SANDSTONE GALLERY

Lynn Welker  |  Bio

Lynn Welker is an abstract artist focused on the landscape, its many forms, both real and imagined. She invents paintings that suggest subtle underlying stories. Through the spontaneous use of texture, shape and line, she leads the viewer on a seductive path of discovery.

As a former art specialist designing educational materials, Welker continues to be driven by the need to innovate. Without a preconceived notion of how a painting will look, she allows her imagery to emerge gradually. Welker paints intuitively, looking beyond the surface and reaching deeper, exploring the effects of erosion, sedimentation, weather, and the passing of time.

When looking at Welker’s paintings, you quickly notice a pattern of darker shapes. These angular configurations establish diagonal movement which directs your eye through the painting. Equally important are organic areas within the same painting. Combining sharp edges with the organic softness of our natural world establishes a surprising contrast within each work.

Blending the familiar with the unexpected, Welker shifts importance, if only briefly, from a world of technology to one that reconnects people to the richness of the land.

Lynnwelker.com

instagram.com/lynn.welker.fine.art

facebook.com/lynn.welker.fine.art

MA, BFA University of Cincinnati 

Signature Member:

National Watercolor Society NWS

International Society of Experimental Artists ISEA

Juried Member: Watercolor West WW

I discovered printmaking in 1991 while finishing my BA in another subject and was immediately hooked on this creative medium. It was over many semesters at the local community college that I learned the technical aspects of printmaking and developed my own artistic expression. 

Now I love creating monoprints, unique, one-of-a-kind prints, hand-pulled on a manual printing press. My style ranges from precise to abstract, often hinting at writing forms and incorporating linocuts that I hand carve. I enjoy the hands-on, contemplative work, the surprise of pulling a new print, the reward of seeing effort, experience and creativity unite. 

I have shown at Sandstone Gallery Laguna for the past 17 years, and at the Festival of Arts in Laguna for nine years. Western Art and Architecture magazine honored me with a two-page spread in 2015, and Dolcezza, a Canadian clothing company, chose two of my prints for their 2019 fall line. My unique prints have also appeared in several textbooks and on CD covers. 

My artist-husband Hyatt and I share our home studio in Dana Point, as well as five adult children, their spouses, and sixteen amazing grandchildren. Life is good! 

http://www.annesprints.com

I see lines. I see shapes. I see movement. I see patterns and colors. I want to translate, abstract and highlight the parts I see so others can feel the story and the history. Each piece tells a story of what I saw, what I thought and felt, and where I was in the world.

I have traveled and lived around the world with my husband, first with the military, then with his work. From the east coast to the south and to the west coast of the United States and overseas to South Africa, Venezuela and The Hague. All have had a profound influence on me, including the architecture, the people, their art and especially their local art teachers.

I love the process of applying what I learn. This has worked into my original perspective , but tweaked to suit my needs. I work my art like a puzzle—fitting in pieces, color and techniques—trying them, and then removing them if they don’t fit.

I am starting to see a convergence of all I have learned over the years. I’m considering bringing together my love of photography, collage, mixed media, encaustic and cold wax into a larger, or three-dimensional perspective of the world.

I can’t remember a time when I didn’t feel at home as an artist. While I appreciate the importance of showing and sharing my work, my heart has always been in the creative process of expressing the way I look at the world through my art.

https://Rosemariedavio.com

Isabelle Alessandra - Artist Statement:

“Raised in the wild foothills of the Canadian Rockies, I learned to be present to a sense of wonderment and joy. That same joyful spirit is what I hope you’ll experience in my work.”

My Process

At the most basic level, my work explores how geometric shapes can so beautifully contrast with loose, graceful lines and spontaneous marks. My process involves building up multiple layers of acrylic paint on birch wood panels, then sanding and scratching back into the layers to reveal glimpses of ‘the history’ of the painting. Similar to a conversation, I’m constantly responding to what’s happening as I’m working, “listening and responding to what the painting says it wants.” When I start a painting my decisions are spontaneous, but as I work, choices about the composition and the colors I choose become more and more intentional. Some decisions are meant to create loud conversations that draw viewers in from a distance, while other decisions create quiet conversations, deliberately drawing the viewer’s eye to the more intimate details discovered when my work is viewed up close.

