‘Pixels and Paint … My Journey,’ by Steve Getz at Gallery425

Join us for the opening of ‘Pixels and Paint … My Journey,’ by Steve Getz, on Friday, December 7th, 2018 at 6pm.


The overview of the exhibit is to display a wide range of art mediums that have encompassed his work over the past 10 years. These include oil painting, digital painting and photography. To Getz, they intermingle but are also separated into their own forms of art and expression.

This exhibit includes the 4 major categories ….

1. Oil Painting
2. Photography
3. Digital Painting
4. Mixed Media

Getz believes in exploring old and new techniques to achieve these very different end results. There is a sense of creative accomplishment when you can bridge these different applications to achieve a result in which viewers can appreciate the image but are also curious to know more about the process. He is also not bashful to proclaim a his perpetual appreciation of 19th century landscape painters. Without this influence, Getz doubts he would have chosen to be a professional artist.

For Getz, true creativity is a very personal journey and has very little to do with impressing others. Hopefully that is a bi-product but should not the initiator of the process. Getz favors this exhibit because he is able to display traditional media along side of more contemporary forms of art without being confined to predetermined parameters.

“Don’t not stay ‘satisfied or safe’ with the art you create. Take bold steps to be different even though many may not understand or appreciate the end result. As artists, pushing our creative talents past commercially acceptable in some ways frees the soul to produce exceptional art.” – Steve Getz

Eclissi Solare copy

Railroading: Recent Photographs by Oren B. Helbok, Opening in November

Railroading: the Hardware, the Landscape, and the People
Recent photographs by Oren B. Helbok

Join us for the opening on Friday, November 2nd at 6pm

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Oren B. Helbok grew up in the Bronx and with his father, John (WhereSteamLives.net/john-e-helbok), he experienced some of the early tourist railroad era, going out to “chase trains” from age 2.  Since age 6, Oren has made photographs, predominately trains, predominately steam, from approximately coast to coast and in Canada and Great Britain.  In recent years he has come to appreciate that “railroading” includes much more than just hardware, namely the landscapes and the people surrounding the trains.  Oren writes stories to accompany his photos because, he believes, “sometimes a picture needs a thousand words.”  See and read more at WhereSteamLives.net.

Luana Cleveland Brings “Beaches & Beasts” to Gallery425 in October

Join us for the opening of “Beaches & Beasts” on First Friday, October 5th, 2018 at 6pm.


Making art has been an integral part of Cleveland’s life for many years. The basis of her work deals mainly with family, friends and nature. As she works on the picture, other elements are added, which may or may not have anything to do with the apparent subject. Her state of mind while working, outside events, a piece of philosophy, an observation of character, a memory, or a dream all flow in her work.



Cleveland, an award-winning graduate of Penn State University, has taken part in over 50 individual and group shows throughout New Jersey, New York and Pennsylvania over the last 4 decades. She also has several permanent collections to include locations such as the Susquehanna Health System and Lock Haven University. Cleveland has held numerous positions on local art boards including the Greater Williamsport Community Arts Council (Executive Director) and the Bald Eagle Art League (Member, President & Secretary) and has served as Director of the Lycoming College Art Gallery.

Download her full RESUME.

Mixed Media Drawings by Roger Shipley

6PM – 9PM

Artist Statement

Shipley has always been fascinated with the complexities found in nature. When he observes the forest or study’s the breaks in ocean waves, he sees a myriad of shapes, textures, contrasting colors and values in nature’s dynamic interlocking forms, all alive and competing for a limited space in which to grow and survive. In these drawings, he tries to show that in this complex tangle of many diverse forms there can be order. His drawings are very complex but feel’s they are successful as artistic images.


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Short Bio

Roger Shipley, Professor of Art Emeritus, received his BA degree from Otterbein College in 1964. He did additional study in art at the American School of Art at Fontainebleau, France in 1962, and the Cleveland Institute of Art in 1965 before going on to the Cranbrook Academy of Art to obtain his MFA in Painting and printmaking in 1967. Roger came to Lycoming in 1967 where he taught various disciplines in two-dimensional art for 43 years. Recently retired, Roger continues to produce work in both the two and three-dimensional areas of art. He shows his work extensively thoroughly the United States in galleries and in juried and invitational exhibitions. He has received numerous prizes for his work and has had his work published in Beginning Sculpture, Davis Publications, 2005 and The Sculpture Reference, Sculpture Book publishing, 2005.  Roger is currently completing a bronze sculpture called Germination commissioned by the Public Art Works Committee and the city of Williamsport. Roger has been listed in Who’s Who in American Art since 1978.

