Kelly Greene, Iesha Liberato, Christina Little

Kelly Greene, Iesha Liberato, Christina Little

Graduating Students Art Exhibit

Exhibit: 4/24-8/1/17

Reception and Artists Gallery Talk: Tuesday 4/25/17  6-8pm


Kelly Greene

I have always been drawn to both trees and human faces. I love finding that both in trees and in faces you will never find two that are exactly alike. It is the diversity of them that I love, and the never ending possibilities that I can create.

Another reason I focus on trees is because of age: they live so long. If they could tell stories I always wonder what they would say. For every tree I create I have a story that goes along with it. I create the events that occur around them.

The heads I have made also have their own stories. I have always wanted to write a book and these faces are the characters I have envisioned and created to go into my story. They all have their own personality to me. Another reason I have created the heads is because I find mystery surrounds the elderly. I want to know what they have experienced and who they were in the past before I have come to know them. The same goes for the young, but instead of their past I wonder about the events that have not passed yet in their life and who they will become. Every line in a face and every sparkle in an eye have a story behind them that makes the person who one is and it makes me wonder about everyone I meet. Time and age fascinate me and that is why I have focused on both trees and faces.

From The Gallery:



Iesha Liberato

Philippians 4:6-7

Do not be anxious about anything, but in everything by prayer and supplication with thanksgiving let your requests be made known to God. And the peace of God, which surpasses all understanding, will guard your hearts and your minds in Christ Jesus.

From the Gallery:



Christina Little

Art is a way to express yourself, and bring out the beauty that we fail to see in our everyday lives. In my paintings I displayed the beauty in nature and the human figure to show how they relate to one another and how we fail to see how much they co-exist. Our body is our canvas and each part of it is beautiful in its unique way. Displaying how our body relates to nature shows that we are one with nature. Each of these pieces is the reflection of the self and how you are able to find your own inner piece. My sculptors bring both the pain and also the joy to the eyes of the viewers in Togetherness, and Fetal Position. It is difficult for individuals to talk about their past life, so they personally have to find their inner strength to overpower their struggles. This is why some of the work displays happy content to show that we can find inner peace and, in essence, find our inner self and positivity in our lives.

From the Gallery:



Katelyn Scherber and Ashley Shackleford


Holy Family Art Gallery

Graduating Students Art Exhibit

Ashley Shackleford

Katelyn Scherber

Exhibit: 4/7-4/21/17

Reception and Artists Gallery Talk:
Tuesday 4/11/17  5-7pm

Split Personalities

By Ashley Shackleford


Artist Statement

This art exhibit shows both of my personalities. When looking at my artwork hanging on these walls you will feel so many emotions all at once. All of the bright colors I have used will bring you much happiness while the darker tones I used may bring anger. Emotion is a huge aspect of art and can vary in many ways. Everyone’s emotions are different.

The colors I have chosen are very bright and vibrant to reflect on the American Traditional style of tattooing. I have made four complete designs; one painting and one print to go with each. The paintings show big bold lines as well as color, while my prints are black and white and consist of very thin strokes that show more detail. I thoroughly enjoy the field of tattooing and love to incorporate it into my artwork. Tattoos are a way for one to express oneself through body ink. Tattoos make you unique and show off your creativity; which to me is an amazing thing.

My other artwork that is shown shows off my athletic abilities. I love being in the gym and staying in great shape. I conducted my own little business called Body By Shack, as a personal trainer. Being able to continue pursuing my goals in the gym while helping others achieve theirs, is perfect for me. I made business cards, a t-shirt, flyers, and a website for those who are interested. On the shirt that I made, I added my business logo so my clients would be able to show off their new workout clothes and start to feel great in their own body. Art and the gym are two of the most important things in my life besides my family. I can always lean back on both to relax or to collect my thoughts. I wouldn’t want it any other way. -Ashley Shackleford

From the Gallery



Pain then Love

By Katelyn Scherber


Artist Statement

There are two parts to my show, pain and love.