Isabelle’s Bio

Following the wise advice her 96-year-old mother shared in the final hours of her life, four years ago Isabelle completely re-imaged what was possible for herself, her life, and her art, and started painting. Today, Isabelle’s abstract paintings have been seen in yearly international art fairs and gallery exhibitions, in Vogue and GQ magazines, and can be found in private collections in the United States, Canada, Europe, South America, and China.

In addition to Sandstone Gallery, Isabelle is currently represented by:

Peterson Contemporary Art (Bend, Oregon)

Libby Silvia Artstyle (Wellesley, Massachusetts)

J. Willott Gallery (Palm Desert, California)

Singulart (Paris, France) - Online

Collections of Isabelle’s work have also been shown in group shows in:

Festival of Arts, 2022, 2023, 2024, 2025 and coming in 2026 - Laguna Beach, California)

The Ritz Carlton Laguna Niguel, 2023, 2024, 2025 (Dana Point, California

Singulart Gallery Stuttgart 2024, 2025 (Stuttgart, Germany)

The Art Spirit Gallery, 2022, 2023, 2024 (Coeur d'Alene, Idaho)

Jane Hamilton Art Gallery, 2022 (Tucson, Arizona)

Galerie Sonia Monti 2021 (Paris, France)

Van Gogh Gallery 2021, 2022 (Madrid, Spain)

Innsbruck Art, 2021 (Innsbruck, Austria)

Saatchi: The Other Art Fair 2021 (Los Angeles)

Superfine Art Show 2020 (Los Angeles)

Isabelle’s work has been featured in Art Collector Magazine, Laguna Beach Magazine, March/April 2024 edition, and August/September 2025 edition and in print and digital editions of Condé Nast magazines: Vanity Fair, Vogue House and Gardens, GQ, and World of Interiors in 2021 editions.

As a nod to her "other career" and training (and for our local Trojan fans), Isabelle holds a Doctorate Degree in Education Policy, Leadership and Change Management from the University of Southern California (USC).

Website: https://isabelle-alessandra-artist.com

https://www.instagram.com/isabelle_alessandra_artist/

I am a visual artist living in Long Beach, California, where I create multi-layered mixed-media abstracted paintings in acrylic and oil.

After studying drawing and painting at California State University, Long Beach, I enjoyed a long career as a Senior Interior Designer for projects across the country, curating the art mix for each location. Over time I came to recognize that one of the most important components to solidify the look and feel of a space…..the “secret sauce “ that would bring everything together…..was the selected art.

The creative process often starts with spontaneous marks and evolves as I respond to what I see and feel. Others begin as heavily edited photos that resonate with me personally as visual stories that I then translate to canvas. However they begin, each piece continues as a journey of personal expression and exploration until I am satisfied with the outcome. They all have their own presence and meaning to me, but once they go into the world I hope a viewer can discover their own story, their own meaning in the work.

My work has been part of juried exhibitions in Los Angeles and Orange counties as well as online.

http://Lancecarlsonart.com

https://www.instagram.com/Lancecarlson_ art/

ARTIST STATEMENT

The art of printmaking is a deeply meditative and therapeutic process for me.  Combining color, shapes, repetition and contrast, my goal is to create unique images with relevance and meaning.

ARTIST BIO

Colleen has dedicated more than 30 years to the art of printmaking.  While her formal education was centered on writing (B.A. – Journalism) and people (M.S. – Clinical Psychology), her passion has always been to make art, and since discovering printmaking in the late 1980’s at the Idyllwild School of Music and the Arts, she has embraced her passion for this process.