JULY: Fiber as Medium

JULY 3 – JULY 30

To quote Susan Taber Avila, fiber art is “any type of artwork which uses linear, pliable elements – fibers – as a major material. Fiber art may be constructed by methods traditionally associated with textile fibers such as stitching, weaving, dyeing, etc. Fiber art may consist of objects traditionally associated with textiles including (actual or virtual) clothing, rugs, linens, wall hangings, etc…”

Join us for the opening on First Friday, July 6th, 2018, 6pm-9pm.

13 Artists will be on display showing their pieces of fiber art which range from fashion influences and weaving to fine art.



Camille Seeling

Jackie Thomas

Meredith Grimsley

Brian James Spies

Lynn Estomin

Eva Nguyen Johnson

Brittany McLaughlin

Tristan L. Lee

Brad Stopper

Micky Mapstone

Paula Swett

Leslie James

Carol Ann Simon-Cillo


More on fiber art from Susan Taber Avila HERE


Woman in Line and Form, by Joanne Landis Coming in June

MAY 30 – JULY 4

Join Gallery425 in welcoming New York City Native, Joanne Landis, to her opening of Woman in Line and Form, a collection of never before seen work. Experience how a poet, turned fashion illustrator, turned painter tells a story across each canvass. Immerse yourself with her figures in motion, adorned with bold strokes and saturated colors.

“I am a storyteller – a narrative painter. My figures, mostly women, are often meditations on archetypes, myth or personal experience. This allows me to build an environment inhabited by beings with all that it means to be human, alive and still in a dream.”

                                                                                                          -Joanne Landis



WORKING: Some ordinary and some out-of-the-ordinary jobs done by extraordinary people

Join us for the Opening
Friday May 4th, 2018 at 6pm



Rick Mason of Williamsport is an award-winning, nationally-published photographer who has been steadily developing his “photographic eye” over the past half-century. Rick invested four decades as a communications professional; having worked as a broadcast journalist, public information officer, freelance writer, portrait photographer and community volunteer. Rick is passionate about his family, people photography, gardening, bonsai, community service and hugs.


Some seeds take just the right conditions to germinate. Like a forest fire needed to nudge certain conifer seeds to sprout, they can lay dormant for years before beginning their growth. The seed for this month’s exhibit of “WORKING” black and white photographs was planted 30 years ago, with the capture of the bus cleaner. Over the years, other unusual jobs presented themselves in front of my cameras, starting in the old days of 35mm film, and, in the past decade or so, in the age of digital capture. Thanks to the “nudging fire” of JudyO, this past winter I finally knuckled down to sort through hundreds of photo files and contact sheets to settle on 20 representative samples for the chosen theme. To my surprise, after reviewing decades of files, I could easily have doubled the size of the show. Having said that, I hope you find the scenes offered will satisfy your artistic appetites for a taste of my work. Hugs to all.

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Duel Opening by David & Deb Stabley Coming in April




Dave and Deb Stabley have shared a studio space since 1978. They graduated from Millersville University with their undergraduate degrees, and from the University of Nebraska with an MFA for Dave and MA for Deb. Upon graduation, Dave and Deb formed Creative Clay Works, and sold their ceramic art work for over 25 years in the wholesale and retail arts and crafts market. Dave currently teaches sculpture, ceramics and mosaics at Pennsylvania College of Technology. Deb teaches drawing and ceramics there, as well. Throughout the years, Dave and Deb have also been involved in promoting arts in their local community, including their ongoing membership in Artspace, a cooperative gallery in Bloomsburg. For the past 3 years they have also managed the community clay studio, at the Pajama Factory, in Williamsport.


dave sgraffito2 (1)

Thrown Sgraffito Vase

After having been hired at Penn College to teach ceramics and wood sculpture, David was able to focus primarily on teaching as well as experimenting with many different techniques in the ceramic arts and wood sculpture. Through the many projects that he has had, he has had the opportunity to personally experiment with those techniques. This body of work is about that exploration. He works on the potter’s wheel and also hand build. David has also been experimenting with naked raku, horsehair raku, copper matt reduction raku, sgrafitto, terra sigilatta and burnishing, pit firing, soda reduction firing, Cone 6 electric firing, majolica as well as lusters and decals.