Pain: I was asked a question my freshman year of college. It was, “What sparks a particular emotion to you?” and my first initial answer was pain. My father was a heavy smoker that (at the time) made me angry and hurt that he chose cigarettes over his own health and well-being. All that pain from him choosing to smoke then to actually want to live his life, was brought out in a lot of my work. After he was diagnosed with esophageal cancer, all my hate and anger turned in to complete pain. After a year of dealing with the pain, I decided to try and turn my art around and focus on what I love. Within all these works, you’ll begin to notice the different mediums used to express my emotions in many different ways.

Love: My last cigarette painting was a watercolor painting where the smoke turned into butterflies. It was painting that finally made me realize that it’s time to start focusing on my happiness and myself. In my Printmaking II class, I created five different animal faces. Although it is not as personal as my cigarette pieces, drawing all the animals allowed me to open up the more positive side of me. I find the beauty in all the wild creatures I drew. Lions are strong and have beautiful manes. Giraffe are tall and always rise up when they are down. Goats are independent but still have a sense of personality. Foxes are cunning and can have beautiful coats. But there was one animal that isn’t as wild. This is more of the personal side that I wanted to incorporate. The dog is a symbol of loyalty and after having a very difficult summer; I was still able to come home to my dog who would be there for me on my darkest days. He would give me a sense of protection when I needed it. Moving on to the four magazine covers, they are about being me, living as a student-athlete on a college campus. It became a routine of watching what I eat and how much I can afford to buy. The irony in my work comes from how college students, who can have the busiest of schedules as they study so they can get a job to afford “luxurious” food but can only find time to eat and afford quick, cheap meals. –Katelyn Scherber

From the Gallery

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Margi Weir


Holy Family Art Gallery

Frontline Series

Ink Drawings By

Margi Weir

Exhibit: 3/2-3/30/17


The Holy Family University Gallery is pleased to present

Frontline Series, Ink Drawings by Margi Weir

Ms. Weir earned her MFA in painting from the University of California at Los Angeles (UCLA); her MA in painting from New Mexico State University. She also holds a BFA in painting from San Francisco Art Institute and BA in art history from Wheaton College in Massachusetts.

Ms. Weir has had solo exhibitions at Ivan Karp’s OK Harris Gallery in New York, and the Ruth Bachofner Gallery in Santa Monica, CA.   She has completed installation pieces at Athens Institute of Contemporary Art (ATHICA), Lexington Art League (KY) and the Las Cruces Museum of Art (Las Cruces, NM)

Awards for her work include First Prize in the Contemporary Art Center of Las Vegas’ Juried Exhibition in 2012; the prize for Best Work on Paper in the first Southwest Biennial at the Albuquerque Museum in 2006; and Best of Show in the New Directions in Fiber exhibition at the CORE Art Center in Denver CO in 2004.

She is, currently, an Assistant Professor of painting and drawing at Wayne State University in Detroit, Michigan 

Artist Statement – Margi Weir:

I began making drawings of ink and ink wash about 10 years ago using a technique that I call a “snap line”. A snap line is the mark made by dipping cotton twine into liquid ink or diluted ink, pulling it tight and snapping it against the paper in an action similar to plucking a guitar string. It is a record of the violent impact of ink with paper. It suggests an event, an explosion, a reverberation, yet the over spray lends a softness to the line quality. I like the idea that something beautiful on the surface has an underlying violence, a dark side, if you will.

I moved to Detroit in 2009 to join the faculty of Wayne State University.   I found, not only Detroit, but the Mid-West in general, to be full of unfamiliar sights and sounds.   I was also confronted by the architectural decay that was, initially, frightening. I began to draw these skeletons of buildings to familiarize myself with my new environment. Through drawing, I learn to understand new information. I internalize it and know it in a way that transforms it into something familiar and less frightening. These drawings are fairly large but they are intimate studies of my neighborhood as I become familiar with it. You could say that I am drawing close to Detroit. I have titled the series “Frontline: Detroit” because I still begin my drawings with snap lines. I use them to find the main compositional and architectural lines to anchor the drawing. As I paid closer attention to the urban ruins, I found that they are not only in Detroit. I began to notice them all across the country. There are architectural bones of regional cultures that dot the countryside along Route 66. There are ruins of motels, gas stations and, actually, whole towns. There are “bones” left from natural as well as financial disaster. So I have expanded the “Frontline Series” to include Route 66 and other cities in America.

My drawings continue to be private attempts at understanding my surroundings. In the summer of 2013, I began to notice the reclamation by nature of the empty lots left by fire or blight removal. The opulent vegetation makes these open spaces appear pastoral in the heart of the city. These “Terrain Vagues”, which are no longer city but not country either, are my focus in recent drawings. “Terrain Vagues” is a French phrase for urban outlying areas that are “in between” the city development and the pastoral country. That seems to be an appropriate description of these patches of open space within the City of Detroit.

Please visit the Holy Family Art Gallery.

Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley Education and Technology Center.

Contact: Pamela Flynn

Natasha Giles

Social Voyeurism

paintings by

  Natasha Giles

  Exhibit: 2/2-2/28/17
Reception: Wednesday 2/15 12:00-2:00


The Holy Family University Gallery is pleased to present Natasha Giles’ Social Voyeurism. The exhibit features paintings from her most recent body of work.  Her works are inspired by social media, memory and the experience of moments in time. In this series the unspoken communication of body language and character is exuded in each captured moment.

 Natasha is a Georgia based painter and educator, originally from Kentucky. She received her B.F.A. from Savannah College of Art + Design in 2007 and her M.F.A from the University of Kentucky in 2011. She will have upcoming exhibitions at Transylvania University, the Arts Council of Southeast Missouri, The Lyric Theater and Cultural Arts Center (Lexington, Kentucky) and The Carnegie Center (New Albany, Indiana).

Artist Statement

 My work is about social voyeurism and our shared experience of memories and moments in time. Many people are laying their private or mundane thoughts and actions at the feet of the masses for consumption. I pilfer public images, memories that are not my own, and create paintings where I imagine, investigate and become a part of that original moment. In my paintings, I reinterpret each event and invite the viewer to engage and participate with me.

Each painting is created from images found on social media. The photos used as reference were taken by different individuals. More than anything, I am drawn to the interactions of the people in the original photographs. What intrigues me is the illusion of time and the unspoken communication of body language; the personality and character that is exuded in a captured moment.


Robert McNellis

Anonymous Images / Specific Objects

New Work By:

Robert McNellis

Exhibit: 1/9-1/30/17

Reception: Wednesday 1/25/17 12:50-2:50

anonymous-landscape-11-1 Robert McNellis studied film at the University of South Florida and holds a degree in art from Troy University with a concentration in film and digital photography. Since moving his studio practice to Philadelphia, his work has been exhibited at ARTSPACE 1241 in downtown Philadelphia. Robert is also an adjunct instructor in our School of Arts and Sciences.

Artist Statement

My work attempts to combine the pictorial, material, and structural elements of my practice into a balanced unity. Using modern materials, I strive to create structures and discover imagery that can achieve this unity. As the pictorial aspects of this work have come more and more to suggest visual similarity to the natural world–albeit obscure and scarcely defined–I have recently turned to incorporating photographs taken in chance ways into my work. In these anonymous photographs, I find images that are evocative and yet whose subject is largely unknowable. When successful, this interplay between the evocative and unknowable within the image, together with the clarity of the material structure, creates a strong resonance between image and object.

From the Exhibit

John Chang


Exhibit: 12/2-12/20 

Holy Family University will exhibit a collection of mixed media paintings created by
John Chang.

Born and raised in Shanghai, China. John Chang is an artist based in Southern California. John’s works have been widely exhibited,