Most of Colleen’s prints take an interesting slant on something familiar, and reinvent those images in a new and unusual way.  Her icon choices may be either vague or recognizable, and her choice of color and her ability to generate texture and depth to her prints give her pieces character, originality, and a sense of timelessness.  Colleen believes that the power of observation is her most important tool, and finds that thoughts and ideas that she can’t articulate verbally are much easier for her to express with ink and paper.

Colleen’s work has been featured in art shows across the country, in Printmaking publications, and in private collections.

ckpremer3@gmail.com

www.Instagram.com/Colleenpremerart/

ARTIST BIO

I was raised in the Pacific Northwest and moved to California to pursue a bachelor’s degree in studio art with an emphasis in printmaking.

Although I have been working in mixed media for twenty years, paper has fascinated me since I began printmaking.

I am drawn to the texture of old paper and delight in its delicate and fragile nature. I particularly enjoy papers with absorbent qualities that produce unpredictable and surprising results in the collage process.

In my travels I am always hunting for materials that can be included in the collage process. A primary source for the most valuable and inspiring material has been Asia.The influence of Asia and the adoption of my daughter from Korea in 1986, has deepened my appreciation of eastern philosophy and greatly influenced my sense of design.

I have been fortunate to exhibit my works at the Laguna Festival of the Arts since 1994, and at other art festivals in Southern California.

In addition to receiving recognition by my peers, my work has been collected by many public, private and corporate collections around the world.

My passion is to create works of complexity and depth by melding textures of old and new paper highlighted by varied combinations and layers of acrylic paint and stain.

https://www.Miamooreart.com/

ARTIST STATEMENT

I experience the world through color, texture, and light, instinctively arranging visual elements into order. Collage became the natural medium for my voice, allowing me to explore the intersection of painting, fine art, and craft. I work with traditional and handmade materials, recontextualizing familiar, timeworn elements into modern, structured compositions.

My practice is defined by contrasts—vintage and contemporary, graphic and organic, complex yet ordered. By gathering and composing ephemera and everyday materials, I elevate the mundane and invite viewers to see common objects in new ways, fostering a deeper emotional connection to memory, material, and personal history.

https://www.Katherinemead.com

I woke up late in 1999 with a clear artistic calling.
Since then, I’m committed to capturing, in paint, the magic of life
with its longing, adventure, and beauty while inviting reflection
and personal interpretation.

Lawrence McAdams calls his work “Magic Realism.” As a surfer, the ocean figures strongly in it. Born and raised in SoCal, he graduated Magna Cum Laude from CSULB. In 1999, after a Seminar by the author of The Sacred Romance, John Eldridge, he literally woke up compelled to become an artist.
His paintings have been exhibited in; Laguna Art Museum, the Hilbert Museum of California Art, 

The LCAD Collector Awards, JoAnne Artman Gallery, San Francisco Art Fair, George Billis Gallery, NY, Sullivan Goss, Santa Barbara, Art Basel, Miami, and Laguna Beach Festival Of Arts. McAdams’ work graces collections in the US and Europe. His painting, “Effervescent,” was purchased for the Hilbert Museum of California Art’s permanent collection.

https://www.LawrenceMcAdams.com

https://www.Instagram.com/lawrencemcadams1

https://www.lawrencemcadams.com/blog

ARTIST STATEMENT

I enjoy pulling inspiration from my home in Southern California and my family’s roots in Hawaii to combine it with my love for Mid-Century Modernism and minimal design. My work features bold shapes, vibrant color, and playful compositions, giving homage to artists like Henri Matisse, Mark Rothko, Josef Albers, and Wayne Thiebaud. 

Each series I complete is with one of these themes in mind: Citrus, Blooms, Tropical Waters, and California Style interiors. Colors, patterns, motifs, and shapes that come together to reflect the essence of the places I love. Since I mainly work in two mediums, acrylic and oil/cold wax, I will rotate which one I'd like to use for a series.