The larger scale ceramics and wood sculptures deal with the abstraction of the human head. He has been very inspired by African art and has tried to become more aware of the formal aspects of design within his work. Teaching has really opened his eyes to experimentation, as well as the effects it has had on his work. Along with smaller pieces, David has also been involved in designing, teaching and creating large scale indoor and outdoor mosaics at Penn College, private spaces in Bloomsburg, artist in residence programs as well as public arts programs.


Lets dance

Lets Dance

In this body of work, Deb continues to explore her attraction to and connection with the natural world. In some of her pieces, she has incorporated sticks and other wood found on walks, with the clay, in order to create something totally “other.”

She has also created works that are a direct commentary on some of the current issues that are impacting our world today. Proceeds from these pieces will go to organizations that promote concrete and positive solutions to these issues.

She continues to experiment with different firing methods and techniques, including high fire, raku and pit firing to achieve the look and feel she is after.

And so it goes….

Fred Gilmour to Open at Gallery425 in January

The Dichotomy of an Artist:
Abstractions and Realizations

Opening Friday, January 5th, 2017 at 6pm
Gallery 425, 425 Market Street, Williamsport, PA 17701


This exhibit embodies an artistic struggle between the realistic and the abstract in his current work and his personal nature.

Gilmour has been formally trained to interpret real-world objects as technically accurate as possible. As an illustrator, there was no room for abstraction or “creative interpretation.” Generally, one can master the technical skills necessary to replicate an object or scene on a two-dimensional field relatively easily. Occasionally–and rarely–a fine illustration can be viewed as art.

On the other hand, as a fine artist with both formal art education and significant practical experience, abstraction can push the boundaries of creativity into uncomfortable territory.  No longer is it safe to lay down the “technically correct” texture or color. And more often, a piece is almost expected to have an unusualness.  For the viewer or consumer, the expectation is to be somehow annoyed, tricked or confronted with some esoteric profundity—an inner exploration of one’s deepest, darkest thoughts or feelings as it were.

For Gilmour, having the viewer appreciate one of his works comes down to the simple reality of how he chooses a good bottle of wine.

“If you open and drink a particular bottle and you like it…it’s a good bottle of wine”.

When you look at his work, there is no trickery, no profundity.  If you like it, then he has done his job.  Conversely, if you don’t care for it or feel you don’t “understand” it, then, he has done his job.

Abstractions:  A Thought Collective
A Selection of Assemblages

This series of abstract assemblages is dominated by the commonality of four general elements; feathers, photographs, metallics or organics, and words; all being found objects. Sometimes they are found as a collective, sometimes they have been intentionally assembled.

For Gilmour, feathers embody the ethereal; the unobtainable free spirit of flight. The inclusion of actual feathers brings a textural element to the composition.  They are also intended to invoke whatever it is they represent to a viewer’s mind.

Found photographs capture the mundane, the face of a long departed relative or those with whom we have no recollection.  They are random snippets of time, and since they are “found” they may have no relationship to any of the other elements, or, they might.

Metallic castoffs, oxidized survivors of our daily social progress, are gathered from a variety of locations as are the organics; twigs and stems that present interesting textural relief or shapes.

Words and phrases with unusual juxtapositions have been collected from professional journals, papers and other public sources.  Individually words can invoke incredible meaning. Collectively, when gathered from a variety of sources, their meaning can summon total confusion.  Some words are left to rust and wane, some are used until they no longer serve a function. Some others express humorous or thought-provoking approaches to life’s dilemmas. None of the statements are related.

All the elements have been manipulated, modified and massaged. Many are intentionally connected with deliberate bindings and reside on a non-objective abstract background reminiscent of a chaotic flurry of unintentional drug-induced energy.  Gilmour does this art when he wants to escape the precision of illustration.

Realizations:  Architectural Archaeology
A Pen and Ink Series

Millville 2 (1)

This series embodies a collection of pen and ink illustrations focused on the visual preservation of rural architecture. The buildings, with a few exceptions, can be found within the greater Lycoming County (PA) region.  They are artistic snapshots of utilitarian structures that have passed into uselessness.  These barns and outbuildings have successfully evolved from the mundane into the sublime. The works explore the play of light and shadow, stark contrast, and hyper-realistic details that reside within the structures. Purposely editing out much of the surrounding environment focuses visual attention on the subject bringing the viewer simultaneously into and out of the scene. This is what he finds himself doing when he is suffering jet lag from a recent flight of fantasy.

Disclaimer: No birds were harmed in the creation of these pieces of art. All feathers were obtained from legal sources.



