In Zora Neale Hurston’s novel, Their Eyes Where Watching God, she describes the altered state of a woman seeking resolution and solace in prayer:

“There is a basin in the mind where words float around a thought and thought on sound and sight. Then there is a depth of thought untouched by words and deeper still a gulf of formless feelings untouched by thought”

Touch - Hush

Touch – Hush, by Meredith Grimsley

Acknowledging a sense of loss and gratitude in daily life, I imbue the surfaces of my pieces with prayers and patterns which disclose my choices, behavior and faith. Each object made reflects moments of meditation and a longing for grace. In pursuit of truth, my spiritual identity emerges. My soul’s yearning for a connection fuels my imagination. To my audience, I whisper about my search with the physical, indelible mark of the stitch.

Recently, I have begun to contemplate pivotal experiences which permanently alter a person’s life and path. Through both unsettling and alluring imagery, I reveal the psychological impact of: an environmental disaster; the death of a loved one; a terminal diagnosis; a physical ailment; the loss of innocence; the birth of a child; self-destruction; and spiritual conversion or degradation. By striking a balance between beauty and distortion, my work explores the endurance of the human spirit. I am fascinated by the imagery and behavior expressed in spiritualism, mysticism and superstition. I want to delve deeper into these beliefs as well as the psychology and physiology of massive change in people’s lives. Some significant events happen in a breath and are absorbed into our daily routine without examination. Others linger within us endlessly either corroding or correcting our core. Our minds and bodies are permanently reformed. We can be reborn with a new perspective.

Meredith Re’ Grimsley received her MFA in 2002 and her BFA in 1999 in Fabric Design from the University of Georgia in Athens, GA. Her work, including wearable art, installation, performance, two-dimensional and three dimensional forms, has been shown in numerous national and international venues in solo and group exhibitions. She is professor of Fabric Design at Bloomsburg University of Pennsylvania.

“Don’t Label Me!” by Emma Daniels on display in July

Don’t Label Me!

Opening Friday, July 7th @ 6:00pm


Emma Daniels is a 2017 Lycoming College graduate whose work explores human identity and the conflict among societal labels. She became interested in film and alternative processes during her internship under local Williamsport photographer, Ralph Wilson. She will be working toward her masters of fine arts at San Francisco Art Institute in the fall. She plans on pursuing a career as an Art Director upon completing her studies.


Emma Banner


I feel that in today’s society, physical appearance acts as a deciding factor on whether we choose to accept, respect, or interact with a person. It is my belief that it is personal identity which defines a person, not their physical appearance. I have observed that people identify in countless ways, but because of physical appearance, many do not get the chance to be understood. Your personal identity is a label you can only give yourself, not a label society can place upon you. Stanford Encyclopedia of Philosophy defines that personal identity refers to certain properties to which a person feels a special sense of attachment or ownership. Someone’s personal identity in this sense consists of those features she takes to “define her as a person” or “make her the person she is.” I feel it is all too common in our society to judge a person’s identity based off their physical or audible appearance.

My body of art fights against this notion of prejudice based on appearance by consisting of portraits in the form of silhouettes, of people varying of many shapes, sizes, colors, and textures. Each image is photographed with black and white medium format film and printed onto a circular tree ring. This was in attempt to create a unifying background and style, but also to point out individuality, for each ring of a tree is unique, like a human fingerprint. I treated the wood with a light sensitive material that prepared the wood to produce an image as if it were traditional photo paper in a darkroom. Silhouettes were used in attempt to make the participants unidentifiable. I felt that if the person were just an outline or shadow, it would give them a chance to be seen for who they personally identify as, rather than a preconceived label that society has given them. Furthermore, I asked each participant to write a few sentences on how they would prefer to be or known for, if given the chance to be looked at without prejudice.  I then traced their statements onto a bleached leaf which are scattered amongst the portraits. The bleached leaves represent the delicacy and individuality of each statement, while again emphasizing unity. In theory, each participant’s statement can be paired with any portrait. My goal with this body of artwork is to express that “you cannot judge a book by its cover.”

Learn more about Emma on her website, HERE.

MIRROR SHOW 2017, by Tom Svec

Opening Friday, June 2nd, 2017 at 6pm


The compositions included in this show are intended to rearrange and deconstruct otherwise familiar settings to suggest new ways of seeing one’s surroundings. They are intended to be kaleidoscopically entertaining, slightly humorous, and a bit off-center. In that regard, it is possible that they are somewhat autobiographical.

044 (1).JPGThe art of seeing as apposed to the business of looking is at the heart of it. In practical terms, a mirror does not lie, but it doesn’t necessarily follow that it must tell the straight, unvarnished truth. I remember walking around the house as a child holding a mirror out in front such that my path lay across the ceiling. We had a bathroom mirror with two side wings that swung inward so that one could see his reflection echoed into infinity.

These pieces are about collage that includes anything within view – constantly changing and rearranging. There is no deep hidden meaning, no covert philosophy, no personal catharsis. They incorporate small tidbits of the woodworking equivalent of semi- precious stones. These accumulate in my workshop – some go back many years until such a place is found for them.

I distinctly remember spectacular pieces of Birdseye maple stuck randomly in the floor of our high school gym. Sensitivity to the diversity of such a common material obviously goes back a long way. Like much of my formative years, I was always focused on that which did little to guarantee success in a conventional sense. I am, however, easily entertained by such minutiae.

All that you see here is intended to speak on its own terms. The small blocks of wood need little more than a platform to wax eloquent. The mirror may not lie but hopefully there might be a wink and a nod.


Svec’s original workshop and studio was established in 1980, shortly after college graduation, in cramped rented space – the basement of an old farm house.  It was moved to its present location at 51 Island Road in about 1988 upon completion of the building which houses it to the present.  The building, a post and beam barn, was acquired in 1986, disassembled,  moved, and re-erected on its present site on the Great Island, just east of Lock Haven, Pa.

Lock Haven State College, as it was known then, had no program in furniture design at the time when that direction presented itself.  Through their General Studies major, a curriculum of unconventional, yet pertinent, coursework resulted in a viable background in art, art history, archaeology, anthropology, botany, and 3-D design for Svec.  This included ceramics, sculpture, and color and composition, with a fair amount of science on the side.

His woodworking skills are largely self-taught.  Access to a hobby shop belonging to his father provided the earliest opportunities for acquiring skills.  Other than a brief, required course in wood shop in eighth grade, all other woodworking education has been self-generated.  2015 marked Svec’s 35th year of continuous endeavor as a furniture designer/builder.

Since the beginning, domestic hardwoods from the abundance of upstate resources has been the featured material utilized in the production of fine, original design furniture. In addition to conventional lumber, extensive use of salvaged wood from building demolition, and urban tree service sources, has been incorporated in the design process.

Born in Ames, Iowa, the middle child of nine, Svec briefly attended Iowa State University, before being drafted into the Army.   After being discharged, he relocated to Central Pennsylvania to be near his grandparents, who lived in Williamsport.

In addition to the workshop, he also opened a showroom and gallery in 2012 at the same address.   It is open year around by appointment.


Learning to See is an exhibition featuring five original drawings, completed by students Brandon Wolff, Ainsley Bennett, and Katelyn Klinger during one of the foundation courses, ART 180, at Pennsylvania College of Technology.

Students in the course focused on drawing from observation, exploring traditional methods and techniques while developing their perceptions of line, shape, form, light, and composition. The work will be on display at Gallery425 through May 2017, beginning First Friday, May 5th, 2017 at 6:00pm.

“do not reveal me” by Elody Gyekis at Gallery 425 in May

Elody Gyekis earned her Bachelor of Fine Arts in Painting and Ceramics from Penn State. Her artwork includes painting, drawing, and sculpture. She is currently a resident artist at the Green Drake Gallery and Arts Center in Millheim, PA. In addition to her fine art work, she has been a community arts organizer and muralist for nine murals in State College, Harrisburg, Williamsport, and Huntingdon, all in Pennsylvania. She has also worked on various other community art projects and done murals in other locations, such as Toms River (NJ) and the Dominican Republic. She is currently the lead artist on the “Book Benches of Centre County” public art project.

Elody’s fine art has been exhibited in Manhattan, Brooklyn, and Syracuse (NY), Tucson (AZ), Solomons (MD), and Philadelphia, Pittsburgh, and in the capital building in Harrisburg (PA). Her work has been in shows or private collections in Romania, Germany, England, Nicaragua, Costa Rica, Nicaragua, Brazil, China, and Canada. She spent the summer of 2014 completing an artist residency in Sibiu, Romania. She taught an intensive painting workshop as part of an artist residency in Costa Rica in 2015 and in Honduras in 2016.

Elody splits her time between living in Pennsylvania and Central America. She also regularly travels to other parts of the world.

Join us for the opening!
do not reveal me
Opening Friday, May 5th @ 6:00pm

2 meghan painting

He and We are One, Two, Three. (The Riddles exist in Us. And We are all Riddles.)
2016, 36″ x 48″, oil on canvas

Gallery425 Hosts the WVIA Annual Artist Celebration!

Gallery425 has the pleasure of hosting student artist candidates for WVIA’s Visual and Performing Artist of the Year.

The Artist of the Year for both Performing and Visual Art, as well as the People’s Choice Awards will be announced at the Artist Celebrations at the following locations:

Mainstreet Galleries in Kingston, Saturday, April 8, 6-8pm
Gallery 425 in Williamsport, Friday April 7, 4-6 (First Friday Celebration at 6pm)
The Looking Glass Gallery in Hawley, April 21, 5pm

The Visual and Performing Artist of the Year, as well as the Visual and Performing People’s Choice Award winner will be presented with their plaque at the Artist Celebration he or she attends.  The Performing People’s Choice Awards and Artist of the Year will also be presented their plaque at their annual school spring concert, or similar.

Artist of the Year:Performance

WVIA is proud to announce that the following Performing Artists of the Week have been chosen as the top ten performers, and finalists for Performing Artist of the Year!  (and one Viewers Choice Award winner, both to be named later)

Eric Lee, Valley View
Jessica Hopkins, Wyoming Area
Ellie Motichka . Western Wayne
Natalie Ryba, Hazleton
Dylan Tackley, Mid Valley
Kaile Martinelli, West Scranton
Cassandra Walters, Hughesville
Christina Han, Lewisburg
Jessi Burdett, Loyalsock Township
William Knauth, Williamsport

Artist of the Year: Visual

WVIA is proud to announce that the following visual Artists of the Week have been chosen to exhibit their work at one of the three gallery locations.  The top ten visual art students, plus one People’s Choice Award Winner (to be revealed at the celebration) are as follows:

Nicholas Woronchuk, Abington Heights
Nicholas Antidormi, Western Wayne
Abbey John, Hazleton
Bailey Piechota, Pittston Area
Reiley Weems, Delaware Valley
Jake Orrell, Mid Valley
Rachel Caudell, Tunkhannock
Bobby Brenner, Coughlin
Sheila Brassard, Southern Columbia
Olivia Martin, Lewisburg
Kacee Reitz , Milton

A panel of judges will score each student’s 9 piece submission, and determine the Artist of the Year.  The pieces will be displayed at three galleries across the WVIA viewing area for our annual Artist Celebration.

All pieces will be available for viewing throughout the month of April. Congratulations go out to each and every participant!

Vincent Hron at Gallery425 in April



Hron’s work has evolved over the years through diligent engagement’s with the painting medium within varied personal and cultural contexts. This process has been inspired by a few big ideas that continue to invite exploration, and of those ideas, notions about drawing and spirituality are the most fundamental.  In more recent years, observation based drawing and paintings of skies and clouds lead to a new body of abstract work.  Clouds are amazingly complex subjects to try to draw because of their fractal nature, and because they are molded by the currents of air in and around them.  They are ephemeral. Hron likes to think of them as a metaphor of the self, shaped through the dynamic interaction of internal and external forces.  Drawing clouds becomes a formal challenge of finding the pattern in the turbulence.  Similarly, in the abstract works, he tries to generate a spontaneous scribble, and then work to find ordering patterns within it.

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Hron was born and raised in Omaha, Nebraska.  In 1984 he received a B.F.A. from Drake University in Des Moines, Iowa, and in 1897, an M.F.A. from the University of Michigan in Ann Arbor.   Upon graduation, he received a Graduate Scholarship to study for a year at the Statliche Akademi der Bilden den Kunst, in Karlsruhe, Germany.  Following his year abroad, Hron returned home to Omaha where he established a regular studio and exhibition practice.  Hron served as an adjunct faculty member to several area universities, receiving numerous regional awards.  In 1996 he accepted a position at Bloomsburg University in Bloomsburg Pennsylvania where he continues to paint, exhibit, and teach.

Vincent’s Full Resume Here 


Project Gallery Expansion into Gallery425

“Learning to See,” Photography by Susquehanna University Students

Opening Friday, March 3rd, 2017, 6pm-9pm

Located at Gallery425, the Project Gallery will be a joint effort that allows Lycoming Arts to add to it’s current 3 educational gallery experiences. Presently, there are three student galleries: one at Plankenhorns for elementary students, one at the Genetti for High school students and one at the CAC lobby for College students.

Gallery425 will launch its new Project Gallery with a collection of photographs by Susquehanna University students on First Friday March 3rd.  The exhibition entitled “Learning to See” will feature original works by more than fifteen students produced for assignments during the past several semesters.

“Creating an exceptional photograph is more than just understanding the technical workings of a camera,” said Adjunct Professor Gordon Wenzel, a fine art / commercial photographer who teaches the photography program at Susquehanna University in Selinsgrove.  “It is about seeing the world from a unique vantage point and being able to express that visually.  We all make assumptions about what things look like in the world around us.  But in order to create a truly compelling image, we must really learn to see differently, looking beyond our assumptions.  Just like someone who is drawing an object must break down the form into its basic components, a photographer must open their eyes and minds, and breakdown a scene to what is not just obvious or familiar.  Then using compositional tools, they can construct an image so that it informs the viewer of something truly unique.”

Regarding the Project Gallery, gallery owner Judy Olinsky said: “in partnership with Lycoming Arts, this new space can be used for special art projects done by the regional art professors, public school art teachers and non-profit groups.  The gallery has a special hanging system that can display matted only works—which is important since it is usually too expensive for students to frame their works.  I am very excited to be able to host such exhibitions in our downtown gallery.”

There will be an opening reception on First Friday March 3rd from 6-9pm which is free and open to the public.  The exhibition will continue on display until April 5th.


For more information:

Gordon Wenzel 570-490-0778


There is going to be a “Battle” at Gallery 425 in March! Photography by Arissa Dickison

“Battle” by Arissa Dickison

Opening Friday, March 3rd, 2017


Dickison was Born in 1993 in a small town in New Jersey. It was her father that inspired her to start to study art at a young age. It all started when she won the fourth grade art award just like her father, brother, aunts and cousins had done before her. When it came to high school, she fell in love with the art of graphic design. Arissa then went off to Lycoming College to study commercial design and photography. Arissa graduated from Lycoming College in May of 2016 with a B.A  of Photography and Commercial Design and stayed in the area to work on her photography. 

While at Lycoming College, Arissa found what style of photography and art she liked to create. Most of her work shows the issues and stereotypes everyone deals with on an every day basis. Her work is created with hope to over come these issues in society. 


Battle is a body of work that focuses on the constant inner struggle within oneself against society. Men and women are going through challenges in their everyday lives to overcome their self-conscious issues of not being good enough. Each day, people strive to be confident and be the best version of themselves.

The models are painted in different colors to express their own struggle and then photographed. The smoke manipulations are intended to create an illusion of the models overcoming their issues of the past.

The audience should leave understanding the fight against the past to become confident. The past is not defining, but strengthening and using the past to motivate oneself can help build inner confidence. Due to society and the media, we have become adapted to trusting someone else’s opinion, rather than our own. We are all trying to believe in and love ourselves. Men and women are learning how to become confident within themselves and finally breaking societal norms. In order to feel truly confident, we must be able to handle every part of our selves.

independent    Independent (Pictured Left)

Curator Gallery Opening: Judith Meyers Olinsky featured at Gallery425 in February

A statement from the artist:

I am a self-taught painter, which I think accounts for the oddity/uniqueness of my style. I wish I knew why I want to paint. Since I am always wanting to have more talent or magic, painting becomes such a difficult process for me. It seems I’m mostly a portrait painter with a still evolving style.  The way I want to paint is somewhere between Alice Neel and Larry Rivers, with a touch of Francesco Clemente and I keep pushing forward in hopes of developing a consistent style of my own.

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

I come out of the I950’s ethnic, working-class, patriarchal definitions of gender roles. I didn’t start out thinking about feminist issues, but it seems to me as a woman who lived through the second wave of feminism, I didn’t have much choice. I lived through a time that  questioned gender identity. Gender role confusion was what was on my mind. Without realizing it at first, I have 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, I am trying to fit that self into the body of a woman. Or, maybe, I have been trying to find out what it means to become a self in the body of a woman.

I do agree 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.”

As to the themes of my overall subject matter, it appears part of what I am doing is I am creating a visual diary in the tradition of Frieda Kahlo and Joan Brown.  For me, all time exists at the same time, and I keep 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…of my life.   I like what Faulkner says about time when he says “the past isn’t dead, it isn’t even past.” When I paint, time doesn’t matter. Space doesn’t seem to matter to me either. For me sometimes the inside, is outside, and the outside is inside. The outer world and my inner world bleed back and forth. On my canvases, matter, psyche and spirit all exist at the same time, in varying ratios and on shifting planes. In painting and in life I find that it is always hard to find a place to put things, even parts of myself.

What keeps me going is the hope that my 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.”

LinkedIn – Website


Baby Girl Chair Dancing to the Grateful Dead