My acrylic paintings have a sense of luminosity when experienced in-person, created from multiple sheer layers of pigment. This layering process also creates fun optical illusions—colors that appear green to our eyes were actually created through the careful layering of yellow over blue. And so on. My oil and cold wax paintings have a natural texture to them, almost akin to printmaking, giving them a more vintage aesthetic.

https://www.Kristengueststudio.com

https://www.instagram.com/Kristengueststudio

ARTIST STATEMENT

As a self-taught artist, my path has been an unconventional one. Before becoming a full-time painter, I spent many years working as a pediatrician—but art has always been my first love. Returning to it has been one of the greatest joys of my life.

I create mixed-media paintings that blend abstraction with subtle hints of realism. My process is intuitive and layered—I add, remove, and rework paint until color and texture start to tell their own story. Those two elements are the heart of my work and what continually inspire me.

Through my paintings, I aim to tell stories that evoke joy, curiosity, and connection, inviting viewers to pause and find something new each time they look.

https://andrealopez.gallery

ARTIST STATEMENT

“I can’t explain my work,” she tells me. “I just write stories.   I’ve never thought about a theme.  ... I just think about the text.”  Claire Keegan 

In this same way the practice of art in any medium I have tried has always been non-verbal.  I do not start with the aim of depicting a specific narrative. Rather I explore the basic elements of composition and color with the goal of creating a whole to draw the viewer from a two-dimensional surface into a three-dimensional space.  As a printmaker my imagination is stirred by many stimuli - the expanse and subtlety of the palette in landscape, aerial photography, industrial and mechanical shapes and textures, the physicality of decay, translucence, reflections, the ambiguity and depth of space, and the transformative quality of light. 

I combine  two printmaking techniques, silk aquatint and collagraph, which result in rich color, subtlety of edge and intersections, and the means to create and depict layers which when combined convey mystery.   

I love the juxtatposition of the elements of printing I can control (for example, plate composition) against the elements I cannot (such as the interaction among ink layers, the degradation of the plate surface, the degree of the roller’s penetration).  That tension between control and surprise in the printmaking process continually rewards and challenges me. 

All of my prints are unique. I am able to obtain multiple and slightly different prints from each plate in a series, sometimes adding chine collé elements or overlaying inked shapes in a subsequent pass through the press.

https://www.Lesliearnoldart.com

ARTIST BIO

TIM TURNEY is a fine art wood shaper from Roseville, California. His philosophy is to expose the beauty of Mother Nature in his creations.  Following his innate desire to make things he can touch and feel, Tim uses a process of fine wood turning to shape wood on a lathe to create unique forms.  

Most of Tim’s pieces are created from sustainable, exotic hardwoods. While he works he embraces the wood’s natural variations to reveal a story through its grains and textures, ensuring that each creation is a one-of-a-kind masterpiece.

Whether it's a decorative bowl or an elegant vase, fine wood turning blends beauty with function. Tim’s gorgeous pieces serve as both art and utility, seamlessly enhancing your living space.

“The changing of the seasons, geological forces, the beauty of frozen glaciers and molten lava all appear in my work. I work exclusively in porcelain, pushing it to its limits, almost to its breaking point.”

Benjamin  Behnken was born and raised in Michigan just outside of Detroit. After working in the Chevrolet factory, he attended Michigan State University and received a BS in electrical engineering. While working as an engineer in California, he found his true love in a pottery class. He left engineering to pursue art and received a BFA in ceramics from California State University Long Beach. Benjamin creates one-of-a-kind porcelain pieces. His work is influenced by trees, nature, leaves, and rocky coastlines. Friends and patrons often bring him leaves and feathers from their travels for him to incorporate into his work.

https://www.instagram.com/Pacific_pottery/

Fred Stodder, a native of Laguna Beach, California, discovered his passion for ceramics at the age of sixteen. Just two years later, he began exhibiting his work, launching a lifelong journey into the world of clay and form. He earned his Bachelor of Fine Arts from the University of California, Irvine, and now works out of his studio in San Juan Capistrano.