Artistic Statement:
“I was born and raised in Shanghai. By the 1980s, Deng Xiaoping initiated a more open door policy, but I still had a deep desire to experience America and Western culture. Immigrating to Boston to study art in graduate school, I discovered a more complex society than I had imagined. Longing for a democratic system, I wasn’t prepared for the magnitude of consumption, both promoted and practiced. The great chasm between Communist China and capitalist America was quite a shock and heightened my awareness of self. Belonging to both worlds and to neither, I recognized the social construction of cultural codes and their impact on identity. Calligraphy expresses the shared space of the personal and the political. Chinese students must devote many years to memorizing several thousand characters. Each character must be written flawlessly and must be both neat and pleasing to the eye, and such rote exercises condition one to submit to authority. In the public square and all walls everywhere, big calligraphic characters were a constant reminder of a collective voice, and so people discounted the empty rhetoric of the official media. Yet in classical Chinese, the script, or shu, is so sacred that it is believed to be capable of affecting change in the natural order of things. By invoking calligraphic forms, I am commenting on the distortion of language, but I am also reclaiming the energy of the written word. Tapping into my ancestral roots, I also use pigments for their symbolic power. For example, black and white are the colors of most ink painting but also represent yin and yang; red and yellow represent happiness, wealth, and health. I consider myself a “spiritual escapist.” I am especially interested in making and unmaking meaning with the combination of word and image — particularly in this age of digital communication. Incorporating contemporary events and pop culture, I collect daily newspapers in English and Chinese, cut specific text, graphics and articles, and put them in categories. I also gather postproduction material from local ad agencies. Influenced by artists like MARCEL DUCHAMP, and ANDY WARHOL, my calligraphic strokes commingle with expressive brushwork and drips, and the freedom of such abstract artists allows me to explore Chinese characters in a personal, reinvigorated way — connecting to and balancing vital energy. The cross-cultural exchange mediated in my creative process continues to unfold and push beyond duality. In merging the beauty of traditional painting technique, modernist performance-like gestures, as well as typography and imagery, I am forging an art that both creates and expresses myself. Embracing the chaos, or ran, I stand hopefully poised between ambivalent remembrance and undetermined tomorrow.”

The Art of Forgiveness: Understanding Hurt, Hope and the Healing Journey

The Art of Forgiveness:

Understanding Hurt, Hope and the Healing Journey

A two-part multi-disciplinary program inspired by Pope Francis’ Jubilee Year of Mercy

Wednesday, November 2, 2016

Panel Discussion on Forgiveness

12:30 pm – 1:30 pm ETC Lobby

Fr. Mark Hunt …. Spiritual Perspectives

Dr. Michele Muni …Restorative Justice

Dr. Jim Huber ….Marriage & Family Therapy

National Juried Art Exhibit on Forgiveness and Artist Reception

1:30 pm – 3:00 pm Holy Family University Art Gallery

Selected artists

Robert Thurlow, Charlesey Charlton-McCallister, Lisa DeLoria Weinblatt, John Wood, Aaron T Stephens, Ed Smith, Dorothea Osborn, Colleen Sweeney Gahrmann, Marilyn Rodriguez Michael Wartgow,  Leila Hernandez


Aaron T Stephens

aaronstephensA life of Sin series was created to express my problems as a Christian. I commit acts that are against my Religion and my own beliefs. This image expresses how I feel every time I pray for forgiveness of those acts.

Charlesey Charlton-McCallistercharleseymccallisterThis piece of work is about the ability to forgive a spouse or significant other after the act of infidelity. Forgiveness is a process like the journey a baby makes from crawling to walking. According to a study from 2010, the most common type of unforgivable offense is betrayal, including affairs, deceit, broken promises, and broken secrets (see source below). This  art work asks the viewer to ponder the meaning of a past betrayal and to ask the hard question of “how does one begin to forgive, when the betrayal itself is/was so personal?”

Colleen Sweeney GahrmanncolleengahrmannWe All Fall Down, part of a larger installment titled Restorative Justice, hints at the responsibility of a society that has a stake in its youth, even those of incarcerated parents. It brings an awareness of the feelings and issues surrounding the children affected by the crimes and punishments of their guardians.  Statements by children of incarcerated parents are often filled with incriminations, confusion and conflicts.  When forgiveness becomes an ongoing process it helps to restore family relationships.

Dorothea OsborndorotheaosburnThe art of forgiveness is a road. An intimate road of change and it’s a process, sometimes lengthy, sometimes surprisingly expedient.  It is a change within ourselves, on more than a cellular level. It is an acknowledgment and acceptance in its finality. Forgiveness does not suppress or ignore the pain. It deals with it on a spiritual and cellular level. These pieces are from a series of graphite and colored pencil that deal with the human condition and change on a cellular level. The progression of Forgiveness takes time and creates change. It means letting go, albeit, keeping others in our heart. As each of these pieces was produced, a daily personal and spiritual time was given to each segment of the individual pieces. Time and change is evident in all three pieces.

Ed SmithedsmithThe work submitted are images in metaphorical form depicting the act of forgiving, specifically with regard to the events of 9/11. And while the hope is that the understanding and internalization of these events can bring peace it also suggests we not bow to forces along the journey of healing. The etchings are intimate and demand a close attention focusing on the personal nature of the tragedy and forcing the viewer to be open within the reading of the images.

John WoodjohnwoodThe works in this series respond to a common theme: the journey from doubt to faith.   I have explored the theme by responding to the story of St. Thomas from John 20: 19-31, and a contemporary poem by Francine j. Harris entitled “another finger for the wound.”   Through the ekphrastic process of reflecting upon text through visual art, I invite confrontations to my interpretations of ancient themes and modern interpretations. Another Finger for the Wound explores the moment, from the Gospel of John 20: 27-29, in which Christ exposes his wound by lifting his robe for Thomas.  The human qualities of flesh and hair seen on the hand of Christ in the sculpture are contrasted with abstracted images on the opposite side of his hand.  The palm contains patterns of human figures and text from the poem by Francine J. Harris.

Leila HernandezleilahernandezSquaring the Circle talks about change. It is transformation- a square that is composed of circles which are interconnected through threads; like our brain cells, our body, our friends, the world, the universe; each one influencing the other. The red symbolizes life that can be full of passion, good or bad, and it can be lived in an intense manner, which of course is best if we change the negative into a positive. The blue flowers bring tranquility; the green leaves symbolize growth in a sparking manner which relates to the gold which is scattered through our lifetime making our total experience golden during our lifetime. Mandalas have engaged the artist during the production as to absorb the mind in such a way that distracting thoughts produced by anger and sorrow from damages that have affected the stability of her life in many areas are slowly replaced by a feeling of well being. The artist has experienced many hardships that invoke the need for forgiveness since it is well known that it is imperative to forgive people in your life, even those who are not sorry for their actions.

Lisa DeLoria WeinblattlisadeloriaweinblattI use the vocabulary of daily life and historical reference to inform the content of the MAN/WOMAN painting series.  The image in this painting investigates the interactions of interpersonal relationships within a time- frame.

The myriad pressures of modern life often impact the relationships that we hold close to our being.  The ability to forgive and ‘open the door’ to another solution/ way of thinking, is vital to forgiveness.

In Man/Woman 3, portraying part of a series of life events, I incorporated the biblical symbol of the snake, literally her vanity, in which she is in front of, the salvation of the bird, flying to new territory/heights and the pear on the dresser, the fruit of both good and of the fallen.

Marilyn RodriguezmarilynrodriguezMy name is Marilyn Rodriguez; I am a Latina (mixed medium) community artist.

My art comes from my environment and my community (North Philadelphia), it is where I take my inspiration. Much of my paintings and drawings manifest through unconventional materials like paper bags and other found objects. The materials are often chosen to fit within the context of the subjects.

My works reference lost souls that walk amongst us and the constant flux of their mental health illness, drug addictions, and social handicaps. These individuals roam the streets with uncertain futures and become the forgotten people unable to assimilate to their environment and society. They seek a window to find forgiveness for themselves and for the people they have wounded. The work(s) I create are to show awareness of what happens in the journey for peace and a sign of forgiveness.

Michael WartgowmichaelwartgowPresented as both a psychological concept and a virtue, my work discusses forgiveness through various states of transition. It is about looking for forgiveness in yourself and the need to find some sort of divine forgiveness in order to understand purpose. Through the use of symbols and dreamlike imagery, my work places emphasis on an individual’s path to forgiveness yet speaks to a larger universal idea about reconciliation.

Robert ThurlowrobertthurlowHoly Suffering Saints

This image speaks to the redemptive quality of suffering and the healing power of forgiveness. Although the action and process of forgiveness is difficult it is this difficulty that gives us strength, humility, and transforms us into saints. The chaotic handwritten script is taken from a 1930’s journal my grandmother kept and is meant to echo the struggle and effort required to forgive.

From the Exhibit Opening: