambiguity, the space between clarity and abstraction that I find most compelling.
Recently, I have incorporated paint into my work pushing it past purely paper collage. I’m not necessarily interested in telling a fixed story or delivering a clear message. Instead, I want the viewer to feel something, however subtle or ambiguous. I see the act of collaging as a kind of internal listening - an intuitive reassembling of everyday images, graphics, letters, and numbers into something more personal and interpretive.
James Wimberg was born and raised in Southern Connecticut and graduated with a BFA in Printmaking from the University of Connecticut in 1979. His interest in photography began during high school with taking pictures of collapsing barns, moody landscapes, and interesting things in nature – which helped him develop his eye for light and composition. After college Jim moved to Los Angeles to pursue a career in commercial photography and to continue working on his fine art photography.
In 1986 Jim co-founded Mercier-Wimberg Photography with local photographer Mark Mercier. The two began a successful 30-year partnership in advertising photography for many high-profile clients. Wanting to give back to the photographic community, Jim taught photography courses part-time at the Academy of Art University, San Francisco and at Santa Monica Community College.
In 2021 during the pandemic, Jim began experimenting with photo-based analog collage as a new avenue of self-expression. Working in collage gave him a feeling of liberation and creativity he hadn’t felt in years. His collages have been met with enthusiasm from galleries and praise from his peers, further solidifying his reputation as a versatile and innovative artist.
Images for Sale:
Off the Charts – 10” x 10”
Archival ink jet print
$200. Unframed
Open edition
Signed on front
Preferred Rewards – 12” x 16”
Archival ink jet print
$300. Unframed
open edition
Signed on front
Untitled – 20” x 20”
Archival ink jet print
$400. Unframed
Signed on front
Contact: James Wimberg
www.jameswimberg.com
www.instagram.com/jimwimberg
www.instagram.com/jimwimberg_art
My journey in mixed media collage is rooted in a deep appreciation for form, composition, and the emotional potential of the resulting image. I’m drawn to strong graphic elements, strange juxtapositions, intentional layering, and textures. Visual choices that create rhythm and tension but ultimately serve a more intuitive goal - to convey feeling over fact.
When I make my collages, I’m not excited by the literal qualities of a specific element, but by the emotional response it evokes in me. I deliberately work as an analog collage artist because I value the tactile nature of tearing, cutting, and placing elements in the frame. I don't want to work digitally; however, I do use my phone to capture and analyze compositions as I work. This objectifies the work so I can study it in a two-dimensional format and decide what is working and what is not, in the composition.
My work invites the viewer to look past what is immediately visible and step into a more subjective experience. It’s this ambiguity, the space between clarity and abstraction that I find most compelling.
Recently, I have incorporated paint into my work pushing it past purely paper collage. I’m not necessarily interested in telling a fixed story or delivering a clear message. Instead, I want the viewer to feel something, however subtle or ambiguous. I see the act of collaging as a kind of internal listening - an intuitive reassembling of everyday images, graphics, letters, and numbers into something more personal and interpretive.
James Wimberg was born and raised in Southern Connecticut and graduated with a BFA in Printmaking from the University of Connecticut in 1979. His interest in photography began during high school with taking pictures of collapsing barns, moody landscapes, and interesting things in nature – which helped him develop his eye for light and composition. After college Jim moved to Los Angeles to pursue a career in commercial photography and to continue working on his fine art photography.
In 1986 Jim co-founded Mercier-Wimberg Photography with local photographer Mark Mercier. The two began a successful 30-year partnership in advertising photography for many high-profile clients. Wanting to give back to the photographic community, Jim taught photography courses part-time at the Academy of Art University, San Francisco and at Santa Monica Community College.
In 2021 during the pandemic, Jim began experimenting with photo-based analog collage as a new avenue of self-expression. Working in collage gave him a feeling of liberation and creativity he hadn’t felt in years. His collages have been met with enthusiasm from galleries and praise from his peers, further solidifying his reputation as a versatile and innovative artist.
Images for Sale:
Off the Charts – 10” x 10”
Archival ink jet print
$200. Unframed
Open edition
Signed on front
Preferred Rewards – 12” x 16”
Archival ink jet print
$300. Unframed
open edition
Signed on front
Untitled – 20” x 20”
Archival ink jet print
$400. Unframed
Signed on front
Contact: James Wimberg
www.jameswimberg.com
www.instagram.com/jimwimberg
www.instagram.com/jimwimberg_art
James Wimberg/Off The Charts
James Wimberg/Untitled
Jane Gottlieb/ Geese Meet
Jane Gottlieb
I have been expressing my joy of art with paint, shapes, and colors since I was very young. I started as a painter, evolved into a photographer, and eventually began hand-painting on my Cibachrome prints over 40 years ago.
Before Photoshop, I found a way to express a new magical reality with the vivid, saturated, and unrealistic colors that I painted into each individual photographic print.
Over the last 35 years, I have been scanning my one-of-a-kind hand-painted prints and my library of 35mm Kodachrome color transparencies taken over the last 50 years.
I paint, combine, and enhance them with the magic of Photoshop, creating my own colorful, idyllic world!
My art has been shown worldwide in many solo exhibitions, including:
- Butler Institute of American Art, Ohio
- Colarinda Gallery, Lisbon, Portugal
- MAD Gallery, Milan, Italy
- Demenga Gallery, Paris, France & Basel, Switzerland
- Carnegie Art Museum, Oxnard, CA
- Laguna Art Museum, CA
- Petersen Automotive Museum, LA, CA
- LA County Natural History Museum, CA
- Monterey Museum of Art, CA
- Nancy Hoffman Gallery, NYC, NY
- L’Image Gallery, Rome, Italy
- Louis Stern Gallery, West Hollywood, CA
- Wall Space Gallery, Santa Barbara, CA.
I have been part of countless group shows and art fairs around the world over the last 30 years. My work has appeared in many magazines, books, book covers, dozens of online art sites, and two museum exhibition catalogues, and two published books of my art, "Garden Tales" and "Car Tales.” I have won many awards in art contests.
I installed 15 very large artworks at UCLA Charles Young Graduate Library, in a large first-floor study hall, and I installed another 15 artworks at UCSB English Department building.
I installed 45 artworks at the UCLA Law Library, and 10 new artworks at the UCLA Fielding School of Health.
I had the inaugural solo exhibit at a new wonderful gallery at the Santa Barbara Botanic Garden titled “Jane Gottlieb Fantasy Gardens.”
I had a four-month exhibition titled “Jane Gottlieb Photographs France” at the UCSB Art, Design & Architecture Museum.
I just completed a 15’x15’ commission for the UCSB Library titled “Check It Out.”
In 2025 I installed 25 large artworks in the UCSB Library!
All Images for Sale, any size:
Dancing Fantasy. 20”x40"
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Geese on Guard. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Geese Meet. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Run Away Carousel Horses. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Lawnbowler’s: Birth 20“x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 25
Lawnbowler’s: Life 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 25
Jane Gottlieb at jane@janegottlieb.com
https://www.youtube.com/janegottlieb
https://www.instagram.com/Jane_Gottlieb_
http://www.janegottlieb.com
I have been expressing my joy of art with paint, shapes, and colors since I was very young. I started as a painter, evolved into a photographer, and eventually began hand-painting on my Cibachrome prints over 40 years ago.
Before Photoshop, I found a way to express a new magical reality with the vivid, saturated, and unrealistic colors that I painted into each individual photographic print.
Over the last 35 years, I have been scanning my one-of-a-kind hand-painted prints and my library of 35mm Kodachrome color transparencies taken over the last 50 years.
I paint, combine, and enhance them with the magic of Photoshop, creating my own colorful, idyllic world!
My art has been shown worldwide in many solo exhibitions, including:
- Butler Institute of American Art, Ohio
- Colarinda Gallery, Lisbon, Portugal
- MAD Gallery, Milan, Italy
- Demenga Gallery, Paris, France & Basel, Switzerland
- Carnegie Art Museum, Oxnard, CA
- Laguna Art Museum, CA
- Petersen Automotive Museum, LA, CA
- LA County Natural History Museum, CA
- Monterey Museum of Art, CA
- Nancy Hoffman Gallery, NYC, NY
- L’Image Gallery, Rome, Italy
- Louis Stern Gallery, West Hollywood, CA
- Wall Space Gallery, Santa Barbara, CA.
I have been part of countless group shows and art fairs around the world over the last 30 years. My work has appeared in many magazines, books, book covers, dozens of online art sites, and two museum exhibition catalogues, and two published books of my art, "Garden Tales" and "Car Tales.” I have won many awards in art contests.
I installed 15 very large artworks at UCLA Charles Young Graduate Library, in a large first-floor study hall, and I installed another 15 artworks at UCSB English Department building.
I installed 45 artworks at the UCLA Law Library, and 10 new artworks at the UCLA Fielding School of Health.
I had the inaugural solo exhibit at a new wonderful gallery at the Santa Barbara Botanic Garden titled “Jane Gottlieb Fantasy Gardens.”
I had a four-month exhibition titled “Jane Gottlieb Photographs France” at the UCSB Art, Design & Architecture Museum.
I just completed a 15’x15’ commission for the UCSB Library titled “Check It Out.”
In 2025 I installed 25 large artworks in the UCSB Library!
All Images for Sale, any size:
Dancing Fantasy. 20”x40"
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Geese on Guard. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Geese Meet. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Run Away Carousel Horses. 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 10
Lawnbowler’s: Birth 20“x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 25
Lawnbowler’s: Life 20”x40”
Archival dye sublimation print on aluminum
$3000
Limited edition of 25
Jane Gottlieb at jane@janegottlieb.com
https://www.youtube.com/janegottlieb
https://www.instagram.com/Jane_Gottlieb_
http://www.janegottlieb.com
Jane Gottlieb/Dancing Fantasy
Jane Gottlieb/Geese on Guard
Jane Gottlieb/Lawnbowler's Birth
Jane Gottlieb/Lawnbowler's Life
Jane Gottlieb/Run Away Carousel Horses
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HOME: THE EXPANDED IMAGE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell
FIRST PLACE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/first-place-amadine-nabarra-bernoulli-equation-1----/1E:
HONORABLE MENTIONS:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/honorable-mentions-james-wimberg-preferred-rewards-ellen-jantzen-transmutation-kathryn-dunlevie-detail-from-a-work-in-progress-kimberly-schneider-baked-hibiscus-aka-mixed-media-2-brooklyn-ny----/1
BEST SERIES:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/best-series-susan-kaufer-carey/1
EXHIBITION #1
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-3/1
------------------------------------------
HOME: THE EXPANDED IMAGE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell
FIRST PLACE
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/first-place-amadine-nabarra-bernoulli-equation-1----/1E:
HONORABLE MENTIONS:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/honorable-mentions-james-wimberg-preferred-rewards-ellen-jantzen-transmutation-kathryn-dunlevie-detail-from-a-work-in-progress-kimberly-schneider-baked-hibiscus-aka-mixed-media-2-brooklyn-ny----/1
BEST SERIES:
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/best-series-susan-kaufer-carey/1
EXHIBITION #1
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-1/1
EXHIBITION #2
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-2/1
EXHIBITION #3
https://laphotocurator.com/the-expanded-image-lori-pond-ann-mitchell/exhibition-3/1