Stodder’s ceramic art has been showcased in galleries, museums and art festivals across the United States. His work has garnered numerous awards, is held in prominent collections and has been featured in “Ceramics Monthly” and other national arts publications.

While rooted in one of the world’s oldest art forms, Stodder’s ceramics break from tradition through their bold geometry, vivid color palettes, and sharply defined glazes. His aesthetic draws inspiration from ceramic history, modernist movements, architecture, and the improvisational spirit of jazz.

Each piece is crafted from white earthenware clay and bisque fired to approximately 1950 F. He uses airbrushed underglazes to create smooth gradations - often shifting from warm to cool tones or light to dark - and applies both translucent and opaque low-fire glazes to define solid color fields with precision.

https://www.fredstodder.com

https://www.instagram.com/fred_stodder

ARTIST STATEMENT

The organic and flowing forms in Ken Sugimoto’s metal art may appear minimal at first, but they are actually composed of continuous, interconnected curves forming a complex structure.

These kinds of intricate, flowing forms can also be found naturally in all living organisms on Earth. The shapes of living things were not created for the sake of beauty, but developed through evolution in pursuit of function. Nevertheless, people have long perceived beauty in them. He seeks to reexamine this unconscious beauty, extract its essence, and reconstruct it in his work based on the principles of balance and tension. “Balance” and “tension” are essential components of his sculptures.

By repeatedly heating and hammering stainless steel or carbon steel, he gradually shapes the material, much like the way life evolves over time. Then, through repeated sanding and polishing, he creates a glossy surface that enhances the form’s inherent dynamism and tension.

Among the materials he uses, mild carbon steel is softer than stainless steel, allowing him to express more dynamic, organic, and gentle curves. For him, it is the most suitable material to realize the beautiful forms he envisions, which is why he prefers it for his sculptural work.

Furthermore,  works made with mild carbon steel can maintain their luster through regular polishing. Sugimoto hopes that, beyond visual appreciation, owners will also find joy in polishing the pieces themselves, experiencing the feel of the curves through touch.

A visual experience through the changing light, shadow, and reflections, shaped by time, placement, and surroundings.
A tactile experience through the owner's interaction with the curves of the piece.
He hopes his metal art can be appreciated through both experiences.

In addition, his work features contrasts such as organic forms combined with inorganic structures, or inorganic materials like steel shaped into organic forms contrasted with organic materials like wood formed into geometric shapes. These expressions reflect the coexistence and integration of his long career as an industrial designer and the liberating, intuitive approach he discovered through metal art.

https://www.kensugimoto.com

ARTIST STATEMENT

My work reexamines the roles of pattern, object, and environment.
I use pattern as a structural element to reveal how relationships between form and space shift.

At its core, my work asks how the relationships between pattern, form, and the space a vessel inhabits shift and become visible. In my work, pattern is not an added surface layer. It is an active element that reshapes how form is perceived and how it relates to the surrounding space. I explore moments when these relationships come into focus through the viewer’s gaze and shifting viewpoint.

My starting point in ceramics was the theme of function and beauty, rooted in my background as an industrial designer. Over time, I began to think that a vessel could be more than an object of use. It could become a structure that brings out different relationships with people and space. I also came to see that pattern could be more than an image or motif, and could instead act as one of the elements that compose a relationship. After forming the clay body, I apply hand cut paper stencils and layer a glaze slip made from my own formula. Once I remove the paper, I repeatedly refine the surface before and after firing.

I treat pattern as something that stands beside the object and the space it inhabits, exploring how they affect one another as the piece takes form. In each work, I aim to make that interaction something the viewer can sense.

https://www.Erisugimoto.com

ARTIST STATEMENT

Where love for marine biology merges with glass art.

​Dive into 20+ years of sculpting with molten glass. Cody’s wide array of creatures and seascapes offers a glimpse of what the ocean has to offer.

 Whether you’ve explored the ocean yourself or fantasize about a shoreside adventure, these one of a kind artworks capture what we love most about marine life. 

https://www.codynicely.com