Montoursville, Pennsylvania

Fred Gilmour is an artist/ designer with over 45 years of experience in fine art, graphic, video and instructional design.  He is a producing artist with a strong interest in black and white mediums such as pencil and pen and ink. He also finds acrylic and watercolor media challenging and enjoyable.

Gilmour also holds a parallel interest in digital imagery using a variety of photographic and post-production graphic arts techniques.

His work was shown at galleries in St. John, U.S.V.I., and Irvington, VA. He currently has work in Gustin’s Gallery, Corning, NY.  He was a founding partner of The Eagles Mere Art Gallery, an artist co-op in Eagles Mere, PA. He has exhibited in one-man and group shows at various venues in the Greater Williamsport (PA) area and the Gallery at Penn College.  In the past he has served as a judge for the Scholastic Art Exhibit and various photography competitions. His artwork has appeared on the Discovery Channel.

He is retired from Pennsylvania College of Technology where he was Director of Instructional Technology and Distance Learning and Adjunct Assistant Professor of Art. His former professional responsibilities included film and television production, digital photography, computer art, 3D computer animation, graphic and web design, and instructional program design for both face-to-face and distance learning environments.  He holds professor emeritus status.

Gilmour produced close to a hundred multimedia instructional programs and videotapes during his career including one of the first college credit programs to teach drawing using the Internet.

He was formally trained as a Technical Illustrator.  He holds two associate degrees, a BS degree in Art Education from Mansfield University. His artwork and photography have hung in Pennsylvania State and U.S. Congressional offices as well as governmental offices in Australia.  His work on multimedia productions received a number of national awards and international recognition.

He serves on the Advisory Committee for the Gallery at Penn College, a committee that selects upcoming artist’s shows, and the UPMC Susquehanna Health Arts Advisory Committee; a group that selects art to be installed in the healthcare environment.

Please help us welcome Fred Gilmour to Gallery425 on First Friday, January 5th, 2017 at 6pm.

Opening Friday, December 1st @ 6pm


Two Portfolios of Explorations in Feminine Identity:
Welcome to the World, Baby Girl and The Ruby Slipper Suite.




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Judy is a self-taught painter, which accounts for the oddity/uniqueness of her aesthetic. She is mostly a portrait painter with a still evolving style.  The way she wants to paint is somewhere between Alice Neel and Larry Rivers, with a touch of Francesco Clemente and keeps pushing forward in hopes of developing a consistent style of her own.

She has a friend who paints the Goddess and the Earth Mother. When she looked at her friend’s work about feminine strength, she realized that part of what she had been painting is the soft vulnerable under belly of the feminine principle. Most of her work seems to be exploring the boundaries and the demands of the role of being a woman; from the beginning of time, from her grandmother’s generation to her own. Judy doesn’t have a daughter so she can only speak of the current generation from the vantage point of her own experience. She is seeking to a have a clear sense of the lines between being a woman and a self.

Judy comes out of the I950’s ethnic, working-class, patriarchal definitions of gender roles. She didn’t start out thinking about feminist issues but it seemed, as a woman who lived through the second wave of feminism, she didn’t have much choice. She lived through a time that questioned gender identity. Gender role confusion was what was on her mind. Without realizing it at first, she has been using art  to explore the issue of identity and of gender. 

In addition to trying to find out what it means to be a self, she is trying to fit that self into the body of a woman. Or, maybe she has been trying to find out what it means to become a self in the body of a woman. 

Judy agrees with Picasso, when he said “Painting isn’t an aesthetic operation; it’s a form of magic designed as a mediation between this strange hostile world and us, a way of giving form to our terrors as well as our desires.”

Capture.JPGAs to the themes of her overall subject matter, it appears part of what she is doing is creating a visual diary in the tradition of Frieda Kahlo and Joan Brown.  All time exists at the same time and she keeps moving back and forth in time from now to childhood, to the previous generations, to the ancient world trying to see or to make sense of life.   She quotes Faulkner regarding time when he says “the past isn’t dead, it isn’t even past.” When she paints, time doesn’t matter. Space doesn’t seem to matter either, for sometimes the inside is outside and the outside is inside. The outer world and the inner world bleed back and forth. On canvas, matter, psyche and spirit all exist at the same time, in varying ratios and on shifting planes. In painting and in life Judy finds that it is always hard to find a place to put things, even parts of herself. 

What keeps her going is the hope that her painting will someday come close to what Clement Greenberg expressed about Milton Avery when he said,” His paintings show once again how relatively indifferent the means of art becomes when force of feeling takes over.”

See more portfolios from Judy on her